Category: Stage

What you’ll discover, when you befriend the Hawaii premiere of the Tony-winning “Come From Away” at Diamond Head Theatre, is the tsunami of niceness, humankind, and compassion that resonates from start to finish.

This musical – with Canadian origins — won’t bowl you over with melodies you can hum as you exit the theater.  (Just announced: two extended performances, at 7:30 p.m. Oct. 3 and 3 p.m. Oct. 4).

However, you’ll likely be overwhelmed by the giving, the sharing, the caring and the unconditional hospitality of the folks in Gander, Newfoundland, who welcome and host and embrace a bunch of travelers in need. Their flights have been routed to the little Canadian community, at the height of the tragedy and terrorism of the devastation of the Twin Towers of the World Trade Center  in New York City, in what history will never forget and still vividly remember the trauma of 9/11.

The show is a creation of Canadians Irene Sankoff and David Hein, who collaborated on the book, music and lyrics, so naturally embraces Canadian, Irish and other nationalities and traditions. Like fish; wait for the scene.

The Ganderian greeters simply were opening their hearts and homes for the “come-from- aways,” the lingo for those “outsiders” stranded because air traffic was halted and airliners had to find airports where the planes could land. In retrospect, 38 carriers transporting nearly 7,000 travelers who were airborne when “it” – the devastation of Sept. 11, 2001 – happened.

In Hawaii, this giving generosity might be termed “the aloha spirit.”  Chelsea LeValley, making her DHT debut as director and choreography, has previously mounted “Come From Away,” and her grace, imagination and savvy are on display. She weaves together emotion and motion, creating a touching and emotional lei that reflects the nature of nurturing feelings through this remarkable story of humanity.  

Oh, she’s also one of the cast principals—Beverly. And all actors have an “& others” tag in the playbill, meaning they tackle multiple roles.

So the company includes Bob (Jarren Amian) Claude (Howard Bishop), Bonnie (Marisa Noelle Capalbo), Oz (Andrew Erwin), Kevin T. (Isaiah Gundermann Graham), Nick (Kalani Hicks), Hannah (Lelea‘e “Buffy” Kahalepuna-Wong), Beulah (Vanessa Manuel-Mazzullo), Janice (Ainsley Shearer), Kevin J. (Samuel Tafolo), and Diane (Courtney Watabe).

The ensemble members are Adam Allison, Landon Ballesteros, Caitlin Bright, David Hurley, Gina Miyazaki, and Juliette Moody.

Casting was important in this specific outing, where there’s a lot of intersecting moments and movements and overlapping spirts. Trevor Tamashiro, executive director of DHT, tells me that all cast members need to know each other’s roles, in the instance that there are multiple needs to replace an actor.

It’s a tad econfusing for spectators when actors play both airline crews and passengers and visitors and locals, but the operative word here is storytelling. This company is highly versatile; it could easily win ensemble of the year laurels for the constant transformation of roles.

I’m not privy to the kiss-the-cod tradition that welcome newcomers as honorary locals. It adds humor to the Twin Tower loss and the fish is kissed with a shot of traditional Screech rum.

I recall the minimalist staging – tables and chairs in the midst of a grove of faux trees – in the Broadway original I saw several seasons ago. Here, Brian Sullivan’s clever set design reinterprets this non-intrusive scene with multiple tree trunks – something like 15 of ‘em – towering towards the sky and reaching out into the audience, Wooden planks form a back wall that stretches from stage left to stage right and stage floor to airspace above .

This framework still allows for multiple effects – actors move airplane seats that double as café chairs; there’s ample space for hootenanny vocals, soul-shaking hand-clapping and foot-stomping dancing.  Even the orchestra’s in the shadows of the stage setting.

A few things you should know:

• The show runs 100 minutes.
• There is no intermission.
• There are hints of prejudice, with resolution, about Muslims and gays.
• Celine Dion makes two brief aural appearances, via her “Titanic” hit tune, “My Heart Will Go On.” Anticipate the karaoke rendering!

And that’s Show Biz…

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‘Come From Away’

What: A musical by Irene Sankoff ad David Hein

Where: Diamond Head Theatre

When: Regular run, through Sept. 28; isolated seats available; two extended playdates, at 7:30 p.m. Oct. 3 and 3 p.m. Oct. 4

Tickets: $43 to $70; call (808) 733-0274

The fall season for Hawaii’s theater community brings two acclaimed productions this weekend. One is very appealing and time-tested for local —  or loco — palates, with previous sell-out runs at Kumu Kahua Theatre. The other is a Tony Award-winning musical, making its Hawaii debut and bustling with feel-good feelings, inspired by the life-changing after effects of 9/11.

Manoa Valley Theatre is reinventing Lee Cataluna’s beloved comedy, “Da Mayah,” which explores the hijinks of a shady Hilo mayah – that’s mayor, in pidgin. The laugh-filled local-style political  shenanigans opened last night (Sept. 11). And I believe this is Cataluna’s debut at MVT; welcome, dear prolific one — better late than never.

Diamond Head Theatre presents the island premiere of “Come From Away,” a true and timely 9/11 story of humanity about the residents of Gander, Newfoundland, which welcomed 38 airborne flights to land in their airports when other airports were locked up and shut down during the tragic bombings of New York’s Twin Towers. The drama opens tonight (Sept. 12).

Due to public demand for tickets – many performances are virtually sold out  — MVT has already tacked on two extended playdates, at 7:30 p.m. Oct. 4 and 3 pm. Oct. 5; if you seek seats, this would be where you’ll find ‘em.

DHT’s “Come From Away” should attract theater-goers, too. The announced run should end Sept. 28, but an extension for a couple more shows could happen.

The “Mayah” cast features politics, secrets, and plenty of mishaps collide in Hilo with a shady new mayor, his stressed-out assistant, a bumbling hitman, and a karaoke bar owner who’s seen it all. The talented cast includes Devon Nekoba, Elexis Draine, Matthew Miller, Karen Kuioka Hironaga, Stu Hirayama, Juvy Lucina, and Sharon Garcia Doyle.

Themes of politics, secrets, and mishaps galore collide  in Hilo with a questionable new mayor, his stressed-out assistant, a bumbling hitman, and a karaoke bar owner.

“Come From Away,” written by Irene Sankoff and David Hein, features Howard Bishop, Andrew Erwin, Kalani Hicks, Samuel Tofolo, Isiah Gundermann Graham, Jarren Amian, Vanessa Manuel-Mazullo, Courtney Watanabe, Leleaʻe “Buffy” Kahalepuna-Wong, Ainsley Shearer, and Chelsea LeValley. 

Imagine if you’re landed in an unfamiliar turf, without your luggage and become friends with your giving, kind Gander folks, who provide shelter and kindness and rescue you with an outpouring of unexpected aloha spirit while America, and the world, were rewriting the nature of travel amid the fiendish skies.

The DHT cast met with Vikram Garg, a real-life global restaurateur, of UMI at Halepuna Waikiki Hotel, who had a front seat in the Newfoundland situation, creating meals and fellowship and hope, and he wound up as a character in the tale of resilience, sharing, and caring. On Sept. 11, DHT welcomed first responders to take in the musical, which features gentle folk-rock music in the spirit of healing during a dark time in history.

For MVT tickets, call (808) 988-6131.

For DHT tickets, call (808) 733-0274.

‘Hamilton’ is where it’s still happening

“Hamilton” still rules, and Leslie Odom, back in the show as Aaron Burr, surely is the reason. “Wicked” still is defying gravity, as both “Hamilton” and “Wicked” dominate the $2 million club.

The Top 10:

1—”Hamilton,”$2.150 million

2—“Wicked,” $2.005 million

3–“Mamma Mia!,” $1.503 million

4—“The Lion King,” $1.451 million

5—“Art,” $1.263 million

6—”Maybe Happy Ending,” $1.234 million

7—”Just In Time,” $1.217 million

8—“Oh, Mary!,” $1.213 million

9—”Death Becomes Her,” $1.164 million

10—”John Proctor is the Villain,” $1.054 million

The full list, for the week ending Sept. 7, courtesy the Broadway League:

And that’s Show Biz…

Darren Criss, the  first Asian American to win a Tony Award for a Leading Actor in a Musical for “Maybe Happy Ending,” will take a leave of absence from the musical after Aug. 31, but will resume his role in the fall.

It was previously announced that Andrew Barth Feldman would replace Criss,  who became the first Asian American axctor to win the Tony. Criss is part Filipino and has Honolulu ties. Feldman is white – cause of the concern from some critics sinnce there’s a scarcity of Asian roles for actors.

But because Criss also is a co-producer of the Korean musical, it was simple to resolve the controversy, by proclaiming his nine-weak leave will be temporary, and that he will return to the show on Nov. 5.

The Broadway cast features Helen J Shen and Criss starring as, respectively, Claire and Oliver, South Korea-based Helperbots deemed obsolete. The pair form an unlikely bond, setting off a surprising and romantic adventure,  earning its Best Musical laurels earlier this year.

Several Hawaii actors remember that Criss attended a local school, and thus qualifies as an island-winner of two Tonys this year, one for his acting, and the other for his producing…

‘Hamilton’ reclaims No. 1 spot on weekly grosses

“Hamilton,” celebrating its 10^th anniversary, surged back to No. 1, earning $2.197 million.

Which means “Wicked,” which has regularly ruled the charts, dipped to No. 2.

“The Lion King,” a dependable player week after week, found itself in the No 3 slot.

And “Gypsy,” in its closing week, logged its best numbers, claiming the No. 4 position, its best week of a challenging season.

The Top 10:

1—”Hamilton,” $2.197 million

2—”Wicked,” $2.018 million

3—”The Lion King,” $1.948 million

4—”Gypsy,” $1.607 million

5—”Mamma Mia!,” $1.606 million

6—”Maybe Happy Ending,” $1.373 million

7—”Just In Time,” $1.293 million

8—”Aladdin,”  $1.273 million

9—”Death Becomes Her,” $1.238 million

10—”MJ the Musical,” $1.228 million

The complete list, courtesy the Broadway League:

And that’s Show Biz…

“Gypsy” opens with a sumptuous overture of tunes, with melodic highlights from the score by Jule Styne (music) and Stephen Sondhein (lyrics), orchestrated by the incomparable Clarke Bright. He conducts a large (by Hawaii standards) 14-piece orchestra, which results in a rich, robust sound experience.

The show ends with a stunning, emotional “Rose’s Turn,” the climactic finale rendered by the leading lady, Mama Rose, enacted by Jacquelyn Holland- Wright. Rose is a stage mom who seeks the best for her two daughters while silently seeking elusive success herself. Jac, as the visiting singer-actress is  known, turns in a career-best performance. She belts and trots to all sectors of the stage, claiming the space and conquering the pace in a finale that’s wow!

Yes, there’s an abundant number of creative talents in the I’m A Bright Kid Foundation’s revival of “Gypsy,” the evergreen musical about the dysfunctional family, playing two more weekends through Aug.  24 at Paliku Theatre, Windward Community College.

The show, with book by Arthur Laurents, offers extravagant elements not commonly featured in stage musicals in Hawaii these days.

Let’s start with the leading lady, a grown-up Bright Kid who portrayed Mama Rose in 1987 while at Castle High School when she was directed by Ron Bright. She’s on leave from her lead role in “Menopause” a hit on the Las Vegas scene, and here,  she is a firecracker with a lit fuse, delivering an explosive, indelible performance as the indefatigable stage mother. If there’s an acting awards trophy here, she’d snap it up, pronto.

Ahnya Chang, doubling as director and choreographer, demonstrates she has the chops and depth to ignite this legacy show which seems dated because of the story, set in the early 20^th century when vaudeville and burlesque were mainstream entertainment.

Maestro Bright, conductor of all IABK shows, waltzes through 13 numbers in Act 1 and seven in Act 2 and radiates energy and substance. That opening overture is dy-no-mite.

DeAnne Kennedy’s eye-filling, soul-embracing set design suits the era of the 1920s – four red ceiling-to-floor curtains  for starters –with sundry other sites ranging from dressing rooms to a Chinese restaurant, from train stations to vaudeville stages. I’m uncertain if it’s her creation,too, but a mini marquee over the expanse of the stage is effective, announcing all the sites in the storytelling.

This craft of perpetuating tales and emotions and memories through songs and dance, has been the lasting mantra of Mr. B., who utilized the stage as a mecca for his simple mantra: believe in yourself.

And the parade of characters in “Gypsy,” from Mama Rose down to her daughters June and Louise who are forced to  try out for show after show even with minimal talent, reflect the cycle of life in the theater. The connective links to life are the songs of hope and love, of happiness and pain.

The show was perceived to be a vehicle for Ethel Merman, who played Mama Rose on Broadway, and her spirit and sheen were surely the inspiration in Jac Holland-Wright, who has the pipes to deliver her songs with purity and punch. Her “Rose’s Turn” finale is a hallmark of belting.

There must be 60 to 70 cast members – kids and adults alike, some newbies, some veterans – and they are the army that give the show its grit, its gist, its gravitas.

Tani Siu, who portrays the grown-up Louise, is initially a timid stripper, but learns how to tease to maintain her dignity. Siu brings beauty and coyness to her Louise.

The “You Gotta Get a Gimmick” is the height of comedics, in voice and in gyration, with Tessie Tura (portrayed by Ligaya Stice), Mazeppa (played by Faith Kawai) and Electra (enacted by Camille Michel) demonstrating their idiosyncratic gifts:  ballet with wings, trumpet-tooting, and lighted costumes, respectrively.

There are a couple of other standouts in the show. Swaine Kaui (as Herbie) is patient and dedicated, as the would-be hubby of Mama Rose.

(Local actor photos courtesy of Tracy Larrua of Poi Planet)

Drew Bright (as Tulsa) is emerging as a virile song-and-dance trouper, on his “All I Need Is The Girl” solo.

Scores of youngsters appear as dancing newsboys, farm boys, and toreadorables. Their unified spirit in song and dance is superb.

And Omnia Nova, as costume designer, had to clothe ‘em all (though some garb were rented); Kevin Murata and Mia Yoshimoto’s hair and make-up design was a task fulfilled, considering the scope of the cast and variety of styles. And Annie Yoshida’s props design included news boys’ canvas bags, a flashback to last season’s IABK “Newsies” show.

Further, lighting design by Janine Myers and sound design by Steven Nelson worked in unison, tackling some tricky elements, like flashing strobe lights and some vocal gymnastics.

“Gypsy” is one of the fabled shows of Broadway’s golden era of legacy productions with a rich score with singable tunes like “Let Me Entertain You,” “Everything’s Coming Up Roses,” “Some People” and “If Momma Was Married.”

And that’s Show Biz…

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“Gypsy”

A Broadway musical with book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim; produced by the I’m a Bright Kid Foundation

What: A fable about an ambitious, determined stage mother, Rose, and her two daughters, June and Louise, who seek fame and fortune in the world of burlesque and vaudeville, in the early 20^th Century

Where: Paliku Theatre, Windward Community College

When: At 7:30 p.m. Fridays and Saturdays and 4 p.m. Sundays, Aug.8 through Aug. 24

Tickets: $34 to $44 for adults, $29 for students 12-18,  military and seniors and $24 for children, plus fees; visit https://cur8.com/projects/24380 or www.iabk.org