The legendary tale of Hi‘iaka, historically part of the Hawaiian oral tradition and notably passed on from generation to generation through song and dance, has been honed and developed as an eventual spectacle on Broadway. It’s been on the burner since 2019, and final auditions are ahead to cast the production.
The spectacle is due to debut on Broadway this October, with details still forthcoming.
The Hawaiian story has all the epic elements of high drama, based on the goddess Hi‘iaka – full name, Hi‘iakaikapoliopele – whose quest is to find her sister Pele’s dream lover, restore him to life, and deliver him safely to Pele, the volcano goddess at her crater home on the Big Island. With Pele among the characters, there should be some explosive eruptions of sorts.
Of course, it is not a simple journey filled with ordeals and dangers, but one very much alive with a very human retelling of love and lust, with challenges of jealousy and justice, with deities and chiefs, commoners and demons, and a potential fall out of the two sisters.
Michael Jackowitz
Essentially, the story is about two goddesses, who happen to be sisters, and thus boasts grandeur as well as grace. It is storytelling with cultural impact, with collaborative input by the legendary stage and film visionary Stephen Schwartz (“Wicked,” “Godspell,” “Pippin,” “Children of Eden,” “The Prince of Egypt”), Broadway guidance by stage producer Michael Jackowitz {“How To Succeed in Business Without ReallyTrying,” “tick, tick, Booml”) and stalwart Hawaiians Roslyn Catracchio (music and lyrics) and Patrick Makuakane (choregraphy, music and lyrics). Keali’i Reichel (multi Na Hoku Hanahano Award winner, recording artist and kumu hula) was an advisor in preliminary development of the show, along with Schwartz).
The production, earlier utilzing the title “Hi’iaka,” now boasts a formal new name, “The Epic Tale of Hi‘iaka: A New Hawaiian Musical.” The operative word is “Hawaiian.” The story will be told – with a roster of vivid and atmospheric Hawaiian songs, dances, and chants – and performed by a cast of Hawaiian artists on both sides of the limelight.
Roslyn Catracchia
Once cast. “Hi’iaka” will loom as a mammoth cultural spectacle with pulsating and harmonizing vocals rendered in traditional Hawaiian, with choreography and costuming unlike anything ever seen and heard on the Great White Way.
Applicants should designate voice range and roles sought; audition documents and head shots must be submitted by Feb. 15, with call backs to follow. Email applications to castinghiiaka@gmail.com
The creative team boasts remarkable star-studded notables:
Book, Music and Lyrics: Roslyn Catracchia and Patrick Makuakane.
Original Story: Ho’oulumahiehie.
Hawaiian Consultant: Puakea Nogelmeier.
Stage Director: Scott Schwartz.
Choreographer: Patrick Makuakane.
Patrick Makuakane
Scenic Designer: Kevin Depinet.
Costume Designer: Manaola.
Music Supervisor: Brad Haak.
Orchestrations and Instrumental Track Production: David Kauahikaua.
Hawaiian Music Advisor: Shawn Pimental.
Musical Arrangements: David Kauahikaua and Brad Haak.
Producers: Michael Jackowitz for WitzEnd Productions and Kuhio Lewis for Hawaiian Council.
Associate Director: Melanie Lockyer.
Associate Choreographer: Christine Yasunaga.
Costume Coordinator: Maile Speetjens.
Preliminary Artwork: Solomon Enos.
Keyart by Mance Creative for Rubicon Theatre Company.
State of Hawaii Tourism/Creative Industries Division Consultant: Georja Skinner.
Marketing: NMG Networks.
PR Consultant: Adrian Kamali‘i.
Casting Director: Aubrey Lee Staley
Advisors During Development: Keali’i Reichel and Stephen Schwartz.
Footnotes:
Prolific author: Ho‘oulumāhiehie, credited as original story writer, was a prolific Hawaiian (The Epic Tale of Hi‘iakaikapoliopele), which ran in the newspaper Ka Na‘i Aupuni in 1905–1906. His 500-page narrative is renowned for containing 375 chants, and vivid portrayal of the goddess Pele and the scholar and author was best known for chronicling the epic saga Ka Mo‘olelo o Hi‘iakaikapoliopeler, sister Hi‘iaka.
Stephen Schwartz
Father and Son: Stephen Schwartz (“Wiz” icreaator) is the father of Scott Schwartz.
Principal roles:
Hi’iaka, the youngest of the sisters and the favorite of Pele.
Pele, the volcano goddess.
Lohiau, chief of Kauai and Pele’s lover.Hopoe, Hi ‘iaka’s best friend.
Wahine: Hi ‘ika’s most trusted ally and traveling companion.
Kane: God of procreation…
‘Chicago’ returns to Broadway’s Top 10
“Chicago,” one of the longest-running Broadway hits, surged its way to No. 7 this week – a remarkable return to the charts.
“Harry Potter and the Cursed Child” continues to be Broadway’s top-grossing play, earning $2.339 million for the week ending Feb. 8.
“Chicago” landied at No 7.
The Top 10:
1—”Harry Potter and the Cursed Child,” $2.339 million
2—”Hamilton,” $1.848 million
3—”Wicked,” $1.596 million
4—”The Lion King,” $1.514 million
5—”Stranger Things: The First Shadow,” $1.400 million
Every year produces a roster of do-gooders — folks who stand high and tall in the entertainment sector.
Every season, we search, discover and reflect on a multitude of achievers, and we name and assemble them here to review, remember, and reward.
So, in the first Show Biz column of 2026, we look into the rearview mirror to applaud the achievers of 2025 who comprise The Waynies.
Most are moderate honorees; a few are monumental; some head for the history books for the wrong reasons. Of course, there are some quirks. All are worthy of recognition. And apologies; there’s no trophy nor celebrity toasting. This is all on the cheap; but trust me, the awards are bestowed with earnest acknowledgement.
So, drum roll, please – meet the 2025 Waynies achievers:
Robert Cazimero
1 – Robert Cazimero, the multi-mover-and-shaker, is in his prime. He’s a singer, a composer, a dancer, a recording artist, and he’s the stellar kumu hula of Halau Na Kamalei O Lililehua and winner of the 2025 Merrie Monarch Festival. He’s a club singer, regularly behind the keyboards at Chef Chai’s, and he stages community concerts at Leeward Community College Theatre with his halau, and they all assemble to sing and dance in the city’s annual Lei Day Concert at Bishop Museum. And here’s where he excelled; he marked his 50th anniversary as a kumu and for the past five decades, he’s been paying tribute worshipping his revered kumu hula and mentor, Maiki Aiu Lake, always expressing thanks for her guidance and inspiration.
Well, we anoint Cazimero for his hula contributions, and – whether he knows or accepts it – he has become the inspirational Auntie Maiki of his generation. So here’s a genuine salute to Uncle Robert, the leading kumu of his generation who bears the torch now and has embraced and is perpetuating hula just like his kumu did
back in the dayl
Henry Kapono
2—Henry Kapono, onetime a member of the duo, Cecilio and Kapono, has surged to new levels. Kapono has developed into an iconic, major pop music entity, with a foundation bearing his name. He mentors budding musicians, stages a myriad of shows, many out of town, still is an active recording artist, and he presents concerts at several venues, including Blue Note Hawaii and the Manoa Valley Theatre. His latest show space is Kapono’s at The Lounge at the Hawaii Kai Shopping Center, which formally opened last night (New Year’s Eve) in the waterfront occupied by a prime recording studio and earlier the location of Dolly Parton’s restaurant.
Cirque du Soleil
3—“Auana,” the Cirque du Soleil spectacle ensconced at the Outrigger Waikiki Beachcomber Hotel in the heart of Hawaii’s visitor mecca, has ventured in its second season. The show opened in December 2024, features Hawaii artisans who sing and dance, and has been applauded for its iconic costumes with eye-filling and glorious theatrics.. The multi-media visionary attraction boasts traditional circus acts, too, but the Hawaiian storytelling – the show is staged with narration in the Hawaiian language – is a stand-out. Reservations are being taken at through next December, and who knows, a longer run could earn another extension.
4 — Nicole Scherzinger, formerly of the Pussycat Dolls, earned her first Tony Award for Best Leading Actress in a Musical on Broadway. She was sizzling silent film star Norma Desmond, in “Sunset Boulevard,” earlier earning an Olivier Award, too, on the London stage. She still has family in Hawaii, and she became the first Tony awardee to ask Olomana’s Jerry Santos if she could join him in singing “E Kuu Home O Kahaluu” with him.
5– Darren Criss, who has island roots, also earned his first Tony Award for Best Leading Actor in a Musical. He played the robot Olivier in “Maybe Happy Ending.” The win made him the first Asian actor to earn the trophy; he is a mixture of Chinese, Filipino and Spanish on his mother’s side, and English, German, and Irish on his father’s side – a true multi-racial Asian American.
6 – Reanne Acasio, who still has relatives in Hawaii, is the first Filipina to portray all three Schuyler Sisters (Eliza, Angelica and Peggy) in Lin-Manuel Miranda’s mega-hit, “Hamilton.”
Marc delaCruz with Reanne Acasio
Acasio, who joined the company earlier last year, also portrays Maria Reynolds and brings positive Filipino presence in the Broadway company, which also includes local boy Marc delaCruz, a fellow Filipino actor-dancer, who was the first Asian American to portray Hamilton on the Great White Way in 2019; delaCruz ,who is Filipino-Japanese, also understudied King George III, John Laurens, Philip Hamilton and more.
Stitch with Maia Kealoha (Lilo)
7–Maia Kealoha, who played Lilo Pelekai in Disney’s live-action film, “Lilo & Stitch,” brought new life to the franchise of the Mouse House. A cutie, she adopted Stitch, the space alien, and their relationship highlights the movie. “Lilo & Stitch” set box office records this past July, amassing $1 billion worldwide, the first Motion Picture Academy film of the year to do so; by July, the take was $423 million-plus, and international grosses topped $614 million+.
Christopher Bright
8 –Lilo’s much quoted quote, which originated in the original cartoon feature, says it all: “Ohana means family. Family means nobody gets left behind.” That said, it’s a no-brainer to applaud the sweet script and playout of the family theme. The core creative team for “L&S” included Christopher Kekaniokalani Bright, who scripted the film with Mike Van Waes. Locals are well aware of the Bright ‘ohana here – Chris is the grandson of the fabled drama director and teacher, Ronald E. Bright; his father is Clarke Bright, bandmaster of the Royal Hawaiian Band; and his mother is Lynell Bright, the director of the Ka
mehameha Schools Children’s Chorus which is heard in the “L&S” soundtrack again, performing “Hawaiian Roller Coaster Ride.”
Kevin I.’s half-face EP cover
9 – Kevin I., who was an active entertainer four decades ago, abandoned a career in music and to carve his mark as a pioneer of executive and business travel as a speaker and author. But he made an unlikely comeback of sorts last fall, with a new five-song EP called “My Continuum,” as well as a holiday single, “Christmas in Our Hearts.” A fancier of romantic ballads, he was welcomed by a global audience and the Spotify crowd, which adored his new tunes as well as his catalogue of treasured oldies. “The Love You Give (To Me”) typifies his craft, soothing lyrics, romantic landscape –a powerful gift suiting his crooner style. The comeback had a peculiar but effective EP cover, depicting only half his face. Vive la difference!
10 – The Kilohana Hula, which opened Feb. 15, 2024 as a freebie for Waikiki visitors, closed last March 31 at the Tom Moffatt Waikiki Shell Amphitheater at Kapiolani Park. It had great expectations – the premise was to showcase hula and mele, evocative of the grand Kodak Hula Show that it emulated, but without an admission fee nor a title sponsor, it’s tough to make ends meet. So the erosion set in, with a minimalist ensemble relocated at Kuhio Beach Hula Mound for smaller shows. Presenters envisioned a night-time paid-admission show on the park grounds to support the free show, but you can’t stage a commercial entity on public parks.
Paradise Cove at Ko Olina was to close last night, for good,
11 –The fabled Paradise Cove, a bona fide luau experience for visitors, was to finally shut down last night (Dec. 31). Its 47-year run means the end of Hawaiian and Polynesian entertainment and experiences, include Samoan and Tahitian rhythms, audience participation fun, and beautiful views of Hawaii’s sunsets. It’s a bit of yesterday and memories for the ever-evolving Ko Olina landscape. But more than 170 employees will be jobless. The James Campbell Company, the landowner, has plans to update and renovate the area in a $135 million complex to be called The Cove. The expected opening date is two years away.
Ruthie Ann Miles
12 —Ruthie Ann Miles, Tony-winning Broadway star (Lady Thiang, “The King and I”) from Hawaii, was guest soloist in the Tabernacle Choir’s Christmas concert, which aired on PBS last month. It was one of the holiday’s most inspirational gifts. Miles personalized her fondness of secular and yuletide selections, since her mom was a church organist when she was growing up, and these treks developed the singer-actress’s fondness in show biz. See, mom knows best.
13–Frank DeLima, the veteran stand-up comedian, retired from the Hawaii performance limelight, and now is a resident of Las Vegas. Since relocating to the Ninth Island, he continues to create timely musical parodies whenever he has an idea and a whim, and also relaunched a part-time role in joining other singers in infrequent shows. The reality: if you remain active, your brain doesn’t get idle, and it’s a win-win, for DeLima and his fans. There are Zippy’s restaurants to suit his tummy, and ex-pats galore to catch his appearances.
Chai Chakwasaree
14— Chai Chaowasaree, former proprietor of Chef Chai, quietly and mysteriously left for Thailand, to be close to his mother. His absence from his Kapiolani Boulevard kitchen was noticeable for month. He feared immigration clampdown and abrupt ICE raids, so he made the decision to bid aloha to his home and livelihood here. Possibilities of his return are slim, but for now, he’s made the right move.
Brother Noland
15—Brother Noland, the prolific and powerhouse singer-composer, made his first major public appearances in March, reviving his classic hits and introducing new tunes and a large band of 10. He made a few Neighbor Island gigs, too, but the homecoming has been somewhat muted since.
Chad Navarra as SpongeBob
16——“The SpongeBob Musical” was a delight at Diamond Head Theatre last July –a turning point for DHT. Chad Navarra was a perfect SpongeBob, animated like a wind-up toy, and the DHT techie crew turned a corner and finally resolved earlier set production ills, making this perhaps the best-ever, cohesive DHT enterprise.
17— The Christmas-New Year’s holiday season traditionally was prime time for America’s beloved First Couple to spent R&R time, on vacash in Honolulu, enjoying the clime and the restaurants and the shave ice, and, well, even the Kailua rental home. No word this season – last year, too? – of sightings of The Obamas in our midst, signaling the end of a tradition.
Jacquelyn Holland -Wright as Mama Rose
18— Jacquelyn Holland-Wright made quite an impression as Mama Rose in the I’m A Bright Kid Foundation’s August musical, “Gypsy.,” at Paliku Theatre. Her rendering of the powerful signature song, “Rose’s Turn,” still resonates.
19—With the termination and drought of filming here of movies and TV series, it’s a comforting thing to see Amy Hill, a show biz veteran, in her catalogue of hits: “Lilo & Stitch,” “Magnum P.I.,” “Doogie Kamealoha,” and “Ballard” (starring Hawaii’s Maggie Q). She also attends film festivities here, and she pops up in occasional commercials –an actor with visibility and high recognition factor.
20— It’s been announced that Hawaii Studio Group is developing a major film studio complex, comprising 34 acres adjoining the University of Hawaii’s West Oahu campus in Kapolei. Facilities will include soundstages, production offices and a town center with shops and dining and possibly lodging – sounds like a Little Hollywood, in the tropics – to support the studio population and provide job opportunities for locals. Phase 1 won’t be open until the spring of 2028; hopefully, film and TV options will come here to tape and film. Perhaps by then, Jason Momoa or Dwayne Johnson — and why not Steven Spielberg, too,? — will have shows ready for “Action!”
21—The termination of Consolidated Theatre’s loyalty program, which now is history, offered valuable and periodic free stuff (popcorn, soda, a combo snack trio). The new one – free or monthly $20 fee – is in newbie mode now, and is no longer attractive. You decide if you’ll pay to get a payoff of sorts later.
The Sondheim ensemble, side-by-side from left to right: Andrew Simmons, Jasmine Haley Anderson, Lisa Konove, Kim Anderson, John D’Versa, and David Weaver.
22– “Side by Side by Sondheim,” a hit last July at the Manoa Valley Theatre, boasted a keg of tunes familiar and perhaps some not so well known, composed by the prolific Stephen Sondheim. The blissful songs were delivered by what emphatically was the Ensemble of the Year, a superb cast of six – three ladies (Kim Anderson, Jasmine Haley Anderson and Lisa Konove) and three gentlemen (John D’Aversa, Andrew Simmons and David Weaver) — who delivered each melody with sheer joy and skill, sashaying from solos to duets to quartets, sharing parodies, romantic tunes, hilarious and dramatic numbers. All directed and choreographed by James Wright, and the indefatigable orchestra of one, pianist Miki Yamamoto.
Mary Gutzi and Shari Lynn: ACT showcases Christmas-Broadway holiday show.
23—TAG’s (The Actors Group) union of singers Shari Lynn and Mary Gutzi in a blend of Christmas and Broadway music, should become an annual gift to the community. The intimate venue, the Brad Powell Theatre, is perfect to unwrap this kind of intimate theatrics and/or cabaret show (minus the booze). Gotta have Jim Howard on keyboards, too. And where else in the world would the theater namesake, Brad Powell in the flesh, arrive and kibitz with attendees every night.
Greg Zane as himself, center, flanked by two versions of Priscilla” at MVT.
24—Greg Zane, who has been an active director and choreographer at Diamond Head Theatre, turned to acting and a pivotal role as Bernadette, a trans singer, in Manoa Valley Theatre’s “Priscilla, Queen of the Desert” in November and December. He was dolled up with makeup, wigs and stage gowns, and would win accolades and trophies if island theater awards still existed. It’s not that common for local theater folks – especially directors and choreographers – to crisscross competitive stages, so Zane, who also resides in New York and is still remembered for playing Paul San Marco in “A Chorus Line,” should be commended for being a stage connector.
25 – Manoa Valley Theatre’s inventive reconfiguration of its limited-space theater seating for “Priscilla, Queen of the Desert,” was commendable. Being flexible meant that seating was expanded to 282, from 150 to. More spectators, more profits.
You might say that “Chicago,” the hit Broadway show, still has “legs.”
Add elbows, and arms, and wrists, and fingers.
The show, the final installment of the “Broadway in Hawaii” series, opened last night (Dec. 2) at the Blaisdell Concert Hall, and received a genuine, hearty, and roaring welcome.
The applause — loud and proud — was constant for the elbows, arms, wrists and fingers, a trademark of the legendary Bob Fosse, long associated with “Chicago.”
“Chicago” has become the longest-running American musical running on Broadway, and the hit show –this national touring company — is in residency through Sunday.
If you’ve never seen “Chicago,“ it’s still a dandy.
Why you might go see this one:
C horeography – Ann Reinking has retained the original Bob Fosse style, and Gregory Butler recreated the original choreography. Fosse is the legendary dance wizard, whose trademark style taps succinct movements of elbows and wrists and fingers. His presence is all over the place, and but credit is merely a wee, teeny note in the playbill. Oldtimers will recognize the Fosse finery, but I fear the younger generation is unaware of his lofty status and style.
Ellle Roddy as Roxy Hart, flanked by the “Chicago” ensemble.
H it tunes – the music fuels the action, , thanks to the songwriting team of Fred Ebb (lyrics) a John Kander (music), who collaborated on the book. The popular, inventive songs in the score include “All That Jazz,” “Cell Block Tango,” “When You’re Good to Mama,” “Razzle Dazzle,” “Mister Cellophane,” “Class,” and “Nowadays.”
Claire Marshall, as Velma Kelly, fronting the “Chicago” cast,
I ntensity – There is terrific interaction of the singing and dancing actors, who excel in the numerous ensemble numbers, with even the orchestra members roped into many numbers. This version feeds off the orchestral crew, too, because they’re not in the pit, but in the midst of the action, surrounded by key entrances and exits of the performers.
C harisma – The interaction and reaction are possible because of the pent-up emotion within the ranks, and the stage is like a cabaret club, with singers chirping amid the musicians, creating solid bonds.
A ttitude – The feeling among the performers and even among the audience is that this borrows traditions from such show biz facets as a speakeasy, a vaudeville revue, a nightclub without a curtain, for the most part, to separate performers from spectators. Is integration possible with several different elements and forms?
Illeana “illy” Kirvin, is Mama Morton the jail matron,
G rit – The hodgepodge of characters yields a community of curious denizens: fame-seeking murderesses on death row, a somewhat corrupt prison warden, newspaper reporters, a judge, jury members, law officials, and more.
O xygen – The splendid cast members are the ingredients of this stew, and their actions and acting styles, provide oxygen and flavors to the fray. The feuding murderesses are Claire Marshall as Velma Kelly and Ellie Roddy as Roxy Hart; Max Cervantes is lawyer Billy Flynn, Illieana “illy” Kirven is Mama Morton the jail matron; Amos Hart is Roxy’s husband, and J. Clanton is murder trial reporter Mary Sunshine.
FYI, the original “Chicago” – a commercial and critical triumph –bowed in 1975 with Gwen Verdon as Roxie Hart and Chita Rivera as Velma Kelly. Bob Fosse directed and choreographed.
This version of “Chicago,” reimaging the Fosse version and retaining his signature dance moves is 25 years old…but still has a lot of life.
So, in actuality, “Chicago” is 50 years old.
Remaining performances will be at 7:30 p.m. today (Wednesday) and tomorrow (Thursday). 8 p.m. Friday (Dec. 5), 2 and 8 p.m. Saturday (Dec. 6) and 1 and 6:30 p.m. Sunday (Dec. 7).
Tickets: $50 to $156, available at the Blaisdell Concert Hall and www.ticketmaster.com
‘Hamilton’ exceeds $4.8 million gross
Christmas arrived early this year for the cast, crew and investors of “Hamiton,” since the megahit Tony Award musical grosses an awesome $4.88 miilion, for the week ending Nov. 30. The Thanksgiving crowd surely contributed to the amazing ticket sales.
“Harry Potter,” “Wicked,” and “The Lion King’ continued their secondary sweep.
The Top 10:
1—”Hamilton,” $4.877 million
2—”Harry Potter and the Cursed Child,” $3.152 million
“Piney Needlesmith and the Road Less Traveled,” in its world premiere engagement at the Diamond Head Theatre, is an admirable and resourceful entry in the genre of holiday musicals.
It’s a mammoth undertaking, featuring a cast of 28 actors and dancers, an orchestra of 11, a team of 12 techies (directors, costume designers, etc.) comprising the creative team, and 20 production numbers performed by soloists, ensembles or the whole company.
Its running time is 2:40, including a 15-minute intermission, which is longish for any play, so it’s possible that future stagings may include some doctoring to trim the running time.
It’s no secret that It takes a village to mount a show, to put a theatrical spin on a timeless proverb. Thus, a newbie venture like “Piney” perhaps requires a city—or two — when a Christmas-centric play is involved.
Set in the North Pole during the holidays, the saga is blessed with a devoted cast that has engaged and inhabited the characters with succinct personalities.
Vanessa Manuel-Mazzullo is Piney
Title character Piney Needlesmith, played by Vanessa Manuel-Mazzullo, is a spunky misfit of a girl, whose aspirations and hopes — stated in her revealing “My Christmas Dream” solo – eventually raises questions if she has the discipline to fulfill her vision. Manuel-Mazzullo projects a sweet voice, and she’s got youth on her side, in her journey of self-discovery. I mean, who dares to play a tree, anyway?
North Pole denizens include Jingle and Jangle, performed by Aiko Schick and Chad Navarro, respectively, with a balance of humor and melody expected from a give-and-take duo. They’re different souls, but get along like bread and butter.
As Agatha, Leslie Goldman steals the show. She brings prowess and power to the party, with her accented operatic voice, with all the eloquence and flair of a Verdi or Puccini diva. Her Hawaii Opera Theatre residency is indeed a bonus for the audience and the production. She’s box office salvo!
Two characters of the North Pole includes Frederick the Polar Bear, enacted by Moku Durant, in the expected furry and white gear, and Maleko McDonnell is a different Santa, lacking a white beard and donning a maroonish shirt and trousers, not red. But he boasts a classic black buckle belt tucked below his tummy. He doesn’t need to utter ho-ho-ho.
The unseen heroes in the launch of “Piney” include the solid creative team.
Roslyn Catracchia and Peter Seibert, who collaborated on the book, music and lyrics of the endeavor, deliver a multitude of musical gems, with a few titles mentioning Christmas, including “My Christmas Dream,” the Piney-sung anthem also heard in reprise twice. But as Joseph Morales says, in his directorial debut and his notes in the playbill, “This is not a Christmas show.” On the road less traveled, perhaps – but there is a Santa aboard, a wintery polar bear, characters named Jingle and Jangle, and – lest we forget – a manger scene, not once but twice!
Seibert conducts the on-stage, visible musicians, and he plays keyboards, while collaborator Catracchia is a percussionist, doing the shows in the spirit of, you guessed it, Christmas.
Hugh Hanson’s costume design includes bright plaids for both men and women.
Piney’s pine-lined green dress looks like a Christmas tree and lights like one up late in the show. Expect it, and applaud it. No jingle bells necessary.
Outside the theater, holiday decorations brighten the scene and the snack shop airs recorded Christmas fare, from “White Christmas’ to “Rockin’ Around the Christmas Tree.” ‘Tis the season, ready or not.
Further, during the show, faux snow falls, and bubbles float in the air, since it is a snow substitute in snowless Honolulu. And the whole overview of the staging resembles a giant snow globe, because of the arc that frames the entire show set.
And DHT has gifted itself (and benefitting the spectators and performers alike) with a revolving stage, which twirls scenery large and small, to and fro, on and off), easing the transit of large pieces like a staircase and several tables. Or perhaps this is a big test for the season’s finale, “Les Miserables,” which requires turntable scenes and it’s already operational. Do you already hear the people sing?
Patrick Fujioka’s set design includes a snow globe-like arc spanning the stage, shown at the curtain call.
Set design, simply, finally has come of age after a rough start in the new theater. Set designer Patrick Fujioka, features an impressive scenic drop from the fly space, like a scenic London moment with a brilliant red-and-white building frontage, with apartments in the background. The drop even does a turnaround for another scene, an aerial switch, not on the revolving stage.
Oodles of toys, clocks and household items and more float above the stage, for a curious effect.
Hugh Hanson’s stylish costumes – highlighted by lots of complementary plaid designs – provide fashionable outfits for the ensemble gents and women, and this visionary plus enhances choreographer Chandler Converse’s nimble and nifty dance numbers, including one where the dancers are uniformly lying and dancing on tables, feet thumping away.
Steven Clear’s lighting is, well, clear and bright, befitting his name, and is complemented by Jericho Sombrio’s crisp and stunning sound design. Consequently, Aiko Schick’s hair and makeup are ready-for-a-closeup chic. Kyle Conner’s props are functional and fun.
A parting note: There is so much compassion and cooperation within the ranks, with an unstated mission to make this maiden journey of “Piney” a memorable success. The shortage of a holiday-time musical just received a jolt of joy, with hopes that this new original funfest becomes the gift that keeps on giving. Honolulu is blessed with the launch, the nature of the show fuels and embraces camaraderie among the cast.
At last, “White Christmas” can take a rest…
And that’s Show Biz…
‘Piney Needlesmith and the Road Less Traveled’
A new holiday musical, with book, music and lyrics at Roslyn Catracchai and Peter Seibert, about a misfit of a girl named Piney, and her journey of self-discovery
“Priscilla, Queen of the Desert,” now playing through Dec. 14 at the Manoa Valley Theatre, is a lively, robust but often campy jukebox musical. It’s a stunning exploration of drag queens, boasting spirited casting and characters, a non-stop cache of pop and disco tunes, splendid costumes, and energy to spare.
Good news, for only the “Priscilla” run: MVT has splendidly updated and expanded its capacity to 282 from 150, by adding extra rows of seats hugging both sides of the stage; and despite the cutback of seats — making the performance space smaller –the theater utilizes the floor space as extension of the stage, putting the action right in your face.
Further, a balcony above the stage set provides superior performance space, and houses a nine-piece orchestra with elbow room to deliver the volley of thumping, dance-centric live-band music.
The most welcome plus: MVT has reinstated the traditional playbill, making it possible to restore cast photos and bios, credits for the tech crew, director notes, roster of song titles and credits of all music played, and even in-house advertisements. All valuable innards, restored in playbills that herald back overdue rewards for playgoers, actors, and backstage artistry. So, all together now, a shout-out of thanks! (OK, we’ve cheered for a comeback of the playbill).
Woosome threesome: Henry Hawes (Adam), Greg Zane (Bernadette), and Andrew Simmons (Tick).
Despite its giddy and flamboyant overtones, “Priscilla” upholds serious real-life issues dealing with relationships. The tale here is about the trio of lead characters: Greg Zane as Bernadette, AndrewSimmons as Tick/Mitzi, and Henry Hawes as Adam/Felicia and their quest to find work and maybe some life pleasures in the Australian outback. Bernadette is the sane, sensible leader who drives a bus named Priscilla – a metaphor of the drag queens’ battered situation – in hopes of landing a job of sheen and propriety.
Zane is irresistible and irrepressible as Bernadette; in his real life, he was a ballet dancer who turned to acting, and transitioned to directing and choreographing musicals later in his career. He was inspired by his mentor, the late Tommy Aguilar of “A Chorus Line” fame. With his wig and makeup and attractive gowns, Zane represents a figure of courage and leadership — and while it’s hurtful, he’s been enduring the high heels, too.
Simmons and Hawes are like mismatched bookends, who play off each other and turn in supportve and touching performances in drag (wigs, sequins, feathers, and heels) and as gents with LGBTQ readiness.
One of their memorable number with Zane is “MacArthur Park,” delivered with earnest warmth, validating the emotional chemistry between Bernadette, Tick and Adam.
There’s a lot to praise, like the Divas, Nicole Villejo, Marie Chiyo Staples and Aurielle Polynice, who are splendid as a spotlighted trio on the main stage as well as from the overhead balcony.
There’s even a cutie pie in the ranks. Braeden Dillabaugh is making his MVT debut as Benji, the son of queer dad Tick. He delivers his lines as a youngster would, with proper articulation, and he’s got full acceptance of his dad’s choice in life. He even sings with the adults on “Always on My Mind,” late in the show, and has a couple of moments in gay garb, which surely must be fodder for conversation with his school chums.
If you’re a nostalgia fanatic, “Priscilla” is for you. The score boasts nearly 30 hits from the past, such as “It’s Raining Men,” “What’s Love Got to Do with It,” “I Will Survive,” “True Colors,” “I Love the Nightlife,” “Venus” and “Hot Stuff.” In ensemble numbers, it won’t be a crime to sing-along from your seat. And don your disco duds, and you’ll be in vogue, for “Girls Just Wanna Have Fun.”
Director David Weaver and set designer Willie Sabel must have worked hand-in-hand, to create the performance space – a tighter and abbreviated stage, to open up more seating – and redefine the entrances and exits for the actors. There are no doors, just a single silver curtain befitting a disco at the back of the stage.
There’s Priscilla the bus to reckon with, too, since it is a huge set piece with mobility issues. The turnarounds have been swift. Priscilla does its duty well.
Precision is the operative word – Weaver co-choreographed with Ahnya Chang, known for her lively, rigorous and candid vision – and their best work is in the vivid and even volatile prancing and dancing scenes amid Jenny Shiroma’s superb orchestral support, in the celebratory disco moments.
All this action is supported by spot-on lighting by Chris Gouveia, even with an extra burst or two of colorful twinkles overhead, and clear sound by Sarah Velasco and Timothy Manamtam, a treasure for the disco vibes.
And the vivid costumes by Emily Lane provide the flash and dash of kaleidoscopic hues for the queens, supported by Lisa Ponce De Lion’s trademark artistic power and tower in hair and makeup …
And that’s Show Biz…
‘Priscilla, Queen of the Desert’
A musical with book by Stephan Elliott and Allan Scott, based on the film by the same name
What: A musical comprising disco tunes supporting a story of drag queens seeking a better life in the Australian outback; pop hits of the 1990s dominate the soundtrack
Where: Manoa Valley Theatre
When: Performances through Dec. 14, with shows at 7:30 p.m. Thursdays, Fridays and Sundays; at 3 p.m. Saturdays and 4 p.m. Sundays; no performance on Thanksgiving
