Category: Stage

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‘PRISCILLA:’ MORE SEATS+PLAYBILL

“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, Andrew Simmons 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

Tickets: $25 to $55,  at (808) 988-6131, www.manoavalleythreater.com

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DHT’S ‘PINEY’ A WORLD PREMIERE

Roslyn “Roz” Catracchia has a rich history in Hawaii theater, spanning a productive and varied 35 years. She is a composer of musicals, a musical director, an orchestrator of stage music, and a stage director.

Like Christmas trees, Catracchia lights up and twinkles during the holidays. Her latest endeavor happens to be the Christmas-themed original, “Piney Needlesmith and the Road Less Traveled,” for which she collaborated on book, music and lyrics with award-winning orchestrator Peter Seibert — teamwork was the buzzword. The holiday spectacle receives its world premiere Nov. 21 at the Diamond Head Theatre and already has been extended through Dec. 13.

The new show also welcomes the directorial debut of Joseph Morales, who has previous ties with the adored pidgin works of Catracchia and late Lisa Matsumoto. His presence and role are somewhat of a gift from Santa, a homegrown actor linked to Broadway’s Lin-Manuel Miranda’s hit shows.  The island actor, who’s been in the room where it happened, has gained national acclaim appearing in two trademark  Miranda musical hits, “In the Heights” and “Hamilton,” succeeding his mentor in the leading roles in both national tours.

Roslyn “Roz”Catracchia

“Holiday musicals are scarce, particularly family shows,” says Catracchia, who discovered the joy of Christmas as a child. “Christmas has always been my favorite time of year; Christmas Eve in particular, not even Christmas Day.”

Her late mother, the legendary Beebe Freitas, would haul her and her brother to every service their accompanist mom played at, and the yuletide services became “so meaningful and magical to me,” she says.

Turns out Catracchia’s become quite a Mother of Christmas this season, because she’s not only involved in “Piney” at DHT, her handprints are on two other holiday events this December:

—  “The Year Christmas Was Almost Cancelled,” Dec. 5 through 22, at Sacred Hearts Academy as part of Mo‘olele Studio’s Christmas; she did the music and lyrics, and Kyle Kakuno did the book; the musical is in its third season now.

—  “The Christmas Gift of Aloha,” featuring DHT’s “Shooting Stars,” Dec. 16 and 17 at DHT. She also did the music and lyrics, with book by Matsumoto.

Catracchia has the inherent goodwill in bonding and collaborating with fellow artists. Constantly.

“Piney” has roots two years ago, while Catracchia was playing music for “Tootsie” in the pit at DHT. She was musical director, Seibert was keyboarder, and they sowed the seeds to plant “Piney” together for this season.

“We wanted to write something for our friends, to make them laugh,” says Catracchia.
“What started out as a 20-minute mini-musical quickly turned into a full-length new musical, which we were working on during the days and in between shows.”

One evening, John Rampage (DHT artistic director) came over to the orchestra pit to say hi and he said, ‘You know, Roz, I’ve been telling you for years that we could use a new Christmas musical in the world; there are only so many to go around.’ And I said ‘Funny you should say that! Pete and I are working on one right now!’

A quick reading of Act 1 prompted a green light signal from Trevor Tamashiro, DHT executive director, to proceed. So “Piney” arrives with plenty of aloha.

For director, she invited actor Morales, a friend and colleague from her pidgin musicals era with Matsumoto, who also appeared in the duo’s last collaboration, “On Dragonfly Wings,” an emotional piece with real life implications – based on the life of Alana Dung, whose death inspired a massive bone marrow drive in Hawaii.

The overlaps and collaborations have been plentiful.

Joseph Morales

“I’m at a point in my life where I only want to work on projects that inspire me, with people I enjoy working with,” says Morales, who had perhaps 10 per cent  hesitation since this was a massive undertaking. “Some of that is because I was fortunate to be a part of Lin’s (Lin-Manuel Miranda’s) shows, but most of it is age,” he says. “Creating with purpose is deeply consuming. It has to feel worth it. There’s always a tradeoff, no matter how incredible the opportunity is.” 

Morales adds, “I think directing is definitely part of my next chapter. Every actor should try directing. It is transformative and humbling, to say the least. My favorite artists do both. Generally speaking, my favorite actors have a director’s eye. And my favorite directors know what it’s like on the inside.” 

“I pay attention to the projects that I’m eager to put the work in for. If it feels like homework, it’s usually not for me. But sometimes you have to do things just to stay in shape. It’s part of the long game. It’s also important to lean into the things that scare you. Sometimes it’s hard to decipher between the two. You really just never know. That’s where putting the work in comes into play. If I’m in, I’m all in,” says Morales.

Peter Seibert

“Musicals really are team efforts,” Seibert agrees. “As far as divvying up chores, we went into this splitting the creative tasks down the center. The story and the characters came out of many, many discussions. We also know that when we are laughing and having a good time — those scenes and songs become the scenes that really work on stage. It’s been fun to see where our strengths are as a team — it’s different with every collaboration! And this collaboration has led very quickly to a premiere, which says that something is working!”

Seifert adds, “Music has always come naturally, and lyrics by extension. I’ve always loved writing, too. I think music is wildly important to a film. And the industry knows this, otherwise they wouldn’t reserve so much of the budget to hire whole teams of composers, orchestrators, and the best musicians in the world to record the scores. Probably most people watching a movie don’t realize quite how much it affects their experience … but if you’ve ever watched a movie without the music … you realize very quickly you are missing that roller coaster of emotion.”

He also worked with a team of composers under Mark Mothersbaugh for the “Thor: Ragnarok” score and also had the opportunity to join Pinar Toprak’s team on “Captain Marvel,” with some contributions heard in “Avengers: Endgame” as well.

Catracchia was a pioneer with the Honolulu Theatre for Youth in 1990, earning her first composition contract, and is best known as a beloved collaborator of pidgin English musicals and parodies with Matsumoto, staging fractured fairy tale characters singing and uttering pidgin English dialogue to the delight of local audiences.

Over the decades, she has logged 40 productions and earned seven Po‘okela Awards, the now defunct island version of the Tonys.

Catracchia cherishes the Matsumoto alliance, and in 2007, was a participant in the ASCAP/Disney Musical Theatre Workshop for “On Dragonfly Wings” as composer-lyricist of the creation with a sentimental theme, based on the true story of a Hawaiian child with leukemia.

As for “Piney,” it is not your usual musical. Its title figure is a girl, but she’s not a Disney princess and is  kind of a misfit at the North Pole, where she can’t quite figure out her place and pace. She discovers a heartbreaking letter from a disillusioned child named Tim, and goes on a journey to trigger his holiday spirit. She goes down the road less traveled, and has to dodge avalanches and bottomless pits and the Great Inspector Agatha.

The lesson learned is logical: a truly perfect Christmas can only happen with unity and bonding.

The breakfast club, at Jack’s Aina Haina: from left, Morales, your columnist, Roz and Seibert.

Morales’ heritage enabled him to become the first Asian American to star as Alexander Hamilton; he was anchored as the title character in the Chicago company, and also performed extensively on subsequent national tours until the pandemic halted touring shows.

Morales now is at the crosswords to consider his new off-stage options. He says that Miranda, his mentor, is innovative with his color blind casting in “Hamilton,” which enables New York theater to “move in the right direction, but we’ve still a long way to go,” he says. “Entertainment should reflect the world we live in and we are still far from that. A big reason for wanting to direct is to have more of an influence on who is invited to play. It starts from the top: producers, directors, writers, casting directors. It requires intention. And it requires that the work be universal and actually good.”

Morales is somewhat of a walking mini–United Nations. “My mom is half-Japanese, and a mix of German/Irish; my dad is Mexican,” he says.

He’s still charmed by and loves the isles where he grew up. “I’m so grateful to the theater community in Hawaii,” he says. “The love and inspiration I felt doing shows in Hawaii as a teen is the same love and inspiration I’m still chasing over 20 years later. And it’s the same love I’m experiencing now. There’s nothing like it. Great art can be made with love, and Hawaii is the proof.”

And that’s Show Biz…

‘Piney Needlesmith and the Road Less Traveled’

What: An original new Christmas musical, directed by Joseph Morales, with book, music and lyrics by Roslyn Catracchio and Peter Seibert; it’s making its world premiere here

Where: Diamond Head Theatre

When: Opens Nov. 21 and extended through Dec. 13

Cast: Vanessa Manuel Mazzullo is Piney Needlesmith, Maleko McDonald is Santa,  Leslie Goldman is Agatha

Set design by Patrick Fujioka

Choreography by Chandler Converse

Costume design by Hugh Hanson

Hair and makeup design by Aiko Schick

Props by Kyle Conner

Lighting design by Steven Clear

Sound design by Jericho Sombrio

Tickets:  $43 to $54, at (808) 733-0274

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JACKSON STARS WITH DIAMOND HITS

For Neil Diamond fans, a film chock full of his hits is coming to the big screen on Christmas Day.

It’s entitled “Song Sung Blue,” but it’s not a bio pic nor is it the musical dubbed “A Beautiful Noise,” which previously played on Broadway and features a keg full of shimmering Diamond ditties.

“Song Sung Blue” is somewhat of a peculiarity; yet it could be highly popular, with Diamond’s cluster of hit music the attraction.

Kate Hudson and Hugh Jackman star as Neil Diamond tribute band singers.

The premise of “Song Sung Blue” is that the principal characters are musicians in a tribute band named Lightning & Thunder, whose members include Mike and Claire Sardina, portrayed by Hugh Jackman and Kate Hudson, respectively.

Yep, it’s an intriguing vehicle for Jackman, interpreting the Diamond jukebox of hits, as a group member mimicking the singer with songs like “America,” Sweet Caroline,” and “I Am…I Said.”  But early media data fail to offer a playlist.

“Song Sung Blue” was written and directed by Craig Brewer, based on a 2008 documentary by Greg Koha.  

Jackman can sell a song, sung blue or not, since he’s been a musical actor for decades. His first big stage musical was “Oklahoma,” in which he starred as Curly, and his last was “The Music Man,” in which he played Prof. Harold Hill who could toot “Seventy-Six Trombones” and conquer the tongue-twisting “Trouble.”

Of course, Jackson won a Tony for his enactment of Peter Allen in  “The Boy From Oz” on Broadway, and though his vocals were properly expressiveas Jean Valjean in “Les Misérables” on the big screen, the flick wasn’t the kind of musical powerhouse as his key film hit, “The Greatest Showman,” in which his P.T. Barnum enactment justly defined his performance in that blockbuster film.

If you wonder if Hudson can handle a tune, she’s proven she’s got chops by releasing her first album, “Glorious,” last year.

“A Beautiful Noise” still is on a national tour, and audiences are applauding and singing along. The book was written by Anthony McCarten and the show was produced by Ken Davenport and Bob Gaudio.

Arena tour of ‘Les Mis’ due in New York

“Les Mis” spectacle will land at Radio City Music Hall next summer.

The world tour of the fabled “Les Misérables” international spectacle—dubbed “The Arena Concert Spectacular” – will land at Radio City Music Hall next summer.

The show, gathering key acting and singing leads over the decades, will be in Manhattan July 23 through Aug. 2, but already has been extended through Aug. 9. It will be the North America premiere, according to producer Cameron Mackintosh.

An American Express pre-sale for the extra week will launch sales Nov. 13, with sales to the general public starting Nov. 14 via Ticketmaster.com

Previously announced new engagements will be at the 3Arena in Dublin May 29 through June 6, 2026, the Utilita Arena in Birmingham June 11 through 14, 2026), and at London’s Royal Albert Hall June 18 through 21, 2026.

The tour opened with  a two-year run in Belfast beginning in September, 2024; the new dates will mark the end of the official 40th anniversary celebrations of “Les Miz”,The musical last played Broadway in 2016, and the London production has just entered its 41st year at the Sondheim Theatre

Full casting for the new tour dates will be announced at a later tim

“I am thrilled that we will be bringing home this iconic event to New York’s legendary Radio City Music Hall in July 2026,” said Mackintosh. “Les Misérables” has not been seen in New York for almost a decade”…

Broadway grosses, simple as 1, 2, 3

Not surprisingly, the ranking of the top shows, for the week ending Nov. 2, was a replay of 1-2-3 of recent weeks.

“Hamilton” topped the charts, again as the lone show grossing over $3.4 million. “Wicked” was No. 2, with $2.0 million, “The Lion King” was No. 3, with $1.7 million.

The Top 10:

1—”Hamilton,” $3.434 million

1—”Hamilton,” $3.434 million

2—”Wicked,” $2.001 million

3—”The Lion King,” $1.728 million

4—”Chess,” $1.715 million

5—”Waiting for Godot,” $1.581 million

6—”ART,” $1.421 million

7—”Mamma Mia!,” $1.403 million

8—”Just in Time,” $1.290 million

9—”Ragtime,” $1.265 million

10—”MJ the Musical,” $$1.179 million

The full countdown, courtesy the Broadway Guild:

And that’s Show Biz…

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MVT’S ‘MAYAH:’ ‘SO ONO FOR YOU!’

Bettah late den nevah.

OK, I wen’ go see – finally – Lee Cataluna’s “Da Mayah” last night (Oct. 4) at Manoa Valley Theatre.

My season tickets back in September conflicted with another event, and this local-style, loco-storytelling hit show was so popular, it was impossible to score seats. Small theater, das why, but MVT wen’ add two more shows this weekend, so I booked front row seats but I’m  so sorry I no can advise you to go see this outrageous and hilarious tale about one dude named Lester Perez (Devon Nekoba) because the show closed with a matinee today (Oct. 5).

Deven Nekoba, as Lester

Lester was the first Hilo mayah elected, a conniving, even incompetent leader who is out-of-control and one buggah with hidden secrets. So yep, there are political darts, but lots more about life and lore of island life, like work skeds, plate lunches, and trust.

OK, pau with trying to sound like Cataluna. “Da Mayah” was her first-ever play, concocted to fulfill a playwriting class assignment, and  was first produced by Kumu Kahua in 1998 and originally directed by R. Kevin Garcia Doyle. He also directed this MVT revival;  he either has little on his plate, but clearly,  he adores loves the cadence of Cataluna’s ability to make everyone smart in the local lingo, and the reunion is wonderful.

Elexis Draine, as Sandra,

The laughs are plentiful. The exaggerations are real. The actors must speak Cataluna-ese since the lines cascade out smoothly like Akala Falls.

The first person you see/meet is Jazzmin (Karen Kuioka Hironaga), who runs a washerette and a karaoke joint, and she’s quite savvy in recruiting audience members seeking their seats to sing.  She repeats her quest to sign up more karaoke singer at intermission, and yep, Jazzmin is a jewel in what she has to do. She even lured director Doyle to sing “Sweet Caroline,” a natural choice, since everyone knows when to chime in,“whoa whoa whoa.”

The true star of the show is Sandralene (Elexis Draine), the mayor’s assistant who writes his speeches, monitors his calendar and simply is his right-hand-man who is not properly rewarded or recognized for all the damage control she’s done.

Kalani (Sharon Garcia Doyle) and Kanani (Juvy Lucina) provide hilarious moments and they surely help the show to roll along; they often push the pair of rotating stages, created by set designer Kevin Keaveney, to change the four performing spaces, including the mayor’s office and Jazzmin’s dual launderette and karaoke bar.

Matthew Miller, as Stanton

Dukie (Stu Hirayama) and Stanton (Matthew Miller) are the quirky gents in the play. Dukie is the cousin of Sandralene, she learns that Derek Pang, an unseen rival of the mayor, lands an undeserved spot in the administration. Further, the mayor wants him eradicated.

Enter, Stanton, the hit man who has emotional baggage and  a long rap sheet, who is tasked to murder Derek;  Stanton also harbors a thing for Sandra. Whoa, whoa, whoa.

Further, there’s a sole tune, “So Ono for You” (words by Cataluna, music by Roslyn Catracchia), staged and sung late in the show.

On another note, it’s great that MVT has reinstated its playbill; now it’s a two-sheeter, folded to create eight pages, and guess what: the customary bios and mugshots of actors (sorry, techies, you are credited minus the bio-mugs) have been revived, presumably for the entire season. Been something I’ve advocated since the pandemic that it was the theater’s responsibility to provide brief notes and pics of the performers and even technicians, as a thank you for those on and off stage, and of course, the show patrons, too. Previously, the  data was fully shared only online, not in the handbills provided at the performances, so applause, please, for the comeback. Thanks, Jeff Portnoy and the MVT board…

‘Hamilton’ tops chart, lone $3 million play

For the week ending Sept. 28, “Hamilton” is the lone member of the Broaday $3 million club.

The Top 10:

1–“Hamilton,” $3.773 million

2–“Wicked,” $2,003 milion

3–“ART,” $1.648 million

4–“Mamma Mia,” $1.645 million

5–“The Lion King,” $1.586 million

6–“Waiting for Godot,” $1.618 million

7–“Oh, Mary!,” $1.328 million

8–“Just in Time,” $1.309 million

9–“Death Becomes Her,” $1.295 million

10–“Maybe Happy Ending,” $1.169 million

The complete gross list, courtesy the Broadway League:

And that’s Show Biz…

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FOR FALK, ‘THE BUCK STOPS HERE’

Willy Falk, best known for creating the role of Chris in the hit musical, “Miss Saigon,” is going presidential in his next stage endeavor. He’ll portray Harry S. Truman in William Spatz’s “Truman vs. Israel: Abzug and the Undressing of Truman,” making its Off-Broadway world premiere at the Theater at St. Clements, with previews beginning Oct. 9 preceding the formal launch Oct. 16 in a limited run through Jan. 4, 2026.

Willy Falk, formerly of Honolulu, is cast as Harry Truman in “Truman vs. Israel” in New York.

“He  (Truman) was impressive in his no-nonsense approach to leadership and decision-making,” said Falk, recalling what was said in history books. “‘The Buck Stops Here!’ was his famous slogan. The only president without a college education, Truman took over the presidency from FDR very soon after being sworn-in as VP and during WWII.“

Pres. Harry S. Truman

Truman was the nation’s 33rd  and 34th president, serving from 1945 to 1953. As vice president to Franklin D. Roosevelt, he assumed the presidency in 1945 after FDR’s death.

In the play, Falk is featured with Helen Laser as Bella Abzug, an American lawyer, politician, social activist, and a leader in the feminist  movement. The cast also features Matt Caplan and Mark Lotito, with  Randy White directing.

The work centers on the little-known political clash behind the creation of the Jewish state during the Truman administration.

“He was put in a position of great importance and had some very weighty decisions to make within weeks of becoming President,” said Falk. “What I did not remember, and this play delves into quite a bit, was his role in being ‘The Father of Modern Israel.’ During his second term, he was the first world leader to recognize The State of Israel and its eventual formation, in partnership with the United Nations.”

Falk is widely known for musical roles; he was Tony-nominated for “Miss Saigon,”  but his theater credits include “Les Misérables,” “The Phantom of the Opera,” “Aida,” and “Marilyn.” Most recently, he appeared in “And Just Like That.”

A graduate of Punahou School, Falk was somewhat surprised to learn Truman played piano “quite well,” but “I did know that he worshipped his only child, Margaret, and was a big fan of her singing. Though critics were often not.”

Falk said he has been auditioning for singing and non-singing roles during this stage of my life. “By and large, more interesting roles are written for mature actors in plays and movies than in musicals,” he said. “Having said that, I am lucky enough to be concurrently workshopping a new musical that has a cantankerous older man as the lead, so who knows? 

“But, right now, I am excited about ‘Truman vs. Israel’ because I find this piece to be challenging, topical, and well-written.”

As a singer in theater, Falk admits that it’s easier to learn lyrics than memorize extensive text and spoken lines in s dramatic play.

“Learning songs is easier for me,” said Falk. “It might be because there’s a tune to remember the words, and there are rhyme schemes that help you to remember what line comes next.

“What helps me to get the lines (and I have over 75 pages to learn right now) is to have a clear idea of why your character is saying what they say.”

Part of his drill to absorb text? “Listening is part of acting, what you are hearing spurs what you answer. Having that knowledge helps to bring the words to life and, with any luck,  to mind. After that…it’s practice, practice, practice!”

Why did he seek this particular role/play?

“It is always a special gift to have a juicy role in front of a New York audience. Where it may lead is up to the ‘Theatre Gods!’”

Is the Broadway musical still a viable option, even if it’s a revival?

“Folks have been predicting the demise of the Broadway musical for many decades, and yet it survives,” said Falk.  “Certainly, it goes through changes and phases, but there will always be something magical about hundreds of people, sitting peacefully, side by side in the dark, watching a live performance. I have had people come up to me decades after seeing one of my Broadway shows and tell me that they still feel strongly about the memories of that. It is something very special.”

Rehearsals for “Truman” started Sept. 15 and the first preview will be Oct. 9.  “They didn’t tell me I had to be off-book, but there is just SO much that I could not start without most of it memorized.  Just the other day, I got some revisions…so I am already un-learning as well as learning.  All part of the process!”

He thanks his spouse for moral support, patience and understanding.

“My husband of 21 years, Andrew (Steiner) is always supportive of my career in every way,” said Falk.  “A funny story: He already bought tickets, in the front row, for opening night of ‘Truman vs. Israel.’ I said ‘Front row!! Andrew, that could be distracting!’” 

His answer: “No, it won’t bother me at all!!”

And that’s Show Biz…

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Tickets to “Truman vs. Israel” are available via OvationTix.