Category: Stage

“Grease is the word, is the word that you heard
“It’s got a groove, it’s got a meaning
“Grease is the time, is the place, is the motion
“Now, grease is the way we are feeling.”

— From the title tune of “Grease,” the musical

Your first encounter of the show “Grease,” now at Diamond Head Theatre, is an oversized cut-out of a red car frame hanging over the proscenium of the venue, created by set designer Deanne Kennedy.

It is formidable, dominating, and reflecting a precise groove, of the time (circa 1959), the place (Rydell High School), the emotion (nostalgic teen-age angst) of an indefatigable serving of pop culture.

The show’s two centerpiece figures, Danny Zucko (played by Cameron Scot) and Sandy Dumbrowski (portrayed by Sophia Ysrael), initially lack chemistry and spark, like two lost souls from different sides of the railroad tracks. Summer’s over, and they’re back in school, with uncertainties of direction.

They are eventually united in song, dance and romance, in a powerful story tenderly directed by Michael Ng, in collaboration with the agile and imaginative choreography by Dwayne Sakaguchi. They both connect the dots in this familiar journey.

Such teamwork throughout the creative ranks eventually makes “Grease” a well-oiled wonderment, though the ghosts of John Travolta and Olivia Newton-John unintentionally linger from a hit film that obstructs the Danny/Sandy relationship.in the stage version. It’s not till Sandy, like the Newton-John’s late-in-the-show remake in a body-clinging leather outfit, that she starts percolating.

Homecomings can be a snoozer, after all. The point is, unless you’re hip to the relatability of being greased, your presence has ceased.

Two things help bring the magic of “Grease” to life:

— The rich well of rock/pop classics. Happily, DHT has invested in paying extra royalties fees, to enable the cast to sing tracks from the movie, like “Grease,” “Hopelessly Devoted to You,” “Sandy” and “You’re the One That I Want.” These titles are solid gold, so the inclusion is a triumph for the audience.

— The use of group vocals and dances by the company of troupers, in moments that  might be termed “megamixes” of specific tunes, is part of the process toward satisfaction.. The title song “Grease,” is the essence of time and place and even pace, but melodies like,“Shakin’ at the High School Hop,” “Born to Hand Jive,” and the finale version of “You’re the One That I Want” are hallmark. Karaoke meets disco, resulting in rousing vocals and choreographic explosions.

Secondary characters steal some of the thunder in the show. For instance, Jody Bill as Betty Rizzo, has a leading lady moment, on “Look at Me, I’m Sandra Dee;” Jantzen Shinmoto as Kenickie puts sizzle into “Greased Lightning;” Kiakahi Kekoa as Roger and Lainey Hicks as Jan shine on “Mooning;”  Gabriel Ryan-Kern as Johnny  makes “Born to Hand Jive” come alive; and Jeff Andrews as Teen Angel and Parker Kilkenny as Frenchy team up wonderfully on “Beauty School Dropout.”

A production of this magnitude – with a cast of nearly 30 — requires a vigorous and versatile ensemble: Kirra Baughn, Drew Bright, Victoria Chang, Paul Garcia, Justin Garde, Sammy Houghtailing, Caris Leong, Shane Nishimura, Maggie Ryan, Gabriel Ryan-Kern, Emi Sampson, and Jasmine Weldon provide dependable and exquisite support.

Designer Kennedy’s bag of set tricks work well; besides the car motif at the proscenium, she constructs smaller pieces (like sofa chairs, easier to move) and aerial groupings of signs and ribbons  (not a task to fly up and down,  and quiet) and scaled-down towers for Rydell High signage (moveable with barely a squeak). Oh, a smart move, too, to position a six-piece orchestra in an elevated stage; nice to see and applaud maestro Darcie Yoshinaga and her seven-piece ork here instead of the invisible pit.

Not certain who gets credit for creating Kenickie’s red car, seemingly a full-sized sedan; is it Kennedy’s vision, or part of the wizardry of Kyle Conner’s props design?

Chris Gouveia’s light design and La Tanya Siliao’s sound design are right on target.

Other background heroes include Emily Lane (costumes) and Aiko Schick (hair and make-up), whose tasks involve scores of color-coordinated gears for men and women, with seemingly unending costume changes, and beaucoup wig creations for the myriad of required looks.

It all adds up to a satisfying funfest…

And that’s Show Biz…

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“Grease”

What: A musical about homecoming teens at Rydell High School, with book and music by Jim Jacobs  and Warren Case, with a title tune by Barry Gibb

Where: Diamond Head Theatre

When: Performances at 7:30 p.m. Thursdays, Fridays and Saturdays;  also, at 3 p.m. Saturdays and 4 p.m. Sundays,  through April 20.

Tickets: $41 to $68, at www.diamondheadtheatre.com or (808) 733-0274

“Rent,” Jonathan Larson’s autobiographical rock opera inspired by Puccini’s “La Boheme,” is a perfect vehicle for collegian actors at the University of Hawaii.

With ease and affection, the two-dozen youthful singers and actors  comprise a company that has embraced the riches of the Larson score and style, while connecting with an enthusiastic and receptive viewership, if the sellout opening-night crowd last Friday night (Feb.  28) was an indication.  

The charmed audience unleashed hoots and howls and hearty applause following favored tunes in the show. The joy culminated in a spontaneous standing ovation at the finale. If “Rent” at its best is all about the seasons of love, the adoration was mutual with the crowd.

“Feel the love,” the company sings late in the show. “Feel the love.”

And the folks did. But such appreciation raises a valid question: why has the Department of Theatre and Dance been neglectful so long, in staging contemporary musical comedy? For decades, Kennedy Theatre was the  fountain to quench the  thirst  for cultural Japanese kabuki and bunraku puppetry,  Peking opera productions periodic Shakespearean classics, plus a Great Plays cycle of notable drama.

Such programming is worthy,  of course, when aligned to the academic theater cherished in Manoa, because of the  plethora of pioneering directorial treasures in yesteryear’s faculty. Think Earle Ernst and James Brandon, for Asian/kabuki, Elizabeth Wichmann-Waltczak for Peking/Beijing opera, and Terence Knapp for Shakespeare.

Enter, “Rent,” repeating this weekend, but held over with one more show tomorrow night (7:30 p.m. Thursday March 6) and playing  three sold outs Friday (March 7) through Sunday (March 9).

Credit director Joshua “Baba” Kamoani‘ala Tavares, now a UH professor who portrayed the Angel character in a touring company of the Larson show, that happened to pause in Honolulu.

It’s Kismet. Not certain who steered “Rent”  to Tavares, but happily, he lured a splendid crew of singing actors, nurturing the production with his insider experience. At last, a modern show with contemporary themes, songs, lifestyle choices and challenges…clearly packaging an explosive sense of wow in the delivery.

There’s no immediate  assurance of a future star in the making here, but “Rent” produced notables. Adam Pascal, Anthony Rapp and Idina Menzel were in the original Broadway company, and they frequently pop up in theatrical roles now. That’s the cycle of life in theatre.

Numerous leads stand out in “Rent,” amid constant camaraderie and connections and you possibly need a cheat-sheet to figure out the clusters. Casey Kekoa Lauti, as Angel Dumott Schunard, the gay cutie in a red Christmas outfit, has caught the eye of Keanu Roe, as Tom Collins, an academic figure;  Jack Romans, as Mark Cohen, is a film-making buff never without a camera, and he’s Roger Davis’  best friend, played by Ikaika Mendez, who also is an ex-junkie,  who falls in love with Ainsley Shearer as Maureen Johnson, who’s moved on to Daniella Addeo-Cortes as Joanne Jefferson; and  Ka‘enaaloha Watson, as Mimi Marquez, is a strip club worker who has AIDS, and is the former girlfriend of Dean So‘oalo, played by  “Benny” Coffin III, who’s not interested to commit.

Whew! Lots of motion and commotion abound, and you almost need a love chart to remember who’s who free available, who’s in a relationship, who’s battling AIDS, who’s got a job, who’s making music and movies.

The common ground here is a drab but serviceable two-floor warehouse space owned by the aforementioned “Benny,” whose luckless and broke tenants owe him back payment for rent. Hence, the show’s “Rent” title tune, with the battle cry, “We’re never gonna pay!”

Antonio Hernandez’s set design is a bit spartan, though serviceable, but lacks graffiti or signage that might “place” the East Village location in New York’s Lower Manhattan, where these bohemian artists convene, circa 1980s and ’90s. Caitlin Chavis’ costumes fit the era, and ditto the hair and makeup of Kevin Murata. Sound and audio by Timothy Mahamat  works for the gritty tunes to  heighten the ensemble moments. Aubrey Lee Staley’s choreography is minimal and natural, notable for the engaging group numbers like “Seasons of Love.” Kelli Finnegan’s lighting design is a skosh too dark but suits the bleak the N.Y. zone. Taisamasama Kaiminaauao-Eteuati’s music direction is expansive work, since there are live vocals and instruments on stage and unseen supplemental melodics off stage.

While Larson’s score doesn’t provide songs you hum as you exit, except  for the  emotional and harmonic “Seasons of Love” — the show’s key anthem, performed at the opening of Act 2 (and twice more later) — was a moment to savor, with the cast forming a chorus line that felt like that singular sensation moment depicted in another classic Broadway favorite.

Advisory: the show has mature themes, dealing with sexual abuse and sexuality, plus strong language, so parental guidance is suggested.

“RENT”

A musical by Jonathan Larson, playwright, composer, and lyricist

What: An autobiographical rock-opera, based on the Puccini opera, “La Boheme,” which explores life and challenges of bohemian youths, in New York City at the height of the AIDS crisis

When:  By popular demand, a performance has been added at 7:30 p.m. tomorrow (March 6). Remaining shows (all sold out) are at 7:30 p.m. Friday (March 7), at 7:30 p.m. Saturday (March 8) and at 2 p.m. Sunday (March 9); pre-show chat at 6:45 p.m. prior to Saturday’ shows

Tickets: $25, adults; $22, UH faculty and staff, military and seniors; $10, other discount groups; $15, non-UH Manoa students, youths; $8, UHM

Reservations: http://manoa.hawaii.edu/liveonstage/rent

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Broadway grosses, for week ending March 3

“Othello,” a new Shakespearen tragedy starring Denzel Washington and Jake Gyllenhaal, zoomed up to the No. 1 slot in the weekly grosses ending March 3, denying “Wicked” the throne it’s held for weeks.

The production still is in previews, formally opening March 23, in a limited 15-week run only.

Washington plays the title character, the Moor of Venice, and Jake Gyllenhaal is Iago. With average tickets priced at  $361 at the smallish Barrymore Theatre that seats1, 041 — compared to the $153.72 average for “Wicked,” at the larger Gershwin Theatre venue —  the grosses will be astronomical. Add high voltage of star power, a key factor attracting audiences.

In the juggling, “Hamilton” also bypassed “The Lion King”  in the step ladder of success.

1—”Othello,” $2.637 million

2—”Wicked,” $2.368 million

3—”Hamilton,” $1.554 million

4—“The Lion King,” $1,527 million

5—“The Outsiders,” $1.283 million

6—”Gypsy,” $1.246 million

7—”Aladdin,” $1.073 million

8—”MJ The Musical,” $1,056 mullion.

9—”Cabaret at the Kit Kat Club,” $1.038

10—“Sunset Blvd.,” $1.001 million

The complete list, courtesy the Broadway League:

And that’s Show Biz…