Category: Stage

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‘MOANA’ SAILS INTO FARRINGTON

“Moana Jr.,” a Disney’s musical about a seafaring young girl with big dreams, opens Friday (Feb. 28) at the Joseph Rider Farrington Community Auditorium in Kalihi.

The musical, about a young girl named Moana from the mythical Motonui village somewhere in the Pacific, has a wide following, thanks to two animated cartoon features.

Moana hopes to hop in a canoe and explore her heritage. And how far she’ll go is the thrust of “Moana Jr.,” a 60-minute live-action stage based on the original “Moana” animated Disney cartoon.

The “Jr.” in the title alludes to the fact that the show, with a high school student cast, involves an abbreviated script, aimed at students in drama, and has 60-minute running time.

But the spirit and aspirations of Moana are not reduced in the retelling of her dream, to discover her heritage.

 “Moana” also has had a sequel film, “Moana 2,” released last year in the theaters, and a movie has been shooting in Hawaii,  as a live-action film. Further, the Moana legacy is also being developed into what likely will be expanded into a Broadway stage musical, following the Disney tradition of such hits as “The Lion King,” “Beauty of the Beast,” and “Aladdin.”

The ”Moana Jr.” cast:

  • Heavenlee Botelho-Sarcedo, as Moana.
  • Dicen Kaahu-Akina, as Maui.
  • Saphira Cabacongan-Aana, as Gramma Tala.
  • Anselm Fautanu, Chief Tui.
  • Natalie Kovach, as Sina.
  • Marky Rafael, as Hei Hei.
  • Julian Sanchez, as Pua.
  • Jo Salazar, as Tamatoa.
  • Axle Munoz, as Chief Ancestor.
  • Kiana Ulep-Lambot, as Young Moana.

The ensemble: Chellcee Acosta, Prince Adena, Alexia Afable, Joel Alonzo, Jacy Brown, Joel Cabrales Jr., Wayne Cadoy, Karefullyn Jack, Leihua Kuhaulua, Kalani Milne, Kyle Rieta, Quincy Sablan, Jemima Titania, Kamakea Wright, Barbara Yano, Rain Young

Kirstyn Trombetta is director, Aubrey Lee Staley is choreographer and Justin Gardem is musical director.

The canoe in “Moana Jr.”

The coming-of-age show explores the riches of Oceania history and taps characters, traditions, and beliefs reflecting the cultures of the South Seas and inserts the dynamics of the aspirations of a heroine.

“Moana” has strong ties with the islands, since Auli‘i Cravalho, then a Kamehameha Schools student, was cast to provide the voice of the titular character in the landmark original feature. She delivered the film’s key tune “How Far I’ll Go,” which quickly became a staple on radio playlists.

“Moana Jr.” features the music of Lin-Manuel Miranda, best known as the creator of “Hamilton” and its score. Miranda, a Tony, Grammy, Emmy and Pulitzer Prize-winning tunesmith, collaborated with Mark Mancina and Opetaia Foa‘i to create a tapestry of original music for this fantasy about hopes, dreams, bravery and selflessness in the spirit of the proverbial “Disney princess.”

Miguel Cadoy III

And a footnote: Miguel Cadoy III, an Academy Director at Farrington and a prolific actor in the community, has been on a leave of absence to prep a mainstage “Moana” production aboard Disney Cruise Line’s new Disney Treasure ship.

His skills as a versatile performing artist and musician have been a plus at sea; the show is likely to evolve as a full-fledged Broadway attraction, timetable not certain…

And that’s Show Biz…

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‘Moana Jr.’

A Disney stage musical, based on a South Seas heroine

What: A tale about Moana, a girl with big dreams, and her aspiration to become a voyager and sail the waters of the Pacific in search of her heritage

Where: Joseph Rider Farrington Community Auditorium, at Farrington High School.

When: Opens at 7:30 p.m. Friday (Feb. 28); repeats at 7:30 p.m. Saturday (March 1) and 2 p.m. Sunday (March 2)  and again March 7, 8 and 9.

Tickets: $10, adults 18 and older; $5 students 5 through 17; $3, Farrington students (tickets at box office, with student ID); free, keiki on laps

Reservations: https://cur8.com/projects/15389

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‘RENT’ IS DUE AT KENNEDY THEATRE

“Rent,” the storied Jonathan Larson rock opera set in New York’s East Village and based on Puccini’s “La Boheme,” checks in on Friday (Feb. 28) at Kennedy Theatre at the University of Hawaii.

It’s a compelling exploration of crises and coping–talented young artists facing escalating cost of living, homelessness, displacement, mental health issues, and substance abuse. In short,  it’s a journey of self-discovery in the middle of the threat of  AIDS in the late 1980s and ‘90s.

“Rent” has been applauded for its ensemble traits, as depicted in the musical’s  charismatic anthem, “Seasons of Love.”

Expect timeless themes of love, loss, and friendship. “Rent” has been a Tony Award-winning show on Broadway and recipient of a Pulitzer Prize and also been transferred to the movie screen with its brand of  contagious vigor of Bohemian artists struggling to survive the ills of AIDS. The health issues then have parallels to the current challenges of the impact of the COVID-19 pandemic that started in 2019 continues to change the world, culturally and economically.

The Kennedy cast features, in order of appearance:

  • Ikaika Mendez, as Roger Davis.
  • Jack Romans, as Mark Cohen.
  • Ka‘enaaloha Watson, as Mimi Marquez.
  • Casey Kekoa Lauti, as Angel Dumott Schunard.
  • Dea So‘oalom, as Benjamin “Benny” Coffin III.
  • Keanu Roe, as Tom Collins.
  • Ainsley Shearer, as Maureen Johnson.
  • Daniella Addeo-Corte, as Joanne Jefferson.

The ensemble: Nadia Gene Amian, Rori Ann Barchers, Edward John, Kainoa Bonsell, Laniakea Chun-Rivas, Pono Cummings, Dylan DeAsis, Vanessa Gould, Sara Imata, Kylie Kwak, Casey Kekoa Lauti, Bryce Linsangan, Jessy Marny Pascua, Breanna “Kaponianani” Purdy, Tyler Shimabukuro, Evie Sweet, Hollee Temple, Anneliese Wirsching

“Rent” was the dream project of the inspired Larson, a playwright, composer and lyricist, and it previewed and opened at the New York Theatre Workshop on Jan. 26, 1996, a day before the show’s formal opening night – timed to the 100th anniversary of Puccini’s opera. Its formal Broadway debut, at the Nederlander Theatre, was on April 29, 1996, so Larson never saw his beloved show, which embraced social and cultural issues, along with substance abuse, and homophobia.

Kevin McCollum

“Rent” has Hawaii ties; one of the show’s award-winning producers is Kevin McCollum, formerly of Honolulu, who continues to be a prolific Tony Award-winning Broadway producer, whose credits include “Avenue Q,” “In the Heights,” “Something Rotten,” “The Drowsy Chaperone.” His current Broadway titles include “Oh, Mary!” and “Six.”

Joshua “Baba” Tavares, an assistant professor of acting, is director of the production. He portrayed Angel in the 20th anniversary national tour of “Rent” (circa 2019-2020), so the show is close to his heart. That touring company had a run at Blaisdell Concert Hall, and included the former Big Islander now teaching at the UH’s Department of Theatre and Dance.

So, Baba’s memories are vivid and lasting. Of “Rent,” he said: “It’s about love, relationships, healing, passion, and figuring out who we are – things that never stop being relevant or important. It’s uplifting, heartbreaking, and hopeful. It’s  also a great show for students to learn and grow from”…

And that’s Show Biz…

‘Rent’

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

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

When: Opening at 7:30 p.m. Friday (Feb. 28); repeats at 7:30 p.m. Saturday (March 1)  and again at 7:30 p.m. March 7 and 8, and at 2 p.m. March 9; pre-show chats 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 student with valid ID

Special ‘Throwback Saturday performance, March 1; $15, adults; $10, discount groups; $5, UHM students

Reservations: https://hawaiiathletics.evenue.net/events/KT2

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SCORSESE MOB FILM TO SHOOT HERE

A not-yet-titled  Martin Scorsese crime drama, expected to be a $200 million project set in Hawaii, has been involved in a bidding war, with Netflix poised to land the movie.

According to Deadline, high bidders apparently have included Amazon, Apple, Warner Bros. and another unnamed studio, but why not? Besides director Scorsese, the film’s cast boasts Leonardo DiCaprio, Emily Blunt and Hawaii’s Dwayne Johnson.  The story –set in Hawaii of the 1960s and ‘70s — is about a mob boss (Johnson) who battles rival competitors for control of the shady underworld of Hawaii crime.

As Deadline described it, “The thumbnail description: Imagine Robert De Niro’s Jimmy the gent from ‘Goodfellas,’ but as a ruthless Hawaiian crime boss, based on a real figure, who battled encroaching rivals for control of organized crime in Hawaii.”

Martin Scorsese, director, with his mob film actors Leonardo DiCaprio, Dwayne Johnson and Emily Blunt.

Scorsese has enlisted Nick Bilton, a Vanity Fair journalist  and documentary filmmaker, to write the screenplay. If based on truth, the crime boss has not yet been identified but it’s possible that the character may be fictionized.

The film is targeting a shooting date in 2026 – and if it’s a set-in-Hawaii film, it makes sense it would be shot here, wholly or partially  – but timing will be a critical issue. DiCaprio  is committed to do  Damien Chazelle’s  “Evel Knievel on Tour,” a Paramount biopic on the stuntman, this summer, as well as another Scorsese project, “Devil in the White City” for 20th Century Studios.

The mobster to be portrayed by Johnson was formidable and powerful, who formulated the islands’ most notorious criminal empire, which launched warfare with mainland syndications, while fighting to preserve and fortify his ancestral cultural turf.

Alliances abound among the movers-and-shakers in the looming project. Scorsese and DiCaprio worked recently in their Best Picture nominee, “Killers of the Flower Moon” and earlier pics included “The Aviator,” “The Gangs of New York,” and the “Wolf of Wall Street.” Johnson and Blunt worked opposite each other in “Jungle Cruise” and will team up again in the forthcoming “Smashing Machine.”

The production team will include Scorsese, Johnson, Blunt, DiCaprio, Bilton, Dany Garcia, Lisa Frechette and Rick Yorn…

Season outlook

Lee Cataluna

Manoa Valley Theatre has done the unthinkable; it’s announced — to season ticket subscribers for now — half the production titles in its 2025-26 season.

Three shows are being announced now, to season ticket holders, with the final three TBA when the full slate is unveiled, The teasers: one is a local-style comedy by Lee Cataluna, popular in earlier stagings at Kumu Kahua, but the first time at MVT. A major musical will make its Hawaii debut at Manoa, and the third entry is a satire that played on Broadway last year.

Over at Diamond Head Theatre, there’s no leak or pre-announcements of its 2025-26 slate. There will be an invitational unveiling, March 2, with snippets of the future shared in a brief announcement program….

And that’s Show Biz…

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BRIGHT KIDS SECURES ‘GYPSY’ MUSICAL

“Gypsy,’ one of Broadway’s storied musicals, will be the I’m a Bright Kid Foundation’s summer attraction at Paliku Theatre at Windward Community College.

The show,  currently in a hit Broadway revival starring Audra McDonald, is a monumental theatrical creation, with book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim. It is considered the mother of all musicals about mothers. It is a fable loosely based on the memoirs of striptease performer Gypsy Rose Lee, about her mother Rose, who aspires to help her daughters become stars. Clearly, the term “stage mother,” refers to Rose’s unbridled quest to bring the fame and stardom that eluded her to her daughters.

“Gypsy” boasts such legendary hits including “Everything’s Coming Up Roses,”  “You Gotta Get a Gimmick,” “Let Me Entertain You,” “Some People” and “Together,” as it glorifies the struggles of seeking the American dream.

Ahnya Chang, who choreographed IABK’s hit musical “Newsies” last year, will direct and choreograph this stage classic. Clarke Bright will be musical director and others on the creative team will be announced later.

The musical will run Aug. 8 to 24, with performances on Fridays, Saturdays and Sundays. Ticket sales will begin June 1, with further details to be announced.

Online auditions begin May 1, with tryouts set for Aug. 9 and 10 at Paliku Theatre.

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In other news, IABK will again present its cornerstone Summer Musical Theatre Arts Education Program  this summer, from June  16 to July 20 at Paliku Theatre. The program provides a supportive environment for students in grades 3 to 12 to gain confidence in performing arts techniques, learn vital teamwork and communication skills.

Registration is under way online at https://imabrightkid.org/summer-program/

The culmination of the program will be a show, “Junie B. Jones Jr.: The Musical,”  set for 7 p.m. July 25 and  2 p.m. July 26 and 27.

And that’s Show Biz…

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CALLAS SAGA MASTERFUL, CLASSY


Diamond Head Theatre’s “Master Class” — a Terrence McNally comedy-drama about real-life diva Maria Callas instructing operatic singers on the how’s and why’s of delivering an aria — is both masterful and classy.

Though it features music, it is not a musical. Though it is occasionally hilarious, it is not a comedy per se.  What it is, is a drama reimagining and reenacting Callas, the famed and often feared opera legend, as she conducts classes for two wanna-be opera sopranos and one tenor. It’s instructive, illuminating and inspirational.

Director Bryce Chaddick stages the one-set show in front of  a luxurious curved, 11-panel spectacle of warm wood (a splendid creation by set designer Randy Tandal), with lighting designed by Dawn Oshima (right and bright).  Midway through the production, the stage becomes La Scala, thanks to a vintage projection of the tiered seating. It’s a stunning high point of staging magic produced by a team of theatrical artists.

The acting is wonderful, too. Amy K. Sullivan is superb as Callas; she delivers her lines as monologues that reel off like conversations. You can envision the diva in action: chatty, charming and challenging her students to strive, drive and arrive at her level of expectation. She roars like a lion, often demeaning but not vicious. She has plenty of thoughts, one of the memorable being her stern advice: “You don’t have a look. You look very nice, I’m sure you are. You look very clean, very comme il faut (proper in etiquette and behavior) but you don’t have a look. Get one, as quickly as possible.

Amy K. Sullivan, in pantsuit, is Maria Callas, and Anna Young is the overdressed Sharon Graham, in “Master Class.” David Young, at the grand piano, is Manny Weinstock. Photo Brandon Miyagi, courtesy DHT.

Her look is alternately proper and demanding, soldiering through the sessions seeking hope and brilliance from her students, finding just a skosh of the kind of talent she once was. Ya don’t find pearls in all the oysters you seek.

Georgine Stark is Sophie de Palma, the first soprano;  she is fearful, gritty, but inexperienced, so eager to learn.

Anna Young is Sharon Graham, the second soprano; she is ambitious, somewhat thick-skinned, and overdressed in a gown that reflects obvious innocence. Callas promptly tells her, “Don’t wear anything like that before midnight at the earliest, and certainly not to class.”

Kasey Nahlovksy is Anthony “Tony” Candolini, the tenor; he has an obvious ego, occasionally begging for Callas’ thunderous responses, but he nonetheless delivers a solid voice.

David Young is Emmanuel “Manny” Weinstock, the accompanist who has worked with Callas before, endures the sass from Callas; and the aforementioned Tandal is the stagehand, who is commanded to bring Callas water, footstool and a cushion, fetching stuff like a trained pet.

Sullivan as Callas, gestures toYoung, as Sharon. Brandon Miyagi photo.

What to look for:

  • Callas’ inherent pride of conquest with her students, but with a veneer of vulnerability. She is somewhat a monstrous leading lady, now reduced to instructional icon, but she retains her glorious past. In one instance, he remembers, fittingly, that she was at the top of her form, thanks to her vocal cords. “That’s who I am; this voice,” she bellows, and yup, her voice defined her fame.
  • Her propriety and her ways of the past: in her initial appearance in the audition hall at Juilliard, she “shushes” the spectators – the live audience in the theater, and thus the audience witnessing her theatrics – to halt applause and hoots of her past fame.
  • That jewel of a stage design – simply perfection – is the basic background for the diva and her students. A circular magnifying glass adorns one sector of the stage; two curtains drop, separating on-stage action, and are part of the savvy, clean, and effective staging.

What to listen for:

  • The arias featured in the instructional moments: Sophie’s number is “Oh! Se Una Volta Sola…Ah! Non Credea Mirarti,” from Bellini’s “La Sonnambula;”  Sharon’s selection is “Nel Di Della Vittoria…Vieni! T’Affretta!” from Verdi’s “MacBeth;” and Tony’s tune is “Recondita Armonia,” from Puccini’s “Tosca.”
  • Though Calla’s voice is dormant as the resident master, her recorded voice onstage is heard in that splendid moment where she recalls she’s delivering an aria in the projected concert hall as she mimics The Moment. The applause is warranted.

What/who to cheer:

  • Other triumphs among the technical crew – costume design by Kanani Sato (bravo, for Callas’ pants-and-top garb, accented by a lengthy scarf); sound design by Mike Minor (clear, and on point), props design by Kyle Conner (stark, simple, comprising a desk and a chair), hair and make-up design by Mia Yoshimoto (suitable for the era of the ‘70s, but looks like now).
  • The one-man “orchestra:” Young, the aforementioned pianist, who provides class-worthy accompaniment and supportive opening comments about Callas’ conduct and expectations.

Further notations:

  • I saw the original “Master Class,” staged at the Golden Theatre in 1995, and the play won 1996 Tony Awards, including Zoe Caldwell ( Best Actress in a play, for her portrayal of Maria Callas) and  Audra McDonald (Best Featured Actress, enacting  Sharon) and McNally scored the Best Play trophy.
  • The plot is said to include antics of other divas of the period (Leontyne Price, Renata Scotto, and even possibly Joan Sutherland) and also features segments mentioning Aristotle Onassis, with whom Callas actually had an affair, but he moved on to Jackie Kennedy.

Curiously, “Master Class” goes down in history as a portrait of an operatic diva, whose luminous life and times included master-classing,  who chats about singing, focuses on the art of singing, but doesn’t perform  a single live note herself in this vehicle…

And that’s Show Biz…

‘Master Class’

What: A play by Terrence McNally, about Maria Callas and the master classes she headed, staged by Diamond Head Theatre

Showtimes: At 7:30 p.m. Thursdays, Fridays and Saturdays, 4 p.m. Sundays and 3 p.m. Saturdays, through Feb. 9

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

Running time: 2 hours, 35 minutes, with intermission