’39 STEPS’: GROANS, GIGGLES APLENTY

Step by step, flinch by flinch, “The 39 Steps” is a romping Hichcockian mystery, laced with vaudevillian mirth, requiring precise timing and awesome versatility … and wholly enacted by a remarkable company of four.

A true ensemble piece, Manoa Valley Theatre’s staging of Patrick Barlow’s adaptation of John Buchan’s novel and Alfred Hitchcock’s film, is full of belly laughs, high energy, quick pacing, breathless antics and theatrical shenanigans that may make you flinch, groan and cheer. As directed by Rob Duval, the production utilizes a minimalist set by Andrew Doan that involves a theatrical proscenium arch with closable curtain and seating boxes at both stage left and right, slamming doors, and a scrim that enables moments of giddy shadow puppetry. The versatile props by La Tanya Faamausill-Siliato include oversized trunks that serve as tables as well as train seats. In short: non-stop groans and giggles, with efficient surroundings.

Rachel League and Garrett Hols, in “The 39 Steps” at Manoa Valley Theatre

It’s a short run, however; “The 39 Steps” opened Thursday (March 17) and closes March 27, so you have today (March 20) and the upcoming weekend to catch the laughs.

The characters are Richard Hannay (a steadfast Garrett Hols, nimble and agile, confident and comedic), a somewhat bored London bachelor who meets a shapely Annabella Schmidt (Rachel League, versatile and mobile, whose other roles are Pamela and Margaret, achieved with wigs and costume changes and perhaps some tongue in cheek.. She is killed in his presence in a hilarious demise, but not before she recites a few clues, and he dispatches himself to Scotland as a potential murderer attempting to prove his innocence. (Kinda like Dr. Richard Kimble, played by David Janssen on the old TV serial, “The Fugitive,” dodging his pursuers of a crime he did not commit. But waaaaaay funnier).

A pair of workhorses, Matthew Miller and Andrew Baker, designated as Clown 1 and Clown 2, respectively, enact a barrel full of more roles than imaginable, from constables to London Palladium emcees/comedians, from  bad-wigged women to train ticket-takers. Kudos and ovations, dudes, for turning bit parts into a mammoth tidal wave of guffaws.

The physical comedy is amazing, notably the sequence where Hannay is aboard a train and in pursuit by Miller and Baker; the gents have a raucous and remarkable imaginary “chase,” with hands and bodies supposedly dangling from the outside of the train car whisking on its tracks, and another dangerous venture on a ladder attached to two other ladders, requiring strenuous  energy (and risks of tumbling down) by the gents, and grand imagination from the spectators.

All this, with the actors even employing the Brit accent for credibility amid the maze of the unexpected.

Tickets: $22 to $40 at www.manoavalleytheatre.com or (808) 988-6131…

And that’s Show Biz. …

CAST SOUGHT FOR ‘WORDSWORTH’ MUSICAL

A call is out in Hawaii for a cast of actors – some fluent in Hawaiian, others not so much – to mount a family musical about a fictional mouse named Wordsworth, a poetic extension of author Frances Kakugawa.

Now a Sacramento resident, Kakugawa – formerly of Kapoho and Honolulu – has had this theatrical project delayed because of the pandemic, but a creative team from Hilo finally is readying its next step …  to begin the audition process for roles in the musical, which will be performed on stage in the original English and on a planned recorded version totally in the Hawaiian language.

The transition from page to stage is not wasted on Kakugawa, an award-winning author whose poetry has been the foundation of her earlier career as a school teacher. Besides her Wordsworth editions, her books on caregiving have inspired seniors to tap poetry as a means of personal expression, and she has been an advocate of Alzheimer’s and has parlayed her experience into motivational caregiving workshops, often embracing poetry.

Frances Kakugawa

“I heard the music of Wordsworth singing his poems on stage only in the English version and it gave me chicken skin and brought me to tears,” said Kakugawa, whose anticipation is high and hearty,

Wordsworth has been her pet project, with four books popular among school students. The character is a model of a mouse who sees the world through his creative mind and the lens of poetry; his ‘ohana, friends and neighbors learn to accept and appreciate his special gift of imagination and wonderment.
Wendell Ing, a Hilo entertainer and attorney by trade, has composed a score for the show and the script by Jackie Pualani Johnson has been translated into ʻōlelo Hawaiʻi by Pōhai Montague-Mullins.

The creative team, led by director Justina Taft Mattos, also includes choreographer Kea Kapahua and Lizby Logsdon, a Hilo Community Theater designer of costumes for Shakespearean plays, who is designing mousewear for this show.

“When I wrote the series, it was a dream to have it on stage someday,” said Kakugawa. “Okay, Broadway was too far-fetched but at least on a stage, that dream is coming true.”

Wordsworth, the mouse poet

The drama group at the University of Hawaii at Hilo secured the rights to stage the show, and the in-Hawaiian version, elevates the project to new heights, since the production will heavily weigh on actors who can speak and deliver the Hawaiian poetry in a lofty cultural boost.

Though Wordsworth has been familiar via his presence in Kakugawa’s books, he’s remained the same age over the decades “although the themes became more complicated. Some middle school readers have asked that he get married to one of the characters,” she added.

Character roles are listed at the show’s website.

Kakugawa’s “Wordsworth” character is featured in four books to date.

Four volumes of Wordsworth’s words and poems have been published; the musical fleshes out characters and situations from the printed page, offering life lessons and imagination to share.

Kakugawa said the cloud of COVID-19 earlier and Omicron later has been a bit worrisome. “I sure wish I’m still alive to see it on stage,” she said. “I’m so excited that I’m spooked.”

Those eager to begin the audition process should check the show’s website:
https://drive.google.com/file/d/1gkuF2WbcnK44Mzu719fBhm_y19lIk772/view

A Feb. 6 deadline is in place.

Applicants should peruse the site for options on where to send audition video, the roles available, the demands for some key roles requiring savvy and competence in the Hawaiian language.

To contact director Mattos directly, email her at <justinamattos@gmail.com>

or jmattos@hawaii.edu

Ideally, prospects seeking roles should live on the Big Island, since the rehearsal process will require troupers to be available for extended periods of time.

Said director Mattos: “There very well might be two separate casts, due to the fact that we are doing the Hawaiian version this spring, and the English language version
next fall. Not all actors can commit to a project that spans nearly a year
. . . so we are assuming that we may need to re-cast some, or all, of the
roles next fall.”

Performance dates will be announced later. …

And that’s Show Biz. …

FINALLY! ‘HAMILTON’ COMING HERE

Finally!

“Broadway in Hawaii” today (Dec. 2) announced its first three-show season of shows for Hawaii residents. A fourth musical, earlier announced, is an “extra” outside of the premier season packaging.

The slate includes three island premieres led by the unprecedented blockbuster “Hamilton” and the hit-loaded “Beautiful — the Carole King Musical.” “Cats,” which is a venerable return visitor but still a popular title in the repertoire of the Broadway spectrum, is the third season attraction. The rescheduled “Jersey Boys” is not part of the season ticketing because it had to be rescheduled twice, with many tickets previously sold, but it will be its first staging in Honolulu.

Joseph Morales as Hamilton

But here’s a bit of secret behind-the-scenes drama: the touring “Hamilton” company is one dubbed “…and Peggy,” and the lead actor in this ensemble is Joseph Morales, our homegrown Broadway trouper. The producers will not announce cast, until  just prior of the engagement, since actors can be juggled and routed to a different company. So I’ll go on record to press the decision-makers to be certain that Morales dons his Alexander Hamilton costume when the show lands here. It’ll be his “shot” that will memorable not only for him but also the local theater-goers. So I’m keeping my fingers crossed Morales is our Hamilton.

“The success of shows like ‘Wicked’ and ‘The Phantom of the Opera’ clearly demonstrate that Honolulu deserves to be a regular stop for touring Broadway in North America,” said Magicspace COO Steve Boulay, the presenter, who has been a key player to book musicals at Blaisdell Concert Hall. “We are thrilled that the commitment of everyone at Blaisdell, the stagehands union and the city, together with the support of Broadway in Hawaii patrons, have come together to make this incredible season possible. We look forward to many more.”

Mayor Rick Blangiardi said in a statement, “The Hawaii debut of ‘Hamilton’ is a remarkable opportunity for our community. We are truly grateful to be able to welcome this marquee production to Honolulu without audience capacity limitations.”

Mr. Mayor is spot-on in welcoming the slate of Broadway in Hawaii shows. Audience support is vital, when these series set down anywhere, and this is the first time ever that a spectrum of four productions, one as a “special engagement,” will be staged here. In many other viable communities, six shows comprise a season, so we have a lot of work to do make this venture worth the producers’ effort by securing tickets.

So here’s the rundown:

  • “Beautiful – The Carole King Musical,” April 19 to 24, 2022. This is a stupendous biographical musical that tracks the ups and downs of prolific rock/pop composers Carole King and her husband Gerry Goffin and collaborators Cynthia Weil and Barry Mann,  who have written tunes for a myriad of acts in rock history, including The Shirelles, Little Eva, and Neil Sedaka.
  • “Hamilton,” Dec. 8 to 14, 2022, for subscribers only and Dec. 15, 2022 to Jan. 29, 2023 for other patrons. This is the blockbuster by Lin-Manuel Miranda, who wrote the book, music and lyrics, in a hip-hop rendering of the life and times of Alexander Hamilton, a founding father of America, based on the biography by Ron Chernow. It’s been a revolutionary musical and winner of nearly all the prizes available, the Tony, the Grammy, the Olivier, plus the Pulitzer Prize and KennedyTheatre Honors.
  • “Cats,” June 13 to 18, 2023, The is the Andrew Lloyd Webber creation, inspired by the poetry of T. S. Eliot, that is best known for its “Memory” signature song and is the only musical set in a junkyard. Everyone knows a cat has nine lives, and this show begins a new run for the furry creatures, with updated sound design, choreography and director for a new generation of viewers.
  • “Jersey Boys,” Sept. 13 to 25, 2022. This is considered a “special engagement,” considering its previous on-again, off-again setback. The show is not part of the three-title season. It is the biography musical of the Frankie Valli and The Four Seasons, and boasts a soundtrack of trademark toe-tapping hits like “Sherry,” “Big Girls Don’t Cry,” and “Walk Like a Man. Season tickets are available at www.BroadwayInHawaii.com and here are the price ranges, by seat locations:

And that’s Show Biz. …

DHT’S ‘OLIVER’ BOASTS A TWIST

Diamond Head Theatre’s “Oliver!” boasts a girl , Caris Leong, portraying Oliver Twist. Talk about a surprising twist.

And Jeff Andrews delivers a rousing and riveting performance as Fagin, a scoundrel by trade and a leader at heart, in shaping the dichotomy of this rarely performed Dickensian chestnut. He’s a baddie with a good heart.

Lionel Bart’s creation, rarely revived, perhaps is best remembered for a splendid 1968 film version that brought Bart’s book, music and lyrics to life, via a cache of tunes including “Consider Yourself,” “Where Is Love,” “I’d Do Anything,” and “As Long as He Needs Me.”

This one has survived the test of time.

Caris Leong, front and center, is Oliver in “Oliver!” at Diamond Head Theatre.

And yes, a classic line, “Please sir, I want some more,” uttered by the titular character seeking more (food) in the orphanage, reflects a somber tale of mistreatment of poor orphans by the wealthy based on Charles Dickens’ classic novel,“Oliver Twist.”

Jeff Andrews as Fagin

The musical magnifies brightness despite the darkness of Victorian misdeeds of both Mr. Bumble (Christian Clayborne) and Widow Corney (Lindsay Rabe) in a presiding climate of control and power.

The cadre of youths, propelled into pickpocketing under the tutelage of Fagin, a criminal, is essential to endure in a time where goodness manages to succeed despite prevailing despair.

 As directed and choreographed by John Rampage, ‘Oliver!’ is an unexpected triumph in these troubled pandemic times, with drama on both sides of the footlights.

The restriction of coronavirus had protocols throughout the rehearsal period; seating had to be shuffled, from full-house reservations altered to resolve socially distanced policies, meaning empty seats between patrons through the show’s finale this Sunday (Nov. 7). I managed to buy tickets for an add-on show this past Wednesday (Nov. 3), which quickly sold out.

Leong, who was one of the Matildas in DHT’s “Matilda” musical several years ago, is a perky and nimble Oliver who easily could pass for a boy urchin. You really accept her for her performance, and gender never is an issue.

The cast is peopled with delightful actors with storytelling skills. The Artful Dodger (Rocco Bechiran, a credible gangleader with spunk), Bill Sikes (Jake Wolf, a perfect villain who lacks ethics) and Nancy (Kim Anderson, sweet-voiced but tough ).

It’s great to have an orchestra combo live, instead of pre-recorded), with maestro Phil Hidalgo at the helm. The sound of music — live! — is back.

Dawn Oshima’s set and lighting design are more functional than fancy, with a central catwalk/bridge with arch, accented with a pair of staircases on both ends. It works very nicely for the flow of traffic.

And Karen G. Wolfe’s costumes reflect the Dickensian times, with a flair of color for women in dresses, a lovely long overcoat for Fagin to prance and preach, an array of hats and shawls, and appropriately drab workhouse duds for the orphan gang.

And hurrah! Consider yourself lucky because  the playbill is back, so pick one up inside the main lobby, before heading for your seat – you’ll need to know who does what.

Tickets will be scarce, if available, so check the website, www.diamondheadtheatre.com

‘CHILL’ OUT FOR NOW AT MANOA VALLEY

Just updated: Manoa Valley Theatre has announced it will open “Be More Chill” on Oct. 14.

Because of surge of COVID-19 cases in Hawaii, Manoa Valley Theatre apparently will shut down its “Be More Chill” season opener, set for Sept. 2. It will be the first casualty of the 2021-22 stage season.

The show, a hit on Broadway, was to have its Hawaii premiere under auspices of MVT, Hawaii’s off-Broadway theater, with Andrew Sakaguchi directing.

But the declaration earlier this week, from Mayor Rick Blangiardi, to heighten rigid pandemic protocols to parties of 10 in restaurants and half-the-house for stage productions, is going to be a headache and an unexpected inconvenience for Hawaii’s theater community.

I checked with Kip Wilborn, executive director of MVT, and asked why the “stop” sign – meaning a shutdown of operations – has not yet been declared on the theater’s website.
“We’re working on it,” he responded, “checking with the mayor’s office for workable solutions.”

Apparently, this newest wrinkle in tweaking the pandemic’s exhaustive and constantly changing requirements lasts at least a month, till mid-September. And MVT is frantically trying to comply without major setbacks — a worrisome issue stretching beyond the theatrical community.

‘Chill’ out

While MVT has told its office staff and cast that “Be More Chill” is shut down till further notice, as the cast was fine-tuning the show, the public has not yet been formally informed, because MVT was still ironing out a Plan B. (Update: MVT now has set Oct. 14 as opening night).

The challenges: MVT for the first time has been selling reserved seats for patrons, and Wilborn said all subscribers will have to be told – via  email or phone calls – about a stall and a new struggle to determine when opening night will be and how to miraculously resolve dates and seats for those already with questionable printed tickets. Subscribers, for the first time, also must present proof of vaccination, and don face masks.  With social distancing, the theater could at best accommodate 60, a skosh more than half a house.

A MVT season brochure, inserted into the Star-Advertiser delivery on Wednesday, also already is obsolete so adds to the confusion.

Breathing space

Diamond Head Theatre, whose season’s opener is the musical “Oliver,” has breathing space for now, since its formal debut won’t be till Sept. 24. Like MVT, DHT has been selling season tickets without open seats for social distancing and face masks, anticipating a full house of 475 and banking that directives do not change, with mask-wearing and proof of vaccine shots sufficient for compliance.

Its website also does not address potential seating issues.

First to the task

First to the task of modification is TAG, The Actors Group, ensconced at the Brad Powell Theatre at Dole Cannery.

Its “Kimberly Akimo” is premiering this evening, Aug. 27, and a live audience will include no more than 10. But the show is being recorded for On Demand viewing (tickets: $20) beginning Sept. 2.

Those ticketed for a live watch should have been reached by now; it’s also possible to change your plans and watch the show virtually, through Sept. 12, according to the TAG website.

Those taking in a live show need to show proof of vaccination.

The televised shows had been on the agenda, before the pandemic rules changed, but TAG also had sold all seats without social distancing; hence, the need to pluck some and switch ‘em to virtual.

A tough hand

Honolulu’s acting community also are being dealt a tough hand; since earlier this year, opening parties have been non-existent or smallish. Meet-and-greet, after performances, have been forbidden, but loyal fans have stayed on after the final curtain to bring lei, floral bouquets or other first-night gifts.

Closing night parties are a thing of the past, too.

Worst of all, the actors in all productions have not been able to flash one vital souvenir of the play-acting and play-going experience: the playbill listing their names, often with their photos, and with a rundown of the show’s techies, too. …

And that’s Show Biz. …