Category: Updates

Diamond Head Theatre’s titillating “Tootsie” is on a roll – on several fronts.

Structurally, the musical based on the 1982 comedy film starring Dustin Hoffman, is formulaic, predictable, and potentially offensive because of the notion … that a Broadway actor who cannot land a role, until he puts on pumps, dons a wig, wears a padded bra, and slips into a dress and ultimately a seductive gown, denying an actress of the gig.

Reyn Halford – the actor portraying Michael Dorsey as a dude and Dorothy Michaels as a dame — turns in a delightful dual performance. He’s a likely winner as a handsome Leading Actor in a Musical as well as a charming Leading Actress in a Musical, embellishing his pliable voice to suit the he and the she.

Halford and a cluster of his fellow lead players survive the constraints of the book by Robert Horn and songs by David Yazbek.

John Rampage, DHT’s artistic director, displays a career-best directorial turn and co-choreographic achievement (Celia Chun is director and dance collaborator), working with a sizeable 25-member cast of principals and ensemble members, in a powerful mounting of dedication, teamwork and unity.

Coupled with Candy Dungca’s and Emily Lane’s costume designs – astonishingly vibrant, eye-filling garb, ranging from splendid festive dresses and gowns to stock dance and casual gear – exceed hues you’ll find in a Manoa rainbow, and matched by hair and makeup by Aiko Schick, whose work is nothing short of spectacular. (She acts, too, as Sandy Lester).

Thus, “Tootsie” is a marvelous achievement, not believable but entertaining. Songs are repetitive and live mostly in the moment, but reprised, in case you forget ‘em.

The plot is giddy fun, with lots of clever one-liners, but laced with naughty words not suitable for the young. Michael is a desperate, struggling actor who cannot find an acting gig, so he auditions as Dorothy, thus robbing his neurotic former girlfriend, Sandy Lester (the aforementioned Schick, a bolt of energy with her own bright veneer), eager to be in the Broadway show, “Juliet’s Nurse,” a spin-off of “Romeo and Juliet.”

Michael falls for Julie Nichols (Chandler Converse, the best voice in the company), cast as Juliet, and that’s when complications begin.

There’s a merry-go-round of insanity here. Jeff Slater (Moku Durant, splendidly comical), is Michael’s roomie who’s an unsuccessful playwright. Max Van Horn (Sam Budd, constantly hysterical), is an actor playing Craig, brother of Romeo in “Juliet’s Nurse.).  Ron Carlisle (Andrew Simmons, irrepressibly unstoppable), is the director-choreographer of “Nurse.”.  Rita Marshall (Mary Chesnut Hicks, refreshingly delightful in a return to the performing stage, instead of her usual role of musical director), is the producer of “Nurse.”

Dawn Oshima’s set and lighting design relies on several projections (brick wall with lamps, a park) and rollable segments of home interiors that reflect budget restrictions, with more monies seemingly going toward the bounty of costumes. The lighting is properly bright, matching the clear and crisp sound design by Kerri Yoneda.

Roslyn Catracchia, musical director, always turns in hearty orchestrations, and doesn’t disappoint here.  However, for a musical not known for identifiable hit tunes in the score, the opening overture, seemingly endless, is not her fault, but you won’t forget Ros’ funky show-ending rouser, with everyone singing and dancing and in frenzied communion likely to be DHT’s talked-about finale of the year…

And that’s Show Biz…

“Tootsie”

A musical based on a 1982 movie starring Dustin Hoffman, with book by Robert Horn and music and lyrics by David Yazbek, about a Broadway actor who is unable to find work until he dresses as a woman to finally land a role, resulting in conflicts, confrontations and complications.

Where: Diamond Head Theatre.

When: At 7:30 p.m. Thursdays through Saturdays, plus 3 p.m. Saturdays and 4 p.m. Sundays, through June 23; best seats available for the extended run at 7:30 p.m. June 21 and 4 p.m. June 22.

Tickets: $37 to $62, available at the box office, at www.diamondheadtheatre.com or (808) 733-0247.

Advisory: Not recommended for youths 11 and younger, due to adult themes and humor, including occasional foul language.

A Honolulu couple – Paula Rath and Gerald Mayfield – are first-time executive producers of a film, “The Big Bend,” screening June 7 to 13 at the Kahala Theatres.

Friendship and fanship with the film’s writer-director and his wife – Brett and Kathryn Wagner – made Rath and Mayfield backers and financial donors to help bring to the screen the life-changing indie film, which evolved after the Wagners and their daughters, Zoe and Delilah, were exposed to an event in Terlingua, Texas, near the Big Bend National Park.

Paula Rath and Jerry Mayfield are first-time film producers.

Deserts are like oceans; they hold lasting, untold secrets and trigger startling, life-changing experiences. And “The Big Bend” emerges as endearing, compelling storytelling.

“Jerry and I have been close friends with Brett and Kathryn for more than 10 years,” said Paula. “We also are big fans and followers of Brett’s,” who would come to Honolulu and stay with the Rath and Mayfield when he had commercial work here.

“There were many long and significant discussions over coffee in the morning or red chile enchiladas at night,” said Paula.

One morning, Brett shared thoughts about an incident that begged for a script to be converted into a film. Months later, he told Rath and Mayfield, “I’ve got a script. Wanna read it?” “I read it first, and literally could not put it down for a second until I was pau,” said Paula. “It was absolutely riveting, and the characters were totally believable and likable in all their complexity.” Jerry had the same reaction and their son Duncan also was sold on the project.

The film focuses on two families – the Prices and the Talbotts– who gather for a reunion in the remote West Texas desert, where things don’t go right as they explore and experience the boundaries of marriage, friendship and parenthood, attempting to endure and survive the unexpected experience.

The cast features Jason Butler Harner as Cory Price, Virginia Kull as Melanie Price, Erica Ash as Gloria Talbott and David Sullivan as Mac Talbott.

“The Big Bend” premiered in 2022 at the Texas Film Festival and has toured the festival circuit, including the 2022 Honolulu International Film Festival. The Kahala screening is the film’s first commercial booking here, with director Wagner speaking after the 6:30 June 7 screening. Showings continue through June 13, with an extension possible…

Behind the scenes ties in the making of “The Big Bend:”

• Brett Wagner, the writer-director whom Paula Rath describes as “sort of a second son to us,” has lived and worked in Honolulu for seven years and is known for his award-winning commercials he wrote and directed.
• Kathryn Drury Wagner, Brett’s wife, is a former manager editor on Honolulu Magazine.
• Paul Atkins, cinematographer, was a Hawaii Kai resident till last year; he moved to Savannah to reside near Wagner and continues to works with him.
• Nick Masciangelo, an actor, is a North Shore resident.

And that’s Show Biz…

Call this an airport do’s-and-don’t’s primer. Because I will be traveling shortly, I did a quick check on matters travelers should know and do when flying this summer, and sharing here.

Airlines and airports are not created equally, so travelers must be aware about certain rules and regs.

All kinds of deadlines and policies exist:

• It’s safer and saner to arrive early than late. For domestic flights, arriving two hours early is the norm, three hours for international flights. Know your carrier’s rules, so you don’t miss your flight. If It’s a notably busy airport, add an hour to your plans.

• There’s a cut-off time for checked bags, and also when a plane is anticipating departure, gate staff closes its door generally 15 to 20 minutes before flight time. If you’re tardy, you won’t be able to board.
• Arriving too early ahead of your flight time could prevent you from checking in luggage or checking in at the ticket counter for a flight; the rule for check-in is four hours before your departure flight.
• To get your boarding pass and to avoid potential long lines at the ticket counter, check in online 24 hours before your flight (for most airlines). You can transfer your boarding pass onto your phone or print it at home before you leave for the airport.

• If you have checked luggage, you will need to take it to the luggage drop-off area by the ticket counter. If you have your boarding pass but have not yet checked your bags, seek a sky cap for assistance.
• If you have special needs or travel issues, such as handicapped assistance, seek an agent for help.
• Remember, curbside check-in no longer is available but if you have your boarding pass, or your ticketing reference code number, an available agent, at a check-in kiosk, can provide valuable aid that dodges the ticket counter lines.
• Download your airline’s mobile app to simplify check-in procedures; this also will assure you receipt of updates on departure times, gate changes, and other relevant data.

• Remain close to your departure gate, to hear flight delays or gate changes. Don’t wander far away from the gate, or you may miss valuable announcements. You don’t want to return from the magazine concessionaire only to find no one at your gate, then have to scoot eight gates away to board your plane.
• Regularly check airport monitors for your gate and flight; when passengers are boarding, there normally will be a flashing light. Run, don’t walk, if you’re not nearby your gate.

• If you’re traveling alone, never leave your roll-aboard unattended. Find a friendly soul to watch your bag, or an airport official could confiscate bag as a security risk. Further, carry your boarding pass on your body, not hidden in a zippered pocket of your carry-on, for obvious reasons.

• The water bottle issue is simple: if you buy a bottle of water, wait till you clear TSA. If you have water, TSA will make you pour it out. Better to carry an empty bottle to fill with water from dispenser faucets throughout the gate areas.
• I’ve heard of food stuff, like bottles jelly or jam, being confiscated from your roll-aboard, at  the TSA checkpoint because they may appear as water in the X-ray process; better to have bottles securely packed and stowed in your checked-in luggage.

Bon voyage!

Confession: I am a biased home towner, and a fan of Ruthie Ann Miles, a Kaimuki High grad who’s made her mark on Broadway. On a national note, she shared her powerful and luminous presence in last Sunday’s (May 26) Memorial Day Concert televised on PBS.

You can take the girl out of Hawaii, but you can’t take Hawaii out of the girl, for sure.

Mile’s poignant and melancholic version of “Aloha Oe,” the indelible composition by Queen Lililiuokalani, triggered wet eyes and pumping hearts to listeners at the nation’s capital as well as home TV viewers. I declare it’s the best-ever delivery of the 1878 creation by Liliu, Hawaii’s most prolific politico and composer of her time.

Lord, if only the queen could have heard this exquisite version,

Miles’s honest, engaging delivery, with the customary Hawaiian and English lyrics, was unexpectedly interrupted by her struggle to cope with the emotion of the moment, which briefly choked her, making her miss a word of two, but honestly, this made her performance even more genuine.  “Aloha Oe,” originally intended as a political tune, has emerged over the decades as a melancholic song of farewell, but in the real time of her performance, it was a suitable, tearful and eloquent song of parting in memory of American lives lost in battle, and dedicated to Gold Star Families.

Miles, 41, has become a popular and prolific Broadway singer-actress, who rightfully earned a Tony Award as Featured Actress in a Musical, in 2019’s “The King and I,” portraying Madame Thiang. Saw her in that splendid performance, and she was stunning last summer as The Beggar Woman (she was a Tony nominee) in the Tony-winning “Sweeney Todd: :the Demon Barber of Fleet Street.”

She earned her stripes and earned a Theatre World Award and a Lucille Lortel Award when she starred as Imelda Marcos in the 2013 “Here Lies Love” at The Public Theatre. That performance put her on the map.

Miles now is a much-in-demand actress in New York; producers of the revival of “Here Lies Love” at the Broadway Theatre last summer wanted her to recreate the Imelda role, but she was already committed to “Sweeney Todd.”  Her participation might’ve kept the show running instead of a premature shuttering.

She recreated the Thiang role when “The King and I” moved to the Palladium Theatre in London’s West End. Back in New York, Miles also had brief runs in “The Light in the Piazza” in 2023 and “A Little Night Music” in 2024, in New York.

If you missed Miles and the Memorial Day Concert, PBS plans to have it available for belated viewing through June 9, before saying Aloha Oe. Tune in, and you’ll applaud the mighty Miles…

Kapena group marking 40^th anniversary

Kelly Boy  DeLima will mark his 40^th anniversary with a concert at 6 p.m. Aug. 31 at the Tom  Moffatt Waikiki Shell.

His original bandmates, Tiva Tatofi and Timo Tatofi, will reunite with DeLima. The Tongan brothers were succeeded by DeLima’s three children, who expanded the family group’s repertoire to include everything from pop, Hawaiian, reggae and rock.

2024 ticket prices are $164 for pool area seats, $117 for front terrace, $89 for back terrace and $61 for lawn seats.

Tickets are available at www.ticketmaster.clm or www.hifinest.com/kapena …

The numbers game…

OK, plain and simple: 34 is the new 45.

I imagine an entrepreneur already is printing a new tee shirt…

And that’s Show Biz…

“Death of a Salesman,” Arthur Miller’s riveting drama about a hardworking salesman who believes in the elusive and  evasive American dream, who ultimately becomes engulfed in a harrowing nightmare instead.

Willy Loman’s devotion and dedication to work hard … doesn’t pan out.

Dwight Martin plays Loman in Manoa Valley Theatre’s latest revival of the work, and Martin is splendid and credible and hits all the right notes. He makes you feel his passion and his agony. His quest to achieve is commendable, but his  American dream lacks a streak of reality; desire is only part of the equation. 

The script reflects a dysfunctional and contentious family on the brink of losing everything Willy lives for and dreams of. Thus, it’s a tragedy.

Wife Linda Loman (Amy K. Sullivan, very effusive) is a supporter and cheerleader of Willy, who brings home the bacon. She nudges sons Biff Loman (Matthew Miller, who tries hard but fails to achieve), a high school dropout and uncertain of a job yet,  and Happy Loman (Thomas T.C. Smith), who lives up to his character’s name, a bit more settled with a gig in a business venture to try to do good.

The fact that the lads are in their 30s and living at home after being away is an indication of another family issue, of finances and space. It’s a familiar situation in real life, so there are  truthful pangs and pathos in some of the laments in the Loman household.

The Lomans, from left: Matthew Miller as Biff, Dwight Martin as Willy, Amy K. Sullivan as Linda, and Thomas T.C. Smith as Happy.

The Lomans are residing in Boston, as the play unfolds in the 1940s,  and Willy – getting on his years, loyal to the core to his job but tired of the lonely and dangerous commutes –pleads to his boss Howard (Dan Connell, unsympathetic)  for a more stable work environment in the main office in New York. Instead, Willy is fired, dashing his hope and diminishing his worth.

He confesses to his wife that he often drives his car off the road, an accident waiting to happen. It’s not a spoiler, when “death” is in the title of the play.

Willy’s deterioration is painful to watch. He loses confidence, and his sanity is a slippery slope, since his mind is going, too, and the  meagre money he makes is gobbled up by bills he can’t afford to pay, and worst of all, he loses his dignity.

Tolerant and supportive early on, Linda eventually becomes part of the family bickering and shout-outs because Willy is off the charts himself. Depression becomes his middle name.

It’s hurtful to witness and accept his obsolescence, knowing his shining luster in early days has turned into unconscionable rust. Domestically, he feuds with his wife and kids, and a family at war is destined to implode. And Biff, who boasts he can handily land a job, doesn’t, which means Willy isn’t the sole failure.

Director Linda Johnson projects familial bonding with warmth and spirit, but as the friction and fall-outs mount, the pace is somewhat choreographic, moving around Michelle A. Bisbee’s functional, minimalist set (downstairs kitchen, with simple sets of tables and chairs). The home has upstairs bedrooms, but this is a home without a comfy sofa

Lighting by Janine Myers and sound by Sarah Velasco are conservative, suiting the unfancy setting; costumes by Kanani Sato and hair and makeup by Lisa Ponce de Leon maintain simplicity with no hints of the ‘40s.

A disclosure: The themes of mental health and suicide depicted in the play may be tough to experience, so be forewarned; however, due to the era, neither dementia nor Alzheimer’s are mentioned in the script…

‘Death of a Salesman’

A drama by Arthur Miller, which can be described as a tragedy, about a luckless salesman getting on in his years, who dreams the American dream, which eludes him.

Where: Manoa Valley Theatre.

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays and Sundays, extended through June 9; add-on performances are at 7:30 p.m. June 8 and 3 p.m. June 9.

Tickets: $25 to $46, at (808) 988-6131.

Broadway grosses, week ending May 26

Two long-running musicals perched at the top of the weekly compilation of Broadway musicals, three recent arrivals have found their places as future contenders.,

The Top 10:

1—”The Lion King,” $2,220 million.

2—“Wicked,” $2,003 million.

3—“Hamilton,” $1,801 million.

4—“Cabaret at the Kit Kat Club,” $1,721 million.

5—“Merrily We Roll Along,” $1,612 million.

6—“Hell’s Kitchen,” $1,554 million.

7—“MJ, the Musical,” $1,500 million.

8—“The Wiz,” $1,475 million.

9—“Aladdin,” $1,356 million.

10—“Harry Potter and the Cursed Child,” $1,222 million.

The complete list, courtesy the Broadway Guild:

And that’s Show Biz…