Chris Cuomo, the former CNN news anchor fired nine months ago because of ethics concerns relating to investigations about his older brother AndrewCuomo, the former New York governor, is returning to the cable news primetime gallery this fall.
But while his new job, on NewsNation, will enable him to return to his craft, it will be minus the lofty gleam of CNN, where he was a popular resource on “Cuomo Primetime,” where his viewership of about 2 million a night at his peak.
Chris Cuomo
NewsNation’s Dan Abrams made the announcement earlier this week.
Though it’s a step much lower than CNN, Cuomo will now have a huge task in reinventing himself, as a reporter-anchor with rich skills. He likely won’t have his brother Andrew on the new venue, since the sexual harassment scandal led to Chris’ suspension, then dismissal, at CNN, where the fallen politico Andrew made frequent appearances in 2019 and 2020.
And with the robust number of Capitol Hill political issues still prevailing amid the ongoing pandemic, there’s enough newsy topics he could explore as he wiggles into the race with resilience…
Crossing Rain, crossing ocean
Fresh from winning the Favorite Entertainers of the Year award at the recent Na Hoku Hanohano Awards in Honolulu, Crossing Rain, Hawaii’s k-pop boy band, will give a concert Aug. 13 at the Roxy Theatre in West Hollywood.
The venue, dating back to the 1970s, has been a popular site for career-building, with such troupers as Prince, Bruce Springsteen, Billy Joe, Smokey Robinson and Temptations concerting there.
Crossing Rain will perform Aug. 13 at the Roxy Theatre in Los Angeles and Sept. 3 at the Palace Theatre in Hilo.
Band members are Monarch, Asher, Jorden, Haru, Devin and Shotaro, launching in 2021. And with school reopening soon, Crossing Rain – aka XR – will be juggling school work with song-and-dance rehearsals to prep up for their Los Angeles debut.
XR also will give a show at 7 p.m. Sept. 3 at the Palace Theatre in Hilo. For the local gig, tickets are $65 for VIP seating, $45 for general admission, available at www.hilopalace.com . …
Broadway grosses, for week ending July 24
As expected, the hot trio of largest-grosses on Broadway, held on to their steady ranking for the week ending July 24.
The top three: No. 1, “The Music Man,” at $3.016 million; No. 2, “The Lion King,” at $2.434 million; and “Hamilton,” at $.250 mill The figures are courtesy of the Broadway League:
Kylie Kuioka, 12, former Iolani student, is the voice of Emiko in “Paws of Fury: The Legend of Hank,” in theaters now. Thus, she’s in good company: the animated flick features the voices of Samuel L. Jackson, Ricky Gervais, George Takei, Michelle Yeoh.
Kylie Kuioka
Kylie’s family earlier relocated to New York, where Kylie’s Broadway break came when she was one of the children of the King of Siam, in Lincoln Center’s revival of “The King and I,” several years ago. A Mainland residency opened the door a skosh wider, when seeking roles…
The voices of two more island actors will be featured in “DC League of Super Pets,” opening this week. Among the stars providing the voices – Hawaii-reared Dwayne Johnson and Keanu Reeves, along with other notables like John Krasinski, Kevin Hart, and Kate McKinnon. …
Jason Momoa
Oh, and add isle native Jason “Aquaman” Momoa, to the voicing pool; his will be the voice for an unnamed heroic lead, in an upcoming film entitled “Minecraft,” based on a popular video game, directed by Jared Hess …
Manoa melodies
The Honolulu Jazz Quartet, led by John Kolivas, will perform at 7:30 p.m. Aug. 5 at Medici’s at Manoa Marketplace. Doors open at 6 p.m. for dinner.
Kolivas
Other members of the foursome: Tim Tsukiyama on saxophones, Dan Del Negro on piano, and Noel Okimoto on drums.
The gig will feature tunes from “Straight Ahead,” a recently-released CD, including originals and new arrangements of the 60s and 70s hit, “Summer Breeze”.
HJQ also will concertize at 6:30 and 9 p.m. Sept. 4 at Blue Note Hawaii, at the Outrigger Waikiki Hotel. Tickets: $35 and $25, at (808) 777-4890 or https://www.bluenotejazz.com/hawaii/
The Shari Lynn Trio returns to Medici’s, at 7:30 p.m. Aug. 26. Doors open at 6 p.m. for dinner service.
Singer Shari will perform tunes from the Great American Songbook, along with jazz classics and likely will tap numbers from the Broadway spectrum.
Her trio will feature Jim Howard on keyboards and the aforementioned John Kolivas on stand-up bass.
Dear “Edwina” cast and crew: you’re a winnah, with so much heart and soul.
“Dear Edwina Jr.” – staged over two weekends, due to the cloud of COVID-19 which shut down performances after one show July 15 – returned with a vengeance, so to speak, at Paliku Theatre, Windward Community College. The remaining three shows (one on Friday night, two on Saturday afternoon) challenged the cast to wear face masks, an action not taken by any other theater cast here.
An ensemble of nearly 50 youngsters, who learned or improved their acting, singing and dancing skills in a summertime I’m A Bright Kid Foundation theater arts sessions, also discovered that the show cannot always go on as scheduled. In this case, the potential threat was the pandemic, which affected some kids and a few adult backstagers. Hence, there were other lessons learned.
The show, about a teen broadcast dispenser of advice for an audience of youths with a bundle of growing-up issues, radically did a turn-around, with the final three performances requiring the kids to don face masks for the safety of all, with only brief instances of unmasked solo singing.
I don’t recall any other local group hitting the stage with full cast masking during the pandemic, so the IABK gang outdid itself with an energetic booster shot of desire and determination, earning a deserved standing ovation at the finale I attended.
Bravo!
The “Edwina” ensemble, before face-masking.
The show, set in Michigan with music by Zina Goldrich and lyrics and book by Marcy Heisler, was a “junior” edition, meaning a curtailed production for a youth or junior cast. Edwina Spoonapple (Cleonice Hamm, splendid and stunning), solicits letters from youths and shares her growing-up wisdom, like a teen Dear Abby. The formula embraces vibrant musical numbers – song and dance productions, the heartbeat of the show – tackling simple topics as where the silverware is placed in a dinner setting and matters of the heart.
Kids of all ages, looks and sizes converts “Edwina” into an island rainbow of talent, singing, somersaulting, radiating joyous pride, particularly in the “chorus” of line-ups, like a piggy number where many not just singing through their facemasks, but donning piggy wears, snout and tail. Oink!
A sane and simple tune, prior to the final curtain, reflects the IABK pulse: “Sing Your Own Song” advocates the notion that everyone has a voice and should use it. “Don’t let them take away the music you’re made of,” is a thematic line, which reflects the core of believing in yourself and it’s OK to move to your own drumbeat, a teaching and learning point of the late director-teacher Ron Bright, who inspired this spirit in his quest to share and shape the notion that everyone matters.
Surely, these youths have heard about and learned theories of Mr. B, as he was known, and his fingerprints continue to live through his followers, backstage and onstage. Before each show, there’s a circle of prayer to unify and inspire; at the final curtain bow, all performers point upwards to the heavens to acknowledge the mentor and his impact.
A Bright tradition – a family member almost always exists in a Bright show – continues, with grandson Drew Bright (persistently cute, in voice and in manner) playing Scott Kunkle, a teen with his eyes on Edwina.
Jade Stice, who directed the show, was a Bright kid growing up, continues to reflect Mr. B’s ways. The adult circle of educators involved include Moku Durant, music director; David Boyd, vocal director; and Alex Durrant, Lisa Herlinger-Thompson, and Annie Yoshida, choreographers; DeAnne Kennedy, set designer; Danielle Mizuta, costume coordinator; Chris Gouveia, lighting designer; Kingsley Kalohelani, sound engineer; and Allan Lau, production manager. Indeed, their collective skills and savvy helped create and shape this genuinely collaborative powerhouse of a kid musical. The staging is akin to a “graduation show.”
The summer program—which attracted youths from all over the islands– was supported in part by a grant from the Harold K.L. Castle Foundation. “Edwina Jr.” was the first IABK live theatrical endeavor since the pandemic outbreak in 2019. …
Johnny Imaikalani Pastor, who could light up the stage and brighten a room with his larger-than-life personality, died July 15 at his Pearl City home he shared with his aunt. He was 52.
“His positivity in life and his exuberance to help others reflected the doctrine of Buddhism , said his aunt Barbara “Geolina” Muromoto, a retired Aiea High School drama teacher, with whom he lived after his parents and siblings died.
He was a certified (on the Mainland) medical assistant at the Rehab Hospital on Kuakini Street, until he was physically unable to perform his duties because of his personal health issues.
A year ago, Pastor was diagnosed with stage four cancer, “which he overcame,” said Muromoto. “A few months ago, his heart rate went down to 30, then went up to 60. The toil of dialysis three times a week, made his blood pressure low; once, he passed out. I hovered at him often, but he didn’t want that. He said, ‘Auntie, I’m a grown man.’”
Johnny Imaikalani Pastor
On the day of his passing, Pastor had an appointment for dialysis at Pearlridge Center, but Muromoto went to awaken him, “He didn’t respond, so I called for help and the firemen came from two houses down where we lived, to do CPA, but it was too late.”
Kari Pastor, sister in law of Pastor, said “Johnny was larger than life, and he could always light up a room. Or I should say, the world. He was a big part of performances on stage and off. He was the life of a party; if there was no party, he’d create his own party. We’re going to miss him.”
When she was still teaching at Aiea, Muromoto tapped Pastor to be her artistic director. “From a small, plain musical theater, he exploded at Aiea High. The kids would open the door, and ask ‘Where’s Johnny?’ Everybody loved him.”
He attended Lincoln Elementary, but lived on the Mainland for a while, and attended both Aiea and Waipahu High, where he was Lei Day king one year.
He tooled around on an electric scooter, being independent, and even officiated at a wedding when he was able to, to spread his mana‘o. “The Halekulani wanted him to officiate,” said Muromoto, attesting to his capabilities and popularity.
A seat honoring Pastor at Kaimuki High.
His acting colleagues at Kumu Kahua, Manoa Valley Theatre, Kaimuki High School Theatre, Ohia Productions and I’m a Bright Kid Foundation have flooded Facebook with postings proclaiming Pastor’s vigor, energy, will power and zest. Devon Nekoba, a fellow actor, posted a photo of an empty seat at Kaimuki, ladened with lei and cheer, in memory of Pastor. “For you Johnny, front row center, just like always. Miss and love you,” in conjunction with a performance of Lisa Matsumoto’s “Once Upon One Time” show produced by MVT.
A posting suggesting a seat elsewhere to remember Pastor.
In a related post intended to rev up support, Nekoba added: “Could the local theatres hold one front row seat for him at one performance? He would get such a kick out of that.” Tafa‘i Tafa‘i seized a moment on Facebook for his salute to Pastor, saying “Although I did not know (you) very well, I could feel your alofa (aloha) bursting form your heart. You. Were a staunch supporter of the performing arts, always at one play or another, or eating up a storm at some eatery. You inspire me to live life to the fullest….Fly with angels, my friend.
Yet another Nekoba share, via Facebook.
Pastor, like many other island actors, was inspired by the example of the late Ron Bright, in being professional and deeply committed to the performance art. He appeared in numerous Bright-directed productions, always bringing joy and jubilance via his larger-than-life demeanor. The other influential ‘ohana for his training and credentials: Ohi’a Productions, and the legacy Matsumoto pidgin fairytale musicals.
Pastor regularly dressed to the nines and easily stole the limelight whenever he attended a performance. He often posted sage, sunny reviews of shows he attended, wearing the hat of a critic.
“Johnny wanted to set an example for others in his situation, to take charge of his life,” said Muromoto. “He cooked his own meals, went shopping, and clearly tried to take care of himself.”
Pastor hoped to live through Christmas, so the July passing fell short of his desired goal. Many of his peers are gleefully buzzing, that Pastor already is making his presence know amid the glow of two gurus of island theater, Matsumoto and Bright.
“He talked about a Celebration of Life, after his passing, and I’ll do it,” said aunt Muromoto, who said she has budgeting for his last hurrah, likely on Jan. 27, 2023, at the Kaimuki High theater.
Funeral services will be held Oct. 29 at the Mililani Mortuary in Waipio. Details will be announced. …
Jeffrey Seller, four-time Tony Award-winning Broadway producer, says that the outlook finally feels ripe and ready for fans and actors to congregate and celebrate theater.
Though the crippling pandemic that made life uneasy and challenging for nearly three years, “we who make our living in live entertainment are back, and happy,” he said.
Seller, the producer of Lin-Manuel Miranda’s “Hamilton” blockbuster, is in town to formally announce the launch of single ticket sales starting tomorrow (July 21) in Honolulu, in an unprecedented eight-week residency at Blaisdell Concert Hall.
Speaking by phone from his Halekulani Hotel room earlier today (July 20), Seller is hosting a press conference this afternoon at Blaisdell, interviewing two of the musical’s stars, Morgan Anita Wood (Angelica Schuyler) and DeAundré Woods (Alexander Hamilton) for the local media.
Jeffrey Seller, producer of the Tony-winning “Hamilton,” due for an eight-week Honolulu run.
He said the “Hamilton” run, from Dec. 7 to Jan. 29, 2023, reflects a commitment to enable show-hungry islanders to see the iconic show and be “in the room where it happens,” to quote a moment in the show.
“It’s a big commitment, but we are doing what Hawaii deserves –a long stop to share our show with the many folks in Hawaii,” said Seller. “Honolulu has a million people and is the 11th largest city (of the U.S.) and our show is special, the kind that comes around only once a decade, like a ‘Lion King’ and a ‘Wicked.’”
“The pandemic was horrendous for all of us,” said Seller. “We who make our living in live entertainment were in a coma for 18 months, and that included everyone, from stage hands, to office crews, costumers to artisans who make all that stuff. But the Federal government came through for us in live entertainment, to keep live entertainment alive.”
The return, last September, was a little bumpy, with second-outbreaks of COVID 19, “and our new normal still includes a couple of COVID cases very day. But we’re prepared in New York, and now all our shows are jammed, with full houses, and the business is coming back in all the cities we play across the country,” said Seller.
“I believe we all want to congregate, get together in live entertainment, and see a show, to laugh, clap together. It’s been so gratifying.”
Seller: “Things are a little bit more normal.”
Seller said that social distancing never was tried in the theater realm, “and there was no strong evidence that it would work. Masks were mandatory till the end of June, with Broadway adopting the optional policy last July 1, “which seems to be operating smoothly, like the airline policy.”
The casualty of the pandemic is that no one is permitted (other than authorized cast and staff) backstage anymore. Fans waiting at the stage door now are greeted by some cast heading home, autographing, Playbills like the old days, some dodging the practice.
“Outside, things are a little bit more normal,” he added.
“Everybody has to handle themselves in these unique times, in the life of the Earth,” said Seller. “There’s panic in all four corners of the Earth, and from Europe to the West Coast, there have been the largest heat wave.”
Seller has logged an impressive career in the past 21 years. Now an independent producer, he was partnering with Hawaii native Kevin McCollum, in producing such properties as “Rent,” “Avenue Q,” and “In the Heights,” musicals that have earned Tony Awards. In the process, he befriended Jonathan Larson, the composer and book writer for “Rent,” a musical that earned four Tonys (Best Musical, Best Score, Best Book, Best Featured Actor in a Musical in 1996). Their collaboration in 2003 on “Avenue Q” resulted in three Tonys, for Best Musical, Book and Score in 2004.
When staging “Rent,” he felt that tickets should be accessible for the young, and less affluent theater-goer, so he introduced “rush” tickets for the rock musical about Bohemian life in New York, with $20 tickets available for youths, sold through a lottery, for the first two rows of the Nederland Theater.
So when “Hamilton” came along, producer Seller and composer-performer Miranda wanted to rewrite the book on rush seats with Miranda pushing a $10 ticket (one Hamilton bill) in 2015, with flocks of 2,000 vying for 35 lottery seats at the reduced cost at the Richard Rodgers Theatre.
“Those were bedrock moments for me,” said Seller, because “everyone should get a ticket regardless of economic standing.”
So what and who comes first, the show or the producer?
“My decision to do a show is simply consequential,” he said. “I do a show when I have to. In my career, it’s all about the pleasure of nurturing and fortifying and cheerleading a product that hits me on a visceral, emotional level.”
Like, it’s got to be inspirational, perhaps innovative, with something to say about life.
“Hamilton” fit the bill, because like its predecessor, “In the Heights, it featured hip-hop that spoke a new language to a new audience, and focused on language and rhythms of folks not commonly the centerpiece of a Broadway show, like Puerto Ricans and other Hispanics. Consequently, Seller is happily the show’s best salesman-seller, a hearty supporter of the needs and deeds of the show, and perhaps is the kind of booster shots every show needs. A caring, charismatic and committed producer.
So what and who comes first, the show or the producer?
“My decision to do a show is simply consequential,” he said. “I do a show when I have to. In my career, it’s all about the pleasure of nurturing and fortifying and cheerleading a product that hits me on a visceral, emotional level.”
Like, it’s got to be inspirational, perhaps innovative, with someone with something to say about life. In short: there’s no manual on producing a show.
He said he’ll know when to shut down “Hamilton.” “When it stops making money, we’ll close. When expenses are larger than income, it’s end of the business, like a restaurant.”
Seller has a project ahead he can’t mention yet, but his next production will be a new musical, “Only Gold,” with a score by Kate Nash and Andy Blankenbuehler ( from “Hamilton”) will direct; “It’s a dance musical, and a real passion project for Andy and myself,” he said.
Broadway, like any business, is all about making money.
“It’s all about capitalism, with supply and demand driving it, but in recent years, bots and computer programs have been able buy tickets quickly, and resold at (scalping) prices,” said Seller. …
Broadway grosses, for weekend ending July 17
As “Hamilton” tickets go on sale in Hawaii this week, it’s good to note that the show is the No. 2 grossing show last week on Broadway, with a tally of $2,255 million, with “The Music Man” still at No, 1, with $3.062 million; and No. 3 was “The Lion King,: with $2.130 million.”
The numbers are for the week ending July 17, courtesy The Broadway League:
