Arts | Entertainment | Crafts | Life
Continuing our countdown of sharing holiday-inspired craft creations, through Christmas:
No. 2—A snowman on a red cube is an annual tradition, with variation. I seek ornaments with dangling legs, and this snowman fills the bill. A Santa or an angel also work and Daiso is often a resource for these danglers.
For several years now, I’ve launched an annual countdown to Christmas tradition enabling me to share a range of holiday decorations I make for gifts.
Most of the items assembled are destined to be presents, including a bundle ordered by a friend for her friends.
Like the holiday lapel pins I create, these desk and table décor allow me to engage in my hobby of sharing holiday crafts and reflect on why or how I did these 25 items.
Disclosure: The best way to indulge in an end-of-year project like this is to seek, collect, make, or purchase a variety of items year-round to assemble as needed to create Christmas items. With a glue gun, and your thinking cap, you’ll be amazed what you can create.
I appreciate hand-made items, which is why I make ‘em.
So beginning now and continuing through Christmas day, I’ll feature 25 ornamentals and reflect on the how and why they were created. Let the countdown begin…
No. 1—With Mele Kalikimaka as a theme, I assembled a Santa-like male figure and a Hawaiian hula dancer –in actuality, mini fabric dolls — in front of a papier mâché house with walls the shade of sand which yield an island tone. Added “Mele Kalikimaka” signage, a Christmas tree, a gift, a holiday lollipop, plus a pine-and-berries cluster. Final touch: a string of white lights. And voila, this becomes local all the way. This is one of the larger items I’ve done this season….
Cirque du Soleil, the magical and mystical show that embraces diverse circus acts fused with cultural traditions, is 40 years old now, with a proud history.
Its French-Canadian co-founder, Guy Laliberté, was visiting Hawaii in 1984, and was inspired by the gorgeous sunrises and sunsets here. He connected with the beauty and energy of the sun, mostly while on the beach, and created a myriad of Cirque signature productions over the decades.
The company’s logo, not surprisingly, depicts the soleil, which is French for sun.
Finally, decades later, Cirque has come full circle to launch “‘Auana,” its first Hawaii-themed, Waikiki-based spectacle, premiering Dec. 5 at the Outrigger Waikiki Beachcomber Hotel’s second-floor theater-showroom. “‘Auana” means “to wander or veer off the beaten path or to embark on a new journey.”
Requests for specifics on the show have been denied; little has been announced, regarding content, performing cast and other details. However, with an island cultural history consultant and a Hawaiian choreographer, it’s safe to assume that the productions will depict Hawaiian motifs, perhaps chants and even hula, and showcase island-inspired costumes.
The show’s website boasts sequences inspired by “Moana,” the wayfaring navigator with the Disney pedigree, a glimpse of Hina, the moon goddess, and a fiery volcanic segment.
Neil Dorward is director; the island resources are Aaron Sala, cultural creative director; Manaola Yap, costume designer; and Hiwa Vaughan, island choreographer.
Performances will be Wednesdays through Sundays, and following the opening few days when only one show is staged, the schedule eventually will include shows at 5:30 and 8:30 p.m. The running time is 1 hour, 20 minutes.
Historically, Cirque du Soleil has been a popular attraction for local audiences; the company staged “Saltimbanco” in 2008 and “Alegria” in 2010, with much success at the Blaisdell Arena. Because of its new Waikiki residency at the Outrigger Waikiki Beachcomber resort, “‘Auana,” should attract islanders, for certain; the target audience will be global visitors who previously supported Cirque over the past four decades and newbie spectators seeking grand entertainment beyond the customary luau shows…
And that’s Show Biz…
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“‘Auana” by Cirque du Soleil
What: A Hawaiian-themed spectacle with the Cirque du Soleil acrobatics
Where: Outrigger Waikiki Beachcomber Hotel’s showroom-theater
When: Wednesdays through Sundays, generally at 5:30 and 8:30 p.m.
Tickets: Varies, from $85 to $110, at www.cirquedusoleil.com > auana or (877) 773-6470
Soon it will be December, so with Christmas also on the horizon, Ho‘okena’s holiday show — at 7 p.m. Sunday (Dec. 1 )at Blue Note Hawaii, at the Outrigger Waikiki resort — is a savvy destination.
“Ho‘okena: Home for the Holidays” has been the yuletude theme for the group, known for its blend of Hawaiian and pop/folk music, served with the aloha spirit.
Ho‘okena is a Na Hoku Hanohano Award-winning and Grammy-nominated group, featuring Horace Dudoit III (12 string guitar), Chris Kamaka (stand-up fiddle bass) and Glen Smith (slack guitar). Maila Gibson Bandmann, traditionally a featured trouper with Ho‘okena, will be aboard to render “The Prayer” with Ho‘okena.
Of course, kumu hula Nani Dudoit and her halau will be aboard, with support from Aron Nelson (keyboards) and Kalei Dudoit (bass).
Doors open at 5 p.m., for dinner and drinks service.
Tickets: $35-$45, at www.bluenotehawaii.com or (808) 777-4890…
Anuhea’s Thanksgiving gig at Blue Note
Singer Anuhea celebrates the launch of her newest album, “Lotus,” with performances at 6:30 and 9 p.m. this Thanksgiving weekend (tomorrow, Nov. 28 and Saturday, Nov. 30) at Blue Note Hawaii, Outrigger Waikiki Hotel.
Doors open at 5 p.m. and 9 p.m., prior to showtime, for dinner and drink service.
Tickets: $35-$45, available at www.bluenotehawaii.com and (808) 777-4890…
Broadway grosses, for week ending Nov. 24
The arrival of “Wicked,” the movie, clearly helped buoy “Wicked,” the Broadway stage musical, to remain atop the pinnacle of show grosses, for the week ending Nov. 24.
The Top 10:
1—“Wicked,”$2.560 million
2—“The Lion King,” $2.006 million
3—“Hamilton,” $1.977 million
4—“Sunset Blvd.,” $1.870 million
5—“McNeal,” $1.438 million
6—“The Outsiders,” $1.425 million
7—“MJ the Musical,’ $1.359 million
8—“Hell’s Kitchen,” $1.316 million
9—”Oh, Mary!,” $1.225 million
10—“Aladdin,” $1.199 million
The complete list, courtesy the Broadway Guild:
And that’s Show Biz…
Diamond Head Theatre delivers a Christmas gift of nostalgia, in Irving Berlin’s “White Christmas,” in production through Dec. 15.
Inspired by Paramount’s film that was 1954’s highest-grossing hit, the stage show captures the heart and soul of the movie, via book by David Ives and Paul Blake, showcasing Berlin’s timeless music and lyrics that capture the spirt of the holidays.
However, the show has some issues.
Admittedly, there’s a lot of goodwill and cheer, thanks to the dedicated and dependable army of an ensemble of singers and dancers, garbed in vintage and vibrant costumes by Emily Lane. That’s definite a plus, visually and emotionally.
And the timeless Berlin tunes — “White Christmas,” “Happy Holidays,” and “Count Your Blessings Instead of Sheep” – make for an unforgettable stroll down memory lane.
Director-choreographer John Rampage, corroborating with Caryn Yee, stage impressive and spectacular tap dancing – who can resist tappers? – and lots of moves and momentum from the past, perfect for the timetable beginning at Christmas Eve, 1944.
The cast, led by Army buddies Bob Wallace (Adam Allison, in the Bing Crosby role in the film) and Phil Davis (David Sheftell, in the Danny Kaye role), are club crooners teamed as Wallace and Davis in Florida following World War II. They meet the Haynes Sisters, Betty (Lainey Hicks, in the Rosemary Clooney part) and Judy (Alexandria Zinov, in the Vera-Ellen role), known for their song-and-dance routine with blue feather fans, and they detour for Vermont instead of New York.
Their destination in Vermont is the Columbia Inn, which they discover is operated by retired general Henry Waverly (Joe Martyk) and is poised to be crowdless because there’s no snow. The entertainers commit to stage a show to attract patrons, and help raise funds for Waverly.
For me, the beacon in the show is Martha Watson (Mary Chesnut Hicks, radiating), a former Broadway star and currently the general’s housekeeper. The role in essence is a meddlesome woman, filled with wisecracks and humor, a wannabe trouper who radiates merriment of the holidays. Hicks has a couple of stirring numbers, “What Can You Do With a General,” performed with Bob and Phil, a solo on “Let Me Sing and I’m Happy,” and another beaut, “Falling Out of Love Can Be Fun,” with Betty and Judy.
However, the show is not without issues.
Wille Sabel’s hit-and-miss set design is a key distraction; apparently, there’s still designing challenges for the new DHT, which has been plagued with set shortcomings. The oversized backdrops – of Christmas ornaments, snowscapes – are serviceable and bright with Christmas hues. However, other set creations – tiny rooms, the nightclub scene, the unritzy front of the Regency Room in New York – reflect a lack of stagecraft funding and budgeting, resulting in clumsy and creaking sounds emanating when bulky pieces are moved on and off the stage. Dear Santa: Can you help boost funds for set design to match the riches elsewhere, like costumes? The oversized red-and-white box from which Wallace and Davis make one grand entrance was splendid, however. The red and black piano for the “I Love a Piano” number seemed to be out of sync of the times.
I’m no Grinch nor Scrooge; I love theater, and I’m a sucker for festive Christmas shows and songs. However, the continuing problematic sets become a detraction.
Happily, the finale complete with red Santa costumes and a reprise of “White Christmas” help elevate the holiday mood. And an audience sing-along before the final curtain, was a brilliant touch. And blissfully, the stage Christmas tree was twinkly and glistening, like a tree should be.
No complaints about Phil Hidalgo’s orchestrations, Jericho Sombrio’s sound, and Dawn Oshima’s lighting. Too, Akiko Shick’s hair and makeup for a cast of 30-plus is continuously remarkable.
Berlin’s “Blue Skies,” “How Deep is the Ocean,” and “I’ve Got My Love To Keep Me Warm” are reminders of his composing skills, non-Christmas fare with beaucoup appeal to seniors who remember singing ‘em in decades past.
Go see the show, to feel the glow. The finale snow is faux, but adds to the yuletide spirit.
Merry Christmas, one and all…
And that’s Show Biz…
‘White Christmas’
What: A musical with songs by Irving Berlin (music and lyrics) and book by David Ives and Paul Blake, based on the 1954 Paramount film.
Where: Diamond Head Theatre
When: at 7:30 p.m. Fridays and Saturdays and 4 p.m. Sundays, with select shows 7:30 p.m. Wednesdays and Thursdays and 3 p.m. Saturdays, through Dec. 15
Tickets: $41 to $68, at www.diamondheadtheatre.com or (808) 773-0274.