‘LA CAGE:’ GAY, GIDDY AND GLAM
Note: this column originally was posted on March 29, 2023, after “La Cage Aux Folles” opened at Diamond Head Theatre. The original art appearing here has been replaced with photos by Brandon Miyagi, which DHT provided a few days ago.
“La Cage Aux Folles,” now at Diamond Head Theatre, is a giddy and gorgeous musical bubbling with heart and hilarity, about a gay couple named Georges and Albin who share a home, a nightclub and heartbreak that test their longstanding relationship.
Georges (Guy Merola, grandly showcasing his tenor voice, with substantial operatic presence) operates “La Cage Aux Folles,” a hotspot in St. Tropez, France, where he is the supposed guy in a supposed hetero-homo lifestyle. His partner, Albin (Andrew Sakaguchi, in a career-best expedition as a gorgeous drag queen chanteuse, with abundant swish and sizzle), is the trans whose baritone soars to the high notes, on three-inch pumps and ultra glamorous wigs coupled with body-clinging gowns.
The narrative supposes this is a happy household, where Albin doubles as a “mom” to Jean Michel (Charles Ho, a cutie like the boy next door, who is the 20-something straight son of Georges) from a previous relationship named Sylvia, mentioned but not seen.
Guy Merola as Georges, Andrew Sakaguchi as Albin, the lovers in “La Cage.”
The wrinkle: Jean-Michel visits the couple’s apartment, which adjoins the sexy nightclub, to announce he’s about to marry g.f. Anne (Nanea Allen, also a cutie-beauty). Thus, the calm becomes chaotic, complicated and challenging, when the tempo and temperature rise.
Based on a play by Jean Poiret, with a book by Harvey Fierstein and music and lyrics by Jerry Herman, “La Cage” plays unabashedly gay, and preys on cliched and exaggerated manners, gestures and chatter.
But an undercurrent of traditional virtues and values — the respect for lifestyle choices that may not be the norm, the notions of acceptance and empathy, the bond of family harmony – echoes a rom-com involving two traditional lovers. Everyone, everywhere and everything become threatened by distortions, fibs and pretense, when, in fact, the show celebrates and humanizes the gayness of the leads.
Director John Rampage, a wizard of spectacle, has assembled a stellar cast to play out the different strains of the rainbow with sentimental turns without resorting to caricature. Sakaguchi doubles as choreographer, with swirls of clubby dancing, surrounding himself with the Cagelles decked out in eye-filling frou-frou. For the audience, it’s a guessing game to figure out which are women with plumes and sequins, which are men masquerading as exotic dancers on heels.
Merola, who is making a comeback after more than a dozen years away from the stage spotlight, has the best of times when his tenor works its magical spell. His handling of the “Song on the Sand” ballad, with those la-da-da-das, is captivating, and is generously heard twice (in Act 1 as a solo number, in Act 2 as a duet) with Sakaguchi’s powerful, pliable voice in both gentlemanly and womanly modes.
The tension and trauma unfold when the conservative parents of Anne, Edouard Dindon (Joe Martyak, perfect as a big shot bigot) and his wife, Marie Dindon (Kim Anderson, hilarious and open-minded) pay a visit to meet the parents of Jean Michel. The tangled play-out is over-the-top outrageous, but never falls to mockery.
A dinner with Georges (above, left) and Albin (below, right), at Chez Jacqueline Restaurant, formally introduces Jacqueline (Shari Lynn, in a cameo, repeating the role of the restaurant owner), enabling the dependable Shari to uncork her Jacqueline juice on “The Best of Times,” with Albin and Marie chiming in.
Composer Herman’s score is rich and savory, with two precise, enduring hits — the aforementioned “The Best of Times” and the be-who-you-are anthem, “I Am What I Am”–delivered with precision and pride in an empowering, ecstatic Sakaguchi interpretation that closes Act 1.
At the Saturday night (March 25) performance I attended, La Tanya Faamausili-Siliato’s sound was quirky and uncertain, crackling a few times with feedback. Ouch!
Phil Hidalgo’s music direction — silky smooth and smart, even employing an actor to “play” an accordion onstage — deserves a curtain call, but it’s impossible because the stage pit design disallows the bow. Quel dommage.
Madison Gholston’s first costume design assignment included a boutique-like array of garb, from showgirl glitz to snappy traditional men’s suits, from houseboy uniforms to the stunning formal glam garb donned by Albin, notably in Act 2. Bravo!
And makeup and wig designer Aiko Schick merits kudos for her flamboyant finery, in concert with the varied and imaginative hair design by Shaw Rodriguez. Magnifique!
Georges and Albin, seated, with the chorus of glam Cagelles in the background.
Steven Clear’s light design provided keen sheen, but Dawn Oshima’s set design was a wonderment, with limited utilization of the facility’s fly space, mostly lowering curtains and bejeweled ribbon drops and a couple of painted scenic. There’s still constant reliance of split-sets scenery of the Georges-Albin digs and a French promenade, wheeled out in sections on wagons instead of aerial drops (too heavy?) from the fly space. Porquoi?
“La Cage Aux Folles” reflects and embraces the joyous era of the musical with songs that audiences can sing or hum as they exit the theater. It also boasts a grand opening overture that includes the key hit songs, a formula of the prolific Rodgers and Hammerstein duo of yesteryear, still a requisite in revivals.
Andrew Lloyd Webber and the “Les Miserables” team of Claude-Michel Schonberg and Alain Boublil are among the creative forces who have followed the R&H format, with appealing overtures and scores that produce breakout hit songs. …
“La Cage Aux Folles”
A musical based on a play by Jean Poiret, with songs and lyrics by Jerry Herman and book by Harvey Fierstein
When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, and 4 p.m. Sundays, through April 9, plus extended shows at 7:30 p.m. April 15 and 4 p.m. April 16
Where: Diamond Head Theatre
Tickets: $27 to $52, at (808) 733-0274 or www.diamondheadtheatre.com …
And that’s Show Biz. …
BAKERY GOODIES, NOW AND THEN…
Let’s talk bakeries – and pastries.
First, a confession: I’m a fan of sweet treats. Life-long. Not the best of choices, but I can’t resist ‘em.
Some yummy things still exist. Many are long gone.
So, a reflection or two…memories you also may share.
Hall of fame, or gone but not forgotten:
- The lemon crunch cake, from the old downtown Alexander Young Hotel Bakery.
- The red velvet cake, from Sweetheart Bakery, in Makiki.
- The French doughnut, from Bill’s Bakery in Kapahulu.
- The peach Bavarian cake, from Kapiolani Bakery.
- The guava chiffon cake, from Delight Bakery, in Kalihi.
- The glazed blueberry cake doughnut, from Safeway Bakery.
- The custard pie, from Bea’s Bakery in Kaimuki.
- The Japan-style square whole wheat and/or white bread, from Shirokiya Bakery at Ala Moana Center.
- The humungous glazed yeast doughnut (I used to call ‘em “truck tires”), Kimura Bakery in Kaimuki.
- The circular crusted bread (don’t recall what it was named), from 9th Avenue Bakery in Kaimuki.
- The sweet bread rolls, from King’s Bakery (bakery gone, recipe still lives via national distribution and available at markets).
Still present and still delish…
- The coco puffs, from Liliha Bakery.
- The Napples apple turnover, from Napoleon Bakery, at Zippy’s.
- The Chantilly cake, from Napoleon Bakery.
- The malasadas, from Leonard’s Bakery.
- The apple fritters doughnut, from McDonald’s (all locations).
- The coconut haupia pie, served at the Halekulani Hotel’s Orchids restaurant, and apparently available as a dessert slice at the Halekulani Bakery and Restaurant at the Halepuna Hotel across the street from the hotel.
Some other wonderments
- The Halekulani’s popovers are legendary; back in the day, larger portions were available; now, a smaller version is a huge favorite at the Sunday brunch and served as part of the offerings. The popovers at Neiman Marcus’ Mariposa restaurant hit the spot, too.
- Are those malasada-like doughnuts, with fillings ranging from apple to custard to chocolate pudding still part of any bakery’s menu? Yes, nowadays, Leonard’s malasadas have fillings, too.
- Are you a fan of the trendy upscale doughnuts topped with everything like bacon, cereal, nuts of all kinds and laden with specialty frostings?
- Anna Miller’s at Pearlridge used to make its marvelous strawberry shortcake; is it only a seasonal offering, or is it off the menu for good?
- Costco’s bakery options are great for the prices, but the gotta-buy-12 muffins or a dozen large croissants are overwhelming for a household of two. And if you savor the portions, the pumpkin, custard, and apple pies will feed an army. Well, you know what I mean.
Feel free to add your faves to the discussion. Yum’s the word…
NEXT FOR DISNEY: LIVE-ACTION ‘MOANA’
Now it’s “Moana” that will get that live-action Disney touch.
Dwayne Johnson, below, left, who voiced the demi-god Maui in the original animation film, announced from Honolulu yesterday that the Mouse House is planning do a live-action version of the animated 2016 hit that has grossed $644 million since.
Johnson will produce the newbie via his Seven Bucks Productions company, partnering with Danny Garcia and Hiram Garcia.
And Auli ‘i Cravalho, right, the native Hawaiian actress from Kamehameha Schools who voiced Moana and sang the Oscar-nominated hit tune, “How Far I’ll Go” in the film, will be back – but not playing the titular role nor on camera.
She is too old now, and has been focusing on building her career outside of the Disney franchise (she’s doing the movie, “Mean Girls the Musical: The Movie”) but will be on board as a producer instead, with Scott Sheldon of Flynn Picture Co.
Aside from Johnson, a cast is not yet set, so auditions for roles likely will begin in the weeks ahead, surely in Hawaii.
The animated “Moana,” with Johnson as Maui and Cravalho as Moana.
The “Moana” live-action project comes as Disney just recently announced plans for a live-action “Lilo & Stitch,” an island-based production that will star a Big Island lass, Maia Kealoha, as Lilo. She has no previous acting experience but likely will emerge as a certified film star by the time the movie is released.
A search also is on for a Stitch, whether a live actor or a CGI creation, which will need a voice, too.
A director for the new “Moana” has not been named, but Jared Bush, who wrote the screenplay for the original movie, will pen the remake, along with Dana Ledoux Miller. John Musker and Ron Clements who directed the original movie, from a story by Clements, Musker, Chris Williams, Don Hall, Pamela Ribon, Aaron Kandell and Jordan Kandell; the Kandells have Hawaii roots. Bush was the sole credited screenwriter.
“This story is my culture, and this story is emblematic of our people’s grace and warrior strength,” said Johnson. “I wear this culture proudly on my skin and in my soul, and this once-in-a-lifetime opportunity to reunite with Maui, inspired by the mana and spirit of my late grandfather, High Chief Peter Maivia, is one that runs very deep for me.”
Cravalho, who helped shape the protagonist in the original film, said Moana’s reach is sweeping. “She has had such a profound impact on how we think of Disney princesses. Moana’s strength and perseverance are inspiring—to audiences around the world, to me, and to everyone who helped bring her to life. I’m looking forward to sharing her story in a whole new way.” …
Remembering Phil Arnone
Friends, family, and colleagues of the late Phil Arnone, the GOAT of cultural and entertainment specials, gathered at the Outrigger Canoe Club today (April 3) to pay homage, share stories and simply remember the glory, the accomplishments and the irreverence of the island-style TV documentaries, game shows, children’s shows and news broadcasts Arnone either produced or directed largely on KGMB.
His widow, Michelle Honda, assembled the gang and Arnone’s team of specialists involved in at least 50 shows he formatted and oversaw in his prime time “retirement” doing what he loved: making TV with watchable and wonderful programs.
Arnone died Feb. 12 at age 86, and folks like Dan Cooke, Larry Fleece, and Robert Pennybacker (the latter two, via scripts read by Cooke) reflected on the Greatest of All Time dude aka Mr. Television. From newscasts featuring Bob Sevey to “All in the Ohana” with Andy Bumatai and Linda Coble, from “Bingo” shows with Karen Keawehawai‘i, above left, and Kirk Matthews, to “Hawaiian Moving Company” with Kamasami Kong and Michael W. Perry, and from“Checkers and Pogo” to Rap Reiplinger, Arnone did ‘em all, and his professionalism and fingerprints were the common denominator.
Leslie Wilcox’s earlier PBS special on Arnone was the prime resource of the key interview, because in his prolific career, he was always the interviewer and researcher on his subjects, and never the interviewee.
Jerry Santos, right, the beloved Hawaiian entertainer, rendered “E Kuu Home O Kahaluu,” because that’s the number Arnone always asked him to share; Karen Keawehawai’i didn’t call out Bingo numbers, but yodeled beautifully; and Phil’s son Tony Arnone , left, brought his cello for a classical treatment of “Pearly Shells” and “Aloha Oe,” and said he forgives his dad for naming him Tony Arnone, which he had to live with while growing up. .…
And trusty Dennis Mahaffay, Arnone’s longtime buddy on the TV turf and life, documented the lovely program that should provide another kind of documentary that Arnone is awaiting to see from his heavenly perch. …
And that’s Show Biz. …
ISLE FILIPINO BOY IN ‘LES MIZ’
A Filipino American child actor from Hawaii is the latest to join a growing list of accomplished performers in high profile roles.
Milo Maharlika, 9, a fifth grader, joined a touring company of the Tony Award-winning “Les Misérables,” in the featured role of Gavroche. He made his debut March 31, in a Durham Performing Arts Center staging of “Les Miz” in North Carolina, which will embark on a 12-week tour over the next six months.
As Gavroche, Maharlika (pictured below) solos on “Little People,” the tune that boasts a can-do attitude of a youngster.
Or, as the lyrics say, “The world is big, but little people turn it around!” In context of the show, Gavroche is a young patriot who does his best to work among adult soldiers amid the barricades, based on Victor Hugo’s compelling French Revolution novel, transferred to the Broadway stage and subsequently, in a film.
He’s the first Filipino actor to play this role—customarily cast with Caucasian lads, and infrequently Asians – in the U.S. One of the early Hawaii actors to portray Gavroche in the 1990s was Jason Tam, who performed in the show here as well as on Broadway, and since has developed into an adult Broadway star with such notable credits as “A Chorus Line,” “Jesus Christ Superstar” and “Be More Chill.” Islander Ryan Rumbaugh also took on the role, too. …
‘Kamusta, Pilipinas!’
If you have relatives in the Philippines, might want to inform them that “Hamilton” is heading for the Philippines in September.
Show creator Lin-Manuel Miranda was in Manila a few days ago and told media that his award-winning show will be staged at The Theater at Solaire.
“Kamusta Pilipinas!” (Hello, Filipinos), Miranda said prior to sharing a video of his hit show. He also acknowledged that there are several actors in his company of shows who are Filipinos, including Marc dela Cruz (pictured right), from the Big Island, in the flagship Broadway company. It’s not likely for dela Cruz to join the touring company on tour, though Filipinos in the cast would boost ticket sales.
“Now we get to bring the show to your beautiful country very soon,” Miranda said. “I can’t wait for you to see it.” …
And that’s Show Biz. …