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DIRECTOR’S LIFE IN THE CAST LANE

Casting a major Broadway musical – well, for any show, whether a musical or a drama – is no picnic.

A director generally conducts auditions to seek his talent. But he or she might have a trick or two and the Midas touch to secure his performers.

In John Rampage’s case – he is directing the Jerry Herman musical, “La Cage Aux Folles,” which opens Friday night (March 24) at Diamond Head Theatre – and lightning struck brightly for him, since he reaped his key performers largely from previous associations with the men and women he discovered.

John Rampage

In his director’s notes in the show’s playbill, DHT’s artistic director admits how his memory of previous alliances with his actors were factors in filling his dance card.

Andrew Sakaguchi

Andrew Sakaguchi, portraying the difficult trans part of Albin, was a youth actor who has matured marvelously, and sang “I Am What I Am,” a show-stopping  anthem from the score, at a previous DHT Sunset Serenade during the pandemic.

So the tune already was in Sakaguchi’s repertoire and he starred in “Anything Goes,” the final show in DHT’s now demolished theater, which was the current season’s first show. Rampage approached Sakaguchi, without an audition; “I realized that he’s now the right age to take on this demanding, triple threat role,”, he says — and got not just a yea response, but a bonus offer to choreograph the show, too.

Tenor Guy Merola as Georges, the owner of the club La Cage Aux Folles and Albin’s longtime partner, had the right voice and previously played opposite Sakaguchi in a production, “so there was a natural connection between them,” says Rampage.

Shari Lynn

For the part of Jacqueline, who belts out “The Best of Times” with Albin in the show, it was easy. Shari Lynn, a pal of his who is one of the town’s musical gems, called to inquire if he’d consider her to repeat her performance (she did the part in a 2006 production). “I love having the chance to reminisce and joke with her during rehearsal breaks,” he says. Nothing like have good friends in the right places at the right time.

The part of Edouard Dindon went to Joe Martyak, who did a number of DHT shows prior to moving to Washington D.C. was sympatico, with a twist. Early rehearsals had to be done remotely. “No one that auditioned for Marie Dindon was quite what I was looking for, so I put on my thinking cap and gave a call to Kim Anderson,” says Rampage. Her last DHT show was “Charley and the Chocolate Factory,” in which she starred as Willie Wonka, which brought out her comedic skills, and despite the fact that her character doesn’t appear till Act II. Anderson – playing against type – will likely get some of the biggest laughs.

It’s always fun to cast the Cagelles – nine of them – to play the feathered, bejewelled night club showgirls;, three players identify themselves as women, not men in drag. So the audiences get the opportunity to sort out the he’s from the she’s …

   
Broadway grosses, for week ending March 19

“The Phantom of the Opera” and its music of the night composed by Andrew Lloyd Webber continues to be the blockbuster of Broadway, grossing over $3 million for the A week ending March 19.

The Phantom’s journey, for 35 years, will end April 16, when the chandelier will descend for the final time at the Majestic Theatre.

Here are the top seven shows and their box office figures, courtesy the Broadway League:

1 –“The Phantom of the Opera,” $3.25 million.

2 – “The Lion King,” $2.25 million.

3 – “Hamilton,” $2.15 million.

4 — “Wicked,” $2.04 million.

5 – “MJ,” $1.742 million

6 – “Sweeney Todd,” $1.679 million.

7 – “Harry Potter and the. Cursed Child,” $1.627 million.

And just a skosh behind: “Moulin Rouge,” $1.567 million, and “Jonas Brothers,” $155.6 million. …

The full list:

Broadway is buzzing with new arrivals, too.:

 Just opened: “Parade,” “Bob Fosse’s Dancin’,” “Bad Cinderella,” “Sweeney Todd.”

In previews:  “Life of Pi,” “Shucked,” “Camelot.”…

And that’s Show Biz. …

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HOW MANY DOCTORS ARE TOO MANY?

Just asking…

How many doctors do you regularly visit?

And how many is too many?

Back in the day, life was simpler. You had one doctor for everything: a cold, a stiff neck,an aching stomach, a bruised chest. Two, if you included a dentist.

And way, way back, your doctor possibly made home visits. (Young ones, ask your grandparents).

How life has changed.

Nowadays, I count five doctors in my life.  Si, if you include my dentist.
My primary physician also is a rheumatologist, and he’s the one I see most regularly.

But I also have a cardiologist, a back pain doctor, an eye doctor, and a urologist. Plus a dentist.

Not so regular, in terms of visits: a back doctor, a dermatologist, an oral surgeon, and an ear-nose-throat specialist.

Oh, forgot one: I had two visits with a gastroenterologist over a decade or so, but stopped doing colonoscopies.  

Is it because of age, when you tend to have more problems that require a specialist?

Or is it the way of life now, where you have issues that your primary doc can’t handle, hence referring you to a specialist?

So how many docs are in your life?

Just asking…

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MAKUAKANE STAGING ‘MAHU’ SHOW

“Mahu,” a Hawaiian dance spectacle including transgender hula dancers, will be staged at 7p.m. Saturday (March 25) and at 2 p.m. Sunday (March 26) at Leeward Community College

Kumu hula Patrick Makuakane, whose work with Nā Lei Hulu i ka Wēkiu of San Francisc has made an imprint in the hula community, has  assembled a cast of mahu troupers, whose distinct musical and visual  style embraces the exotic, an essential trademark. Makuakane’s choreographic vision of ecstasy punctuates a provocative vibe with featured guest artist Kaumakaʻiwa Kanakaʻole, from the fabled Kanaka’o ‘ohana on the Big Island.

The production likely will also be fashion show with plenty of sparkle and glitter.

Patrick Makuakane

“Each song, dance and luxuriously-sequined garment was chosen as a deliberate opportunity to be extravagant, or at the very least pleasurably provocative,” said Makuakane in a statement. “No fillers allowed.”

Makuakane has Hawaii roots and studied hula with Robert Cazimero’s Na Kamalei O Lililehua, among others,  before venturing to San Francisco to carve his own innovative brand of Hawaiian dance, with modern influences.

Tickets: $40 to $60; a pre-show reception, with a $25 upgrade fee, will include early admission to the show, plus desserts, with a likely opportunity to meet and greet a few mahu or two.

Box office: (808) 455-0385 or visit ltheaatre@hawaii.edu …

Cruz will preview ‘Hawaiian Art’ tunes

John Cruz and his band will give a private preview of tunes from his original musical, “Hawaiian Heart,” from 11 a.m. to noon Friday (March 24) at a studio at the Hawaii Kai Shopping Center.

John Cruz

An EP of four tunes from the homegrown musical has been released, so Cruz –- known for his “Island Style” hit song – will preview the new tunes with Taiana Tulley and Bronson Varde, who are the leads in the movie.

“Hawaiian Heart” is described as  a musical rom-com about Lani, a young woman returning home to Kauai for the first time in years, reuniting with her high school sweetheart.

Cruz serves as music supervisor for the project but will have a supporting role in the show, which is directed by Josh Goldman. Cruz and Goldman are co-writers of the 15 songs in the soundtrack. …

Remembering Phil Arnone
A private tribute for the late Phil Arnone, the prolific news producer and prized documentary director, will be held April 3 at a private location.

Phil Arnone

His peers and pals, from the broadcasting world to the entertainment community, will recall and salute his brilliant career as well as his quirky irreverence. He has been rightfully dubbed “Mr. Television,” and his buddies know him for his sense of humor, so wife Michelle Honda hopes the gathering will be a time to share memories and tales about Phil, who shaped and changed the TV programming landscape because of his vision and passion to story-tell, not just about entertainment personalities but profiling such Honolulu landmarks as Kapiolani Park.

Phil died Feb. 12 at his home. Rightfully, he deserves the kind of documentary treatment he bestowed on scores of folks who made a difference in our lives and in TV coverage. I know he hoped to do a couple of shows, but couldn’t proceed because of health issues.

Somebody, somewhere, sometime soon? A Phil salute is beckoning.  …

And that’s Show Biz. …

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A HALAU OF A (CAZIMERO) SHOW

It was halau of a show –artistically stunning, emotionally celebratory — proudly championed and shaped by the incomparable Robert Uluwehi Cazimero.

For kumu hula Cazimero and his hula disciples from Na Kamalei O Lililehua, yesterday’s sold-out performance at Leeward Community College Theatre was a benchmark event, a prelude to a likely series of performances leading up to Na Kamalei’s 50th anniversary in two years.

Cazimero and his two dozen gents have been popular attractions on the hula horizon, though like everyone everywhere else, took a break during the stifling three-year pandemic hiatus.

So the long overdue fund-raising hoike of sorts was a much-anticipated cultural event. So many hula types and A-list Hawaiian entertainers were among the crowd.

Sometimes, the gents sing…

For the dancers – the “then” group and the current crop – it was a major outing, like those long-gone Cazimero May Day and Christmas events.

For the audience – who have followed and witnessed Na Kamalei’s success – this was a continuation of a shared journey. The intermission was ripe with whopping howdy-dos, hugs and kisses, long-time-no-see expressions, and catch-up-and-talk story reunion. The spectators brought lei and sweets for the king of ho’olaulea, and leadership and fellowship were evident.

Quick recap:

— This is one heck of a halau; the fellas generally sing while dancing, adding modernity to some of the fun stuff. Yep, there are kahiko and ‘auona moments, but humor and joy are ingredients in the choice of material and execution.

— The lads are always immaculately and stylishly costumed, whether it’s ti leaf motif, aloha shirts and jeans, dress shirt with tie. The looks matter, and the hues are coordinated.

— Almost always, fresh lei adorn the dancers’ necks. Sometimes, nut and shell leis rule.

Robert Cazimero at the piano, best-buddy Kaipo Hale sharing memories.

— There are selective surprises. The return of prolific Kaipo Hale (Cazimero’s best buddy) to reflect on what it’s like being in the halau ranks, circa 1975 in the awkward but savvy launch of the group, was a joyous revelation of lessons learned, never forgotten, and the links of brotherhood camaraderie gained.

More often, the gents hula

— Cazimero attempted to theme his playlist, beginning with a projection of his personal desk at home, where his brainstorming and theories evolve.  The mele here began with a casual “War Chant,” and familiar fare featuring hula soloist  U‘ilani Lum on “Kuamo ‘o,” Ki Quilloy singing and Kaohi Daniels dancing on “Destiny,” and Zach Lum sharing his falsetto tones on “Ahulili.” A Travel Desk segment uncorked a splendid Big Island medley of “Ho’ea,” “Keawa ‘iki,” “Kona Kai Opua,” and “Mahai‘ula,” and a rhapsodic Punahele Moleta treatment of “Ikona” with hula by Sky Perkins. And dancer  Parker Spencer had his moment of glory, with swishing arms, on the ensemble hula to “Little Grass Shack.”

— After intermission, “Hula Guys” with the dancers also vocalizing, reflected the kind of sustenance within the halau.

— Further, the gents’ trademark “Teve Teve,” choreographed by Cazimero in the salad days of Na Kamalei, was a positive remembrance of song/style fusion, with an element of double-entendre naughtiness, that has characterized the brotherhood’s legacy.

— Cazimero was unusually chatty throughout the show, though his miking could have used a bit more juice to make him properly heard. He seemed a bit uneasy to launch an In Memoriam segment – should he or shoudn’t he? – and he did, with visuals of about two-dozen former gents who have gone to the giant halau in the sky over the nearly five decades of operations.

— I wondered if “Waika,” a classic staple in the repertoire, might be revived, and surely, it wound up as the finale number, with Robert singing with his gents from  at his usual keyboard perch, then walking to the front of the stage to convert the vocal into an a cappella specialty to close the show, with other previous gents and hula soloist Lahela Ka‘aihue joining in. …

And that’s Show Biz. …

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2ND SHOWING FOR ‘DEFINING COURAGE’

It began with the posting the flags, by the 100th/442nd Infantry Regiment Honor Guard, followed by the singing of “The Star-Spangled Banner.”

Initially, the sell-out audience stood, but the voices were scanty, building up as more joined  the chorus of folks proudly singing and demonstrating their patriotism.

This was at the Hawaii Theatre last night (March 18), at a “Defining Courage” screening that saluted and glorified the Nisei soldiers – largely from Hawaii – during World War II.

For those who missed it, a second screening will be held in April. So secure tickets, pronto, to avoid disappointment. On many levels, “Courage” is a winner.

The immersive program was a unique first — part documentary, part lecture with visuals, part history lesson, part musical concert,  part salute to unsung heroes.

And wholly emotional, engaging and enlightening.

With Emmy-winning Los Angeles co-producers David Ono (who served as narrator) and Jeff MacIntyre (who handled behind-the-scenes needs as show director), “Defining Courage” was a celebration of the legacy of American wartime heroes, in vintage footage with more recently site visitations that demonstrated the valor and diligence of AJAs (Americans and Japanese Ancestry), in battles in France, Germany, Italy, Okinawa and Hawaii, who were instrumental in turning the pages of history to win the war.

It’s still a work in progress, and each performance in different cities,  will vary. Actress Tamiyn Tomita, who introduced the film, was right on target when she ID’d the screening here as “Defining Courage, Aloha Edition.” Aloha was plentiful on screen, and in the theater.
Among the hundreds of spectators were families and relatives, whose grandfathers and fathers, served in the Army in the era depicted. The movie was a time for joy and tears, and loads of hurrahs and aloha.

Without a cheat sheet, to properly ID the luminaries on screen, I regrettably won’t chance it in fear of misspelling the names of GIs and battles depicted.

So, some random observations instead:

  • The indominable spirit of the Nisei soldiers light up the screen; the scenes of their desire to serve and carry on the torch to victory, are emotional and incredible.
  • A few soldiers kept journals, with sketches, that inspired and shaped the documentary; there are shared notebooks with hand-written, first-hand memories that should be shared with future generations.
  • A small band of musicians, led by pianist-conductor Chris Wade (with Ericka Bar-David on violin, Kamuela Kahoano on guitar and ukulele, and Sibora Miloradovic on cello) performed periodically during the film, with alternating vocals by choir members (Jody Bill, Michael Covert, Andy Degan, Barrie Kealoha, Lauren Hanako Kincaide, Landon Lee and Emi Sampson) singing solo and/or as an ensemble. The newly minted numbers provided a new dimension to the visuals, with touching lyrics performed by powerful voices, but titles and composers were not properly identified in a hand-out program flyer.
  • One of the on-screen heroes known throughout the world: the late Daniel K. Inouye, who served in the war, where he lost an arm, and as a civilian he served as Hawaii’s senior Congressman for decades.
  • Two current icons – volunteers Jane Kurahara and Betsy Young, from the Japanese Cultural Center of Hawaii — are depicted in a brief segment regarding the efforts to establish and restore Honouliuli as a national park and historical site, for its wartime internment camp in the Ewa plains.
  • Journalist Ono several times mentioned that the history books should be rewritten to include precious details and stories that recognize the valor and service of 100th 442nd soldiers who gave their lives. It might be prudent, too, to remember the 442nd battle cry, “Go for Broke,” which was not remembered or uttered in the program. And the 100th already has a nickname, 1-puka-puka, for its zeroes. Perhaps the 442nd “Broke” slogan could be properly recognized in the second presentation at 7 p.m. April 23, again at the Hawaii Theatre. Tickets: $25 to $50, on sale at www.hawaiitheatre.com or  text (808) 528-0506. …

And that’s Show Biz. …