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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. …

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THREES MATTER IN ‘TICK, TICK BOOM!’

Good things come in threes, so the saying goes, and in Manoa Valley Theatre’s Hawaii premiere of “Tick, Tick…BOOM!,” the little off-Broadway musical with genuine appeal, threes matter. A lot.

First: the title is comprised of three words.

Second: there are three in the cast.  Jon (short for Jonathan Larson) is portrayed by Taj Gutierrez;  Michael, Jon’s buddy and roommate, is enacted by Kimo Kaona; and Susan, Jon’s girlfriend, is played by Emily North. I saw these three last Saturday (March 11), but the three roles are double-cast with three  other actors (Moku Durant, Ian Severino and Bianca Tubolino, in selected performances, (March 17 and 19, plus all Saturday matinees).

Third: the performers hop to and from three staging zones — stage left, stage right, and right in the middle. The central floor displays three rugs, for no particular reason. But  see, good things come in threes.

Jon is struggling to complete his first show, by the time he’s 30. And the clock is ticking. The angst is mounting. The frustration is elevating stress.

Kimo Kaona as Michael, Taj Guitierrez as Jon, and Emily North as Susan, in “Tick, Tick…BOOM!”

Gutierrez is a revelation, with charismatic presence, a bold and sustaining voice, and an appealing conversational stance – especially in monologues, like he’s taking straight to you. But Guitierrez’ agility also is astounding, as he prances and dances from one staging area to another, never breathless, always in character. Catch him if you can; he makes you a believer that he is a thespian with ambition and hope.

Michael is threatening to move out to a better space, and does, and he has a BMW that reflects his success and lifestyle. He’s got a more sensible analysis of life, so exits the zone of the beleaguered stage wannabe and makes the leap into the business world. Kaona, however, is the kind of a dependable HIV buddy who is loyal to the core, and can still provide a shoulder for his script-writing pal, and puts his dreams of a normal life with wife and family on the back burner.

Meanwhile, Susan wants Jon to move in with her, to eliminate the commute (two subways and a bus trek) and she  yearns to get married , relocated to Cape Cod, and stands by her convictions and challenges Jon to make firm decisions.

Set in 1990 in New York, “Tick, Tick…BOOM! Is personal, precise, minimalist and autobiographical, a portrait of a cliched Broadway wannabe, with that dire goal to finish a show by his 30th birthday. The dream  puts more pressure on himself that undermines his day-to-day doings. Jon waits tables  at a diner; his role model of efficiency and success is Stephen Sondheim, the prolific and legendary songwriter, whose name Jon only “mouths,” not utters, and SS commits to come to the workshop if and when Jon completes his play.

Jon is abundantly disappointed, when workshop attendees don’t include a producer or two who might take a chance on staging the show, but at Jon’s birthday party thrown by Susan, he gets a phone call and message from Sondheim that he doesn’t respond to. Part of Sondheim’s wisdom: Jon’s finished his first play, but he should immediately engage in his second. Argh!

Elyse Takashige’s set design strips the shoebox theater into a one-scene “open” space, with no second-level acting space, with four musicians, including pianist-musical director Jenny Shiroma, who are literally part of the action, like a studio unit  with the three principal “band” instruments of bass, guitar and drums. There are stand-up mikes that augment the body mikes of the performers, resembling a recording studio.

Director-choreographer Mathais Maas is tasked with more direction than dancing, maintaining a balance of staging his principals in the trio of  work spaces.

An off-Broadway production featured Lin-Manuel Miranda as Jon, who had his own dreams and bouts with creativity without the binding deadlines. Miranda directed last year’s film version of “Tick, Tick…BOOM!” starring Andrew Garfield as Jon, in an expanded screenplay and a delicious roster of real-life Broadway luminaries in splendid cameos.

In this stage telling, as in the film, Jon’s debt to Sondheim is reflected in the song, “Sunday,”  which is a tribute Sondheim’s trademark “Sunday in the Park With George.”  It is one of two stellar contributions in the score; the other is the profound “Larger Than Words,” delivered by all three actors as a “company” number that brings down the final curtain.

A footnote: Jon did complete a second production, “Rent,” which would become his signaaure show. On the eve of its debut, he died from an aortic aneurysm,  so ironically, he never got to live or enjoy the riches of hurrahs and successes (like the Tony Awards) that tick-tick-boomed in his soul.

In the end, Jonathan Larson’s plays numbered three – “Siberbia,” “Tick, Tick … BOOM!” and “Rent.”

See, threes matter. ..

And that’s Show Biz. …

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“Tick, Tick…BOOM!”

A pop-rock musical by Jonathan Larson

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays and Sundays, through

Where: Manoa Valley Theatre

Tickets: $24 to $44, fees included; discounts available for seniors and youths, at https://www.manoavalleytheatre.com/shows-tickets

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‘CHINESE’ UNITES ‘EVERYTHING’ STARS

The impact of  “Everything Everywhere All at Once,” the wonderfully wacky multiverse that buoyed the viability of Asian performers – think Michelle Yeoh and Ke Huy Quan, both Oscar winners this past Sunday in the Academy Awards – will get additional inclusive boost in Disney+’ upcoming series, “American Born Chinese,” streaming beginning May 24.

Michelle Yeoh, with “American Born Chinese” hands on deck.

Yeoh, this year’s Best Actress, and Quan, who picked up the Best Supporting Actor statuette, will both appear in “American Born Chinese.”  Stephanie Hsu, a nominee for Best Supporting Actress from “Everything,” will also be aboard.

Destin Daniel. Cretton

We earlier  reported that this series is based on the 2006 graphic novel of the same name by Gene Luen Yang.   And the project has an island link: Maui’s Destin Daniel Cretton (Marvel’s “Shang-Chi and the Legend of the Ten Rings,” “Short Term 12”) is set to direct and additionally serves as executive producer.

“American Born Chinese” deals with a regular guy Jin Wang, facing the strains of high school social life and home friction. He’s entangled,too, in a battle of Chinese mythological gods, so expect a multiverse embracing seasoned Chinese actors on screen (some with kung fu skills) and a team of notable behind-the-camera vets including  Melvin Mar and Jake Kasdan, both involved in the Hawaii-fimed “Doogie Kamealoha, M.D.” …

Cruz to preview ‘Hawaiian Heart’ tunes

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

John Cruz

An EP of five tunes from the homegrown musical has been released, so Cruz – widely known for his “Island Style” hit song – will preview the songs 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.

Broadway grosses, week ending March 12

Not only is “The Phantom of the Opera” the hottest ticket on Broadway since January;  the Andrew Lloyd Webber production also is receiving a staggering $497 high for tickets. Prices escalated in January, with standing-room-only at the Majestic Theatre, attracting folks who want to see the chandelier fall again. Or for the first time.

New arrivals on the Great White Way includes revivals of “Sweeney Todd” and “Parade,” so expect new faves in the weekly gross listing.

The top seven:

No. 1 – “Phantom,” with $2.740 million.

No. 2 – “Hamilton,” $1.915 million.

No. 3 – “Funny Girl,”  $1.850 million.

No. 4 – “Sweeney Todd,” $1.805 million.

No. 5 – “Wicked,” $1.689 million,

No. 6 – “The Lion King,” $1.637 million.

No.7 – “MJ,” $1.564 million.

The compilation, courtesy The Broadway League:

And that’s Show Biz. …

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OSCAR VIEWERSHIP REBOUNDING

It wasn’t just a grand night of winning for the cast of “Everything Everywhere All at Once,” which earned seven Academy Awards in ABC’s telecast  Sunday night (March 12).

The Academy of Motion Pictures Arts and Sciences, won too , in the overnight Nielsen’s ratings, attracting 18.7 million viewers in the 95th Oscarcast.

It was the best performance and a rebound mode for the Hollywood org., with Nielsen polling showing a 12 per cent gain over last year’s Will Smith’s slap-in-the-face sideshow, seen by  16.7 million viewers. Further, the show gained a 4.0 rating in the coveted demographics of 18 to 49, marking a 5.3% increase over last year.

And perhaps the Oscars might have brought a new respect and a return to loyalty to sit and watch an awards show. The Oscars did far better than this year’s Grammys, which pulled in 12.5 million and a 2.9 rating in the demos. The last Emmys didn’t do well, either, watched by 5.9 million and a rating of 1.2 last year.

ABC execs are awaiting the next-day adjustment of ratings number, expected on Tuesday (March 14), anticipating a bit more juice in viewership numbers, expressing some fears that the Daylight Savings Time early Sunday morning might have confused potential watchers.

Ratings for the Oscars have been critically lower in recent years hitting a record low in 2021 of 10.5 million viewers and a 2.2 rating among the key adults 18-49 demographics. …

Some reflections:

I did pretty well, in the predictions in seven categories. The one I stumbled over was Best Actor. I figured Austin Butler, as “Elvis,” would be a shoo-in, a bona fide actor singing and shimmying like Presley. Brendan Fraser was a worthy winner, for playing the overweight “whale” in “The Whale,” but 75 per cent of his win should rightfully be shared by his prosthetic creator.

Oscar winners, from left: Ke Huy Quan, Michelle Yeoh, Brendan Fraser, Jamie Lee Curtis. Getty Images.

There was uniform agreement that “Top Gun: Maverick,” the stellar sequel with Tom Cruise, brought audiences back to the movie theater to watch a movie. That the film earned just one Oscar, for Best Sound, is ludicrous. And he wasn’t a nominee, so it’s no surprise Cruise skipped the show.

Cheerleader of the night? The indefatigable Jamie Lee Curtis, the “Everything” Best Supporting Actress,  whose early win set the tone and the pace for the final outcome. At 64 and never been a trophy winner (or nominee) throughout her career, she deserved the laurels and clearly she’s not a name-dropper; betcha today’s young film-goers don’t know she’s the daughter of Tony Curtis and Janet Leigh.

Comebacker of the year? Best Supporting Actor Ke Huy Quan, 51, also from “Everything,” was a kid actor in an “Indiana Jones” caper, but was unable to land a major project like this year’s biggie. His acceptance speech was genuine, heartfelt joy for years of dreams, hopes and patience. That onstage hug with Best Film presenter Harrison Ford  was a keeper. And weeper.

Michelle Yeoh, 61, had to wait nearly forever to snag her Best Actress (“Everywhere”) statuette. She and Quan made film history, being  the first Asians to win in their respective category, signaling the inclusion of Asians in the Hollywood multiverse. Betcha a sequel will arrive in two years (audiences expect it) but history repeating itself? Hmmmmm.

And as good and alarming as it depicted the brutality of war, Netflix’s “All Quiet on the Western Front” (Best International Feature Film) won several technical awards. War is hell, but did we really need this, while war is seen nightly  on your TV screen?

And can we return to the old formula of limiting Best Feature Films to five titles instead of the current 10?

With sew many (get it?) gowns focused on bras with open midriffs, peek-a-boo fabrics and trains that waited for an accident to happen, it’s a wonder no wardrobe malfunctions were reported or recorded.

Lady Gaga.

While I picked that Indian novelty, “Naatu, Naatu” as Best Song, mostly because that vigorous choreography in the film,  the most commercial tune with abundant pleasure is/was Lady Gaga’s “Hold My Hand,” heard in the end credits of “Top Gun.” Her live vocal delivery on the Oscar show was pure, powerful and potent – delivered in black T-shirt and jeans — perhaps a wider audience will embrace the tune in the weeks ahead.

I miss the Old Hollywood, when the likes of Meryl Streep, Harrison Ford, Jack Nicholson, Elizabeth Taylor, Richard Burton, Sean Connery,  Julie Andrews, Kirk Douglas, etc. would be in the front rows of the theater, kibitzing, hugging, sharing camaraderie. Many have gone to the screens in the heavens, but few surviving Hollywood greats have not earned the clout of yesteryear’s screen faves. …

Hawaii Kai gaining new eateries

With the closure of Zippy’s Hawaii Kai dining room in the Koko Marina Shopping Center and the exit of Outback Restaurant at the Hawaii Kai Towne Center, it’s good news to learn that new kau kau options await.

Later this month, Scratch Kitchen will take over the site of the Outback Restaurant, joining the family of established eateries at Hawaii Kai Towne Center, Roy’s and Maile’s Thai Bistro.

And expect Paradise Poke to join the dining community in the space next to Starbuck’s at the Towne Center.

And next to Zippy’s at Koko Marina, a new tenant is prepping for an opening later this year. There is hope for the hungry crowds. …

And that’s Show Biz. …

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OSCARS? ‘EVERYTHING’ SHOULD WIN

Here’s everything you need to know about the Academy Awards this Sunday (March 12):

“Everything Everywhere All at Once,” the box office hit with multi-maximum-mashups of comedy, crime drama, karate, flashbacks and familial immigration conflicts, is anticipated to take home a large share of the Oscar statuettes. Its original multiverse should make “Everything” this year’s “Parasite” (the previous surprise Oscar winner from Korea) the big, deserved winner.

The 95th annual Academy Awards, hosted by Jimmy Kimmel, will air on live from 2 p.m. Hawaii time on Sunday (March 12) on ABC. It will also stream on ABC.com, Hulu Live TV, and YouTubeTV.

My predictions, in seven key categories:

Michelle Yeoh and The Daniels, Daniel Scheinert and Daniel Kwan.
  • Best Picture: “Everything Everywhere All at Once.” With 11 nominations and already a clutch of industry awards, it likely will make a sweep. It’s joyous mayhem – a looney and loopy concoction, not easily explainable – but a hilarity to watch. Imagine the @ icon fused with the # pound sign, connected with the & ampersand, finally with the ! exclamation point. Yep, @#&! defines the lunacy.
  • Best Director: The Daniels (Daniel Kwan and Daniel Scheinert),“Everything Everywhere All at Once.” The two Danny Boys also have already snared a bunch of awards…. but Oscar would be the tantamount prize and universal applause and acceptance.
  • Best Actor: Austin Butler, “Elvis.” He was not an impersonator in this biopic, but he fused the moves and manners and music to create the magic that was the King.
  • Best Actress: Michelle Yeoh, “Everything Everywhere All at Once.” Yeoh’s the word, and she represents the new wave of conquests for the Asian community.
  • Best Supporting Actor: Ke Huy Quan, “Everything Everywhere All at Once.” The kid from “Indiana Jones” is a 51-year-old man now, and also riding the positive crest of new Asian (he’s Vietnamese) accomplishment and acceptance.
  • Best Supporting Actress: Jamie Lee Curtis, “Everything Everywhere All at Once.” Scream she must, for what will be her first Oscar win, a validation of her lifelong (she’s 64) screen career.
  • Best Original Song: “Naatu Naatu,”  from“RRR.” This oddity, from the Indian blockbuster, is a vigorous and contagious song-and-dance number that has been the rage throughout Europe, from an equally vivid action film that is also in contention for Best Film; it should have earned a slot for Best International Feature (previously, Best Foreign Film), where it could be a victor.

When Rihanna performed her Oscar-nominated song, “Light Me Up” (from “Wakanda Forever”), in the recent Super Bowl, she looked like a shoo-in as Best Song victor. But if she can grab the prize now, it will be considered an upset over “Naatu Naaatu.”

“Top Gun: Maverick,” the Jerry Bruckheimer box office hit, brought people back into the theaters (after three years of streaming films at home). It also jump-started the career of Tom Cruise. Alas, he didn’t even earn a nomination for Best Actor, and the movie – commerce at its best – will be relegated to a technical category like Best Sound.

The early favorites, like James Cameron’s “Avatar: The Way of Water,” fizzled by the time academy voters started the balloting, but could pick up a Visual Effects Oscar,  And industry giants, like Steven Spielberg (“The Fabelmans”) also were aced out of contention…

Whee, the people

Vicki Borges

Vicki Borges has gone political again; she is the new executive assistant to the District Chief/District Scheduler at the Office of Congresswoman Jill Tokuda. She’s the widow Jimmy Borges and formerly held a scheduler position with former Gov. Neil Abercrombie. …
Fans of the Honolulu Jazz Quartet might want to join these jazz giants when they guest-perform in the Hawaii Symphony Orchestra’s Hapa Symphony, at 7:30 p.m. April 15 at the Hawaii Theatre. The HJQ features leader-bassist John Kolivas, saxophonist Tim Tsukiyama, pianist Dan Del Negro and drummer Noel Okimoto.

Kolivas was reminiscing the other day, back in the 1980s, when he says he was “Haradafied,” alluding to his first-time  bold-face name appearing in this column. Back in the day, he was already collaborating with Keola Beamer, who coincidentally will appear with his wife, Moanalani Beamer, in a Hawaiian segment of the other-wise jazz-centric evening. The agenda also will embrace hits from the ‘60s and ‘70s, tapping tunes by The Beatles and Seals & Crofts, with vocalists Zanuck Lindsey, Riya Davis and Kainalu Kolivas, John’s son …

Broadway grosses, week ending March 5

“Phantom of the Opera” still tops the Broadway scene, as its closing date nears.

The top seven shows:

1 — “Phantom,” $2.588 million.

2 — “Hamilton,” $1.944 million,

3 — “The Lion King,” $1.931 million.

4 — “Wicked,” $1.781 million.

5 — “MJ,” $1.715 million.

6 –“Harry Potter & the Cursed Child,” $1.475 million.

7 — “Moulin Rouge,” $1.455 million.

The compilation is courtesy The Broadway League. …

And that’s Show Biz. …