‘ALMOST’ NEARLY A CHRISTMAS CHARMER

“Almost,” which means “not quite” or “nearly,” is an operative word in describing “The Year Christmas Was Almost Cancelled.”

It’s a holiday musical, which opened last night (Dec. 3) at Mamiya Theatre at St. Louis School/Chaminade College, and runs Fridays through Sundays through Dec. 18 as the lone family-friendly theatrical show in Honolulu this Christmas.

It is the premiere endeavor for Mo‘olelo Studios, and it’s almost certainly won’t be its last.

Adoringly written and directed by Kyle Kakuno with a delightful and charming score by Roslyn Catracchia, they also collaborated on the lyrics for the 10 assembled songs.

It’s a big little show, brimming with goodwill and tidings of the season, with potential to prevail as a future or returnee. It’s almost but not quite perfect.

The threat of a no-Christmas agenda emerges when Santa Claus (Matthew Pedersen, delightful with a commanding presence) discovers that he is ill and “burned out,” because of the pace and stress of the yuletide. Mrs. Claus (Callie Doan, comforting and forthright) summons a doctor (Jantzen Shinmoto) to assess the wellness of the man in the red suit. The analysis: Santa needs three months off to rest and recuperate, meaning there could be no Christmas just days ahead.

This is where the “almost” comes in. Santa’s workshop is filled with elves young and older, all concerned about the jolly one’s health and the dilemma of skipping Christmas. These elves are effusive, almost always singing and dancing with good cheer. There almost seems to be a scene missing, where elves help Santa with toy-making to fill his bag for delivery. The production lacks that holidaze hustle-and-bustle within the workshop.

The playbill for “The Year Christmas Was Almost Cancelled.”

Not that the elves aren’t helping Santa. They make hot chocolate and bake gingerbread cookies, like a kitchen squad,  supported by theme-specific tunes, “There’s Something About Hot Chocolate” and “Gingerbread Cookies.”

Can’t argue about the singing; the cast boasts expressive, impressive voices that underscore the excitement about providing nourishment for ill Santa. While Alexandria Zinov’s choreography is brisk and fills the stage, it doesn’t jingle with the Christmas spirit.

The ranks are filled with sweet and lively elves, with fairy tale names like Shinny (Poasa Aga), Gander (Christopher Casupang), Bushy (Samuel Tafolo), Alabaster (Sanoe Harris), Pepper  (Isaiah Castillo), Wunorse (La Faamausili-Siliato) and Sugarplum (Ka‘iulani Iaea), with their nationalities clearly reflecting diverse casting.

Catracchia’s songs like “I Believe in You” (sung by Iaea and Casupang) and “Christmas Magic” (rendered by Harris and Faamausili-Siliato and the elves) properly uphold the season’s messages and tidings. The merriment is perfect, not almost.

As the Narrator, Isaac Kapono Chock shares a welcoming spirit and presence, from his perch next to a Letters-to-Santa mailbox.

Now here’s a minor quibble, almost like a half-cup full, half-cup empty matter on whether Christmas is cancelled or not. It depends on where you are in the world– in Santa’s onstage workshop home or elsewhere around the world.

The bottom-line theme — that wellness and good health are equally important in your life — resonates with a feel-good aura. Almost makes you want to sing your favorite Christmas carol.

Hearty kudos to the production team. There’s periodic snow falling in the show, and Santa gets aboard his red sleigh (looks like Rudolph’s on sick leave) and the sleigh takes flight as the curtain falls. And that handy-dandy playbill listing cast and credits, is joyful and triumphant, a keepsake for the cast ensemble for years to come. The producers do everything right here.

Tip: After you exit, kids may take photos with Santa in the theater lobby; outside in the courtyard, there’s a free snowflake light show (nighttime) and more faux snow, plus hot cocoa with marshmallows (yummy!), gingerbread cookies and s’mores kits for purchase, for a merry show extra.

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“The Year Christmas Was Almost Cancelled”


Showtimes: 7 p.m. Fridays and Saturdays and at 6 p.m. Sundays, through Dec. 18.

Tickets: $20 for adults, $15 for students, at www.moolelostudios.com
extra.

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And that’s Show Biz. …

RAINBOW CONNECTION: 10 TAKE-AWAYS

Randy Rainbow last night (Dec. 2) concluded his months-long Pink Glasses tour at the Hawaii Theatre. And it was an effervescent, eclectic and entertaining evening.

Rainbow (his real name)  combines live singing with his famous pre-recorded YouTube videos targeting mostly bad-behaving folks in the political spectrum. Thus, his act is a blend of glowing stand-up comedy with charming crooning, with guffaws and slams at the naughtiness in the spectrum of politics.

Ten take-aways from the giddy fun:

1 – Rainbow lives up to his self-acclaimed hype as the queen of political parodies. He is undoubtedly gay to the max, and is proud and out and simply sells his brand with flair and finesse. He’s simultaneously witty and gritty and he eloquently and occasionally speaks French (f-bombs and s-words galore), delivered in the spirit of entertaining fun.

2 – He’s a clothes horse, trotting in wearing a handsome and glittering black tux, accessorized with a mammoth pink feather boa, with glittering pink shoes; he exited in a chic pink suit adored with his trademark pink eyeglasses. In-between, he changed outfits several times, including a pajama-like number with a flowing and matching silk-like robe.

The many faces of Rainbow, in this video clip from his show.

3— A Broadway musical fan from small-kid time, he’s adopted many tunes from a roster of hit shows to hand-pick songs to suit his needling goals. Clearly, he’s the master of his craft, a brilliant lyricist with a knack to make each parody a mini-movie, complete with multiple voice-overs and choreography.

4 –Based on his numerous darts on Donald Trump, he likely helped Orangeface become the president. On his usual home front – the internet – Rainbow has been kingpin, demonstrating a keen representation of style, slams and silliness. Thus, weaving in his earlier clips was vital to complement his live show.

Donald Trump is Randy Rainbow’s favorite target.

5—He’s quite a name-dropper, familiar with the political wizards as well as the snakes. The targets included Ivanka, Jared Kushner, Donald Jr., Giuliani, Hawley, et al.

6—He’s unafraid of working in words like vagina  and penis (in reflections of Trump’s infamous revelation of itchy fingers and size) in adult-aimed shots, and he also is precise in picking out specific truisms of politics, like his funny line about Mitch McConnell’s neck nearly swallowing his face, and Kellyanne Conway’s coining of her  incredible slogan, Alternative Truth. What dat?

7—In unreeling his parodies, Rainbow is a fierce multi-tasker — interpreter, lyricist, commentator, vocalist, educator. You may think he’s biased against the GOP, but his bits with Dr. Fauci and President Biden show he can geev ‘em to Democrats, too.

8 – He’s a smart pitchman; periodically, he paused to promote his biography and accessories (pink glasses, posters, etc.). Like a rock star or Broadway show, he knows that merchandising matters in bringing in moolah.

9—His brilliance is undeniable, delivered with joyous glee, in such segments like “How Do You Solve a Problem Like Korea” (from “The Sound of Music” dealing with Trump’s fondness of Kim Jong-Un) and “The Very Stable Genius” (based on “I Am the Very Model of a Modern Major General” from “Pirates of Penzance”) questioning the leadership of the dubious MAGA leader.  Oh, and that visual of Vladimir Putin alongside the Trumpster was a howl — a Ritz cracker photo-shopped over the face of the ex-pres.

Rainbow said he’ll be eyeing a presidential run, anticipating a Trump bid again.

10 –He’s ready to run for president, or so he announced (with tongue in cheek) about an intended bid in anticipation of the Trumpster’s campaign to be on the ballot in 2024 (legal complications notwithstanding). Rainbow simply will be watching The Donald’s shenanigans to watch for material to resolve the drought of new clips while he’s been on tour…

And that’s Show Biz. …

MUSICAL ASKS: A YULE MINUS SANTA?

Just in time for the Christmas holidays, a new, original musical about a dilemma facing Santa Claus, premieres at 7 p.m. tomorrow (Dec. 3) at Mamiya Theatre on the St. Louis School/Chaminade University campus.

Entitled “The Year Christmas Was Almost Cancelled,” the family-friendly show is produced by Mo‘olelo Studios with a pair of veteran local theater names — Kyle Kakuno and Roslyn Catracchia –collaborating artistically. He scripted the show and is directing, she composed the musical score featuring 10 songs.

“What if we wrote our own Christmas show?” Kakuno asked Catracchia during a phase of pandemic, when they had ample time to consult. “The script evolved over the last year, and the pandemic provided us time to meet and create the show, because everything (referring to the local stage shows) was shut down.”

Kyle Kakuno

“We wanted to bring something new and fun for the families this Christmas – especially after the cancellation of live events due to the pandemic over the past couple of years,” said Kakuno.

Catracchia agreed, “Hawaii needs something joyful and exciting. Kyle and I have been working together for over 30 years, so – after having no productions for the past two years – it’s been refreshing and a total blessing to be working on a brand-new holiday musical together for our island families.”

The story takes place in Santa’s workshop at the North Pole, where a sobering thought emerges: What if there is no Christmas?

Mrs. Claus is the first to recognize the possibility that there could be no Santa at Christmas, since he is ill and his doctor mandates three months of rest and recuperation.

Roslyn Catracchia

The story themes resonate with elements of hope, faith, wellness, giving and the spirit of can-do. The underlying tone – if you become ill, there’s always the consideration that you refrain from doing things in your life — is not verbalized but implied and it’s a realistic message all should adopt.

Matthew Pedersen plays Santa; he is the lone Actor’s Equity union member in the cast and has Broadway creds, including “Miss Saigon.” Callie Doan is Mrs. Claus.

Kakuno, the drama honcho at St. Louis for two decades, has resigned from teaching but still is affiliated with Saint Louis and Sacred Hearts Academy, which have been the foundation for casting roles. The cast includes Poasa Aga, Isaiah Castillo, Christopher Casupang, La Tanya Faamausili- Siliato, Sanoe Harris, Ka’ulani Iaea, and Samuel Tafolo as Santa’s faithful elves. The actors range from fifth graders to high schoolers and collegians.

Kakuno and Catracchia also were artistic collaborators at Honolulu Theatre for Youth, and she is widely known as the composer for the late Lisa Matsumoto’s stable of pidgin-English musicals, which parodied fairy tale figures in a local-style retelling.

“It’s always terrifying when your work gets a public viewing for the first time,” said Kakuno. Some of his dialogue recurs in a few of Catracchia’s melodies. He said they both perused the script and she would say “I see a song here, a song there,” and thus was born the score.

Among the tunes to expect: “Sweet, Sweet Snow,” sung by Mrs. Claus to the man in red, and “Christmas Magic,” sung by the ensemble contemplating the notion that there would be no Christmas magic if there’s no Santa.

The show’s producer, Mo‘olelo Studios,  is a wing of KaiHonua Entertainment, which last year took over the operations of Mamiya Theatre, where Kakuno had a relationship for 22 years directing all of the school’s stage productions ranging from “In the Heights” to “Footloose.”

Kakuno said, “Long story short, the president of KaiHonua Entertainment is Kainoa Jarrett, a former student of mine and my stage manager over the years.” The company specializes in providing tech support in audio and lighting equipment. So the outsourcing of the theater continues to have links with the longtime director, who now is manager of Mamiya Theatre and artistic and managing director of KaiHonua.

Kakuno anticipates that the launch of ‘The Year Christmas Was Almost Cancelled” this season could be tweaked, edited and nurtured to possibly become a recurring holiday attraction in the future. Indeed, it could be the gift that keeps on giving during the Yuletide. …

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“The Year Christmas Was Almost Cancelled”
Showtimes: 7 p.m. Fridays and Saturdays and at 6 p.m. Sundays, through Dec. 18.

Tickets: $20 for adults, $15 for students, at www.moolelostudios.com

Extras: After each performance, there will be entertainment, food and drinks including s’mores, hot chocolate and gingerbread cookies, Santa photo-shoots. and a snow and light show.

And that’s Show Biz. …

CAAN ON ‘ALERT’ IN RESPONDER SHOW

Scott Caan, who was Danno in the rebooted “Hawaii Five-0,” is one of the co-stars in Fox’s first responder drama, “Alert,” premiering Jan. 8, following an NFL game.

Its regular slot will be Mondays at 8 p.m., beginning Jan. 9.

Caan will portray Jason Grant, partnering with Dania Ramirez as Nikki Batista,  in the drama where minutes and time matter. The show will boast a tagline, “For the Missing Persons Unit, Every Second Counts.”

Thus, Caan the actor still will be a cop in the Missing Persons Unit with the Philadelphia Police Department.

Scott Caan, Dania Ramirez will co-star in Fox’s “Alert” first responder series.

While the procedural will explore hunts for missing kids and adults, a parallel thread will be part of the story, since Jason and Nikki’s quest to locate missing people includes an alert to discover a long-lost missing son of theirs.

Each episode on Fox will air the next day on Hulu…

The masquerade continues

Ben Crawford is the Phantom.

Andrew Lloyd Webber’s “The Phantom of the Opera,” the longest-running Broadway musical ever, has postponed its planned Feb. 18 closure. Instead, the show – with that majestic chandelier and that mystical and magical masquerade scene –  has been extended to April 16 at the Majestic Theatre.

It’s not surprising, however, since the show has been attracting audiences with box office grosses like a new hit; some want to see the production one more time, others want to catch the real McCoy for the first time. When the throngs are recurring, and expanding, it would be madness to shut down operations.

Ben Crawford and Emilie Kouatchou are the Phantom and Christine, respectively, in the current cast. …

Broadway grosses, week ending Nov., 27

“The Lion King” roared into second place in the ranking of Broadway shows, for the week ending Nov. 27.

“King” logged $2.674 million, nudging “Hamilton” to the No. 3 slot, with $2.613 million.

No. 1, not surprisingly, continues to the “The Music Man,” with $2.865 million.

As mentioned above, “Phantom” with ts music of the night has upticked to $2.241 million, after announcing new closing dates, a skosh behind”Wicked,” with $2.320 million.

The listing is courtesy The Broadway League. …

And that’s Show Biz. …

GRAB-AND-GO BENTOS AT FUNERALS

Been to a funeral recently, or during the later phases of the pandemic?

Bentos now are very much part of the funeral experience. It’s trending as an alternate to post-services buffets in the reception hall.

Also, services at the mortuary are now welcoming larger crowds like the past decades, unlike the 10-maximum head count at the height of the pandemic. Face masks are recommended, like other events with huge attendance.

The  local custom at funerals always has included post-service fellowship with the grieving family. Over the decades, a mini-buffet of local food – sushi, perhaps fried chicken, macaroni or potato salad, with mochi as the dessert offering – used to be the rule of thumb. Paper or foam plates would be available, along the usual utensils, like chopsticks, forks, napkins, where mourners used to self-servce.

Sample bento menu at Ige’s catering.

Not anymore. Bentos in pre-packed take-out type containers are stacked in the reception hall, awaiting mourners of the family of the deceased. When you consider health safety, a pre-packed meal makes a lot of sense, however awkward it might seem. And there are no more intrusive, pesky flies.

If folks start to exit and skip the refreshment hall, announcements are made to pick up a mini-meal in a grab-and-go format. Even take-out plastic bags are available for those opting to nibble at home.

Apparently, catering organizations have been revving up the post-funeral bento meals. Websites reflect a range of bento options, from minimalist to the excessive (and expensive), depending on budget.