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My New York Show Parade

NEW YORK — Broadway’s end-of-the-season fare – the fall arrivals are a month away– offered rocking vampires in “Lost Boys,” and cats who sang and danced and competed in a fashion runway, in “Cats: the Jellicle Ball.” ‘Twas a fun trip!

 The best  parody-heavy musical entitled “Schmigadoon,” celebrating all that’s great about the musical theater tradition, was clever, hilarious and inventive, worthy of the 2026 Best Musical laurel.  A Hawaii native was among the superb cast, a bonus if you take in the hit show.

A Celine Dion spoof  —  “Titanique’ – brought out  the laughs, too, with  the big musical turn in “My Heart Will Go On.”

“Harry Potter” is holding up, thanks to the  wizardry of quick scene changes in darkness. But it’s not quite the hybrid of several seasons ago.

“Oh! Mary” introduced Maya Rudolph as Lincoln’s First Lady, and she sizzled – oodles of  musical pokes to Honest Abe.

 “Moulin Rouge,” the prevailing juke box musical champ, offers so many familiar tunes you’ve been singing for decades – numbers close to your heart.

Not so likeable: “Stranger Things, the First Shadow,” a sci-fi play with concerning identity issues. It’s not a musical, but it’s loaded with songs, it has two choreographers, in charge of movement, but apparently not dances.

Here are capsule reviews of the eight shows I saw:

“Lost Boys,” at the Palace Theatre. A musical spectacle with vampires and more, and notable for new angles in staging a show. Ongoing.

Winner of four Tonys in 2026:

  • Best Performance by an Actor in a Featured Role in a Musical: Ali Louis Bourzgui, as vampire leader David.
  • Best Performance by an Actress in a Featured Role in a Musical: Shoshan Bean, as mother Lucy.
  • Best Scenic Design of a Musical: Dane Laffrey.
  • Best Lighting Design of a Musical: Jen Schriever and Michael Arden.

The show is based on a 1987 film about a family unknowingly moving to a California inhabited by vampires. Thus, Santa Clara gains fame and notoriety. More than fang bites, the show’s eye-filling set with improbable angles steals the attention.

A rock band/score appeals to the young, but for a musical of this dimension, there’s no lingering song to hum as you exit.

“Oh! Mary,” at the Lyceum Theatre. Secrets and music a-plenty, with Mary Todd Lincoln. Closes Jan. 3 2026 but Maya Rudolph’s run is over.

Honestly Abe: This Mary sings! Considering her popularity on NBC’s “Saturday Night Live,” Maya Rudolph’s Broadway debut as Mary Todd Lincoln in the closing weeks of Cole Escola’s outrageous tour-de-force camp comedy, there was star power when Rudolph brought her signature to this project, and wound up owning it, sort of. She was the eighth actor to portray the illustrious First Lady  to Abraham Lincoln’s presidency, beginning with a somewhat timid mood, but unloaded the rockets and power of her artistry in a carnival of charades and the performance evolves into one of Rudolph’s signatures, even if she didn’t invent the show. Costumes are masterful, and the frantic physical comedy speeds through red light with everything from Shakespearean accents to suave vocalizing. I laughed like crazy.

“Cats: The Jellicle Ball,” at the Broadhurst Theatre. The cat’s out of the bag, competing in drag-show, fashion-plate pace, and emphatically proves a cat has more than nine livelihoods, for which we thank Andrew Lloyd Webber, who recycles with whimsy. Closes Aug. 8.

Winner of three 2026 Tonys:  Best Direction of a Musical (Zhailon Levingston and Bill Rouch), Choreography (Omari Wiles and Arturo Lyons) and Costume design (Qween Jean; first openly transgender woman to win a competitive Tony Award).

“Cats” remains virtually with no plot or at least a lean plot, but “Jellicle” transposes the cat energy into the world of Harmen’s Black and Latin Queer Ballroom Culture, where Old Deuteronomy (Andre DeShields, known for “Hadestown”) rules, with a bunch of felines (Magical Mister Mistoffelees, Gus the Theater Cat, Skimbleshanks, the Railway Cat, Grizabella, Macavity the Mystery Cat, etc.) still hang out, with digs and jigs notably in Act 2, when the cats, thin, short, or huge are reborn to compete in drag shows and soar with new vibrance in the whirl of voguing and undressing, with male cats – surprise!—show more skin than lady cats.

It’s a beaut of an idea, to have the litter prance, dance, and compete for ballroom glamor and fame. All the dancing, the costuming, the vocalizing and the prancing yield one big heck of a “Memory” finale. So what’s a Jellicle Ball? Ask a cat.

“Schmigadoon,” at the Nederlander Theatre.” A parody of “Brigadoon” with homages to “Oklahoma” and more. The year’s Best Musical Tony winner, and the most fun. Doesn’t get dizzier of giddier  than this. Closes Jan. 3 2027.

Winner of four 2026 Tonys: Best Musical,  Best Book of a Musical  (Cinco Paul), Best Original Score (Cinco Paul), Best Orchestrations (Doug Besterman and Mike Morris). (As the producer of “Schmigadoon,” Cinco Paul is the recipient of win includes the Best Musical trophy).

“Schmigadoon” has roots in the original Apple TV series and it oozes with laughter and is bright and colorful as the cast’s costumes.  It pokes gentle fun to the Golden Age of Broadway classics, notably the homage to “Oklahoma” and “Carousel” in its merry-go-round of mirthful magic and memories.

The cast includes Sara Chase as Melissa Gimble,  Alex Brightman as Josh cSkinner (he despises musicals), McKenzie Kurtz as the flirty Betsy, Ana Gasteyer as severe Mildred Layton.

Ann Harada, left, invited Wayne Harada (no relation) and grandnephew John Rhoades and wife Vi Harada for a post-show chat at the Nederlander Theatre, where “Schmigadoon:” is playing through Jan. 3 2027.

Of special note, Ann Harada (no relation), appears as Florence Menlove, the spouse of Mayor Menlove, played by Brad Oscar. Harada is a Broadway notable, with a string of stage credits ranging from “Avenue Q to “Les Misérables,” from “M. Butterfly” to “Into the Woods,” from “Cinderella” to “Seussical.”

She was kind enough to invite me, wife Vi and grandnephew John Roades, to share a theater “moment,” taking photos after a performance of “Shmigadoon.” She also said the show’s cast album will be released in August, and the closing date for the successful run will be Jan. 3, 2027.

“Shmigadoon” succeeds because it has a style, sound and look of its own, but borrows conventional musical signature and stamps on its own indelible identity in moments like the “Oklahoma” parody, the dream ballet, and a vigorous tap dance number. The costumes immediate ID the country kingdom that is “Shmigadoon” through and through, like that signature rural flavor of warm hues and simple architecture.

“Harry Potter and the Cursed Child,” at the Lyric Theatre. The magic is not magnified in this drama about Albus Severus Potter, son of Harry and Ginny, who strives to maintain and live up to the fame of his father’s legacy. Ongoing.

OK, I did see the original two-part “Harry Potter” dramas, when the legacy of the genius magician and his pals were in the height with the wonders of wizardry. The best thing element of this abridged exploration is the fascinating appearances and disappearances of the wizards, in a swift gust of wind or twirl of an overcoat. The fanship is keeping the show floating. The lighting and quick scene changes are still intriguing.

John Skelley is Harry Potter, Rachel Christopher is Hermione Granger, Daniel Frederick is Ron Weasley, and Tom Feldon is Draco Malfoy.  The play, by Jack Thorne, retains ties with Potter creator J.K. Rowling, but perhaps the production is cursed with somewhat detached interest largely because much of the action unwinds in mood-setting darkness.

“Moulin Rouge,” at the Al Hirschfeld Theatre. A jukebox musical, loaded with 70 disco and boogie music, embraces a tragic star-crossed romance between songwriter Christian and chanteuse Satine, set at the Montmartre Quarter of Paris.

Let’s start with good news/bad news: Aaron Tveit, who “owned” the  Christian lead role  (saw him, back in the day), has returned to the production for a limited 15-performance gig Aug. 18 to  29, to join Kelsie Watts as the courtesan Satine. Tveit, with his typo-prone surname, dusts off  his charismatic soaring voice prior to the final curtain Aug. 30, but the symbolic finale performance of Christian will be tendered by Christian Douglas, who toured with a company in “Moulin Rouge,” prior to making his Broadway debut and stamping his ownership of sort. Saw him, and he’s a handsome charmer, and likely will become a Broadway first-stringer in the months to come.

Oh, “Moulin Rouge” remains a solid disco-tempoed jukebox musical that showcases medleys of hot numbers by the likes of Madonna, Beyonce, Tina Turner and Dolly Parton, and the playlist has changed over time. Thus, a rundown of the tracks never appear in the Playbill. The one everlasting title is “Lady Marmalade,” which receives multiple publicity so you can practice your French: “Voulez-vous couche avec moi,” remember?  

“Titanique,” at the St. James Theatre. A parody of “Titanic” and vocalist Celine Dion. And of course, The Song goes on and on.

Here’s a project with absurd laughs, defined as a jukebox musical because its score is dotted with known tunes. Clearly, this was a little engine that could – and did. Originally a scaled down cabaret show, it emerged and sailed the waters of off-Broadway, but finally sailed to the Great White Way.

It was skedded for a 16-week run, but attracted meaningful followers, so instead of ending July 12, it’s been extended to Sept. 20, 2026. If there’s more demand, it has to set sail at another venue, since the St. James Theatre has a new tenant.

     The absurdity here is that Celine Dion would hijack a Titanic tour about the ill-fated liner in 1912 and start singing some of her hits, including, natch, “My  Heart Will Go On,” with Marla Mindelle,  one of the show’s writers, thumping her heart in assuming the Celine style. It’s tongue-in-cheek frivolity complete with patter-chatter about romance between Jack and Rose (played by Constantine Rousouli and Melissa Barrerra, respectively), the duo immortalized in the mammoth blockbuster film.

And don’t ask why Tina Turner is on the ship tour prancing through “River High, Mountain Deep.”

“Stranger Things: The First Shadow:” Talk about strange things; this is a strange play that features songs and dances but is not a musical.  It was the worst show among eight that I saw earlier this summer, and longest-running play, clocking in at 2:45. Closes Jan. 3 2027.

It boasts a choreographer, and acknowledges the dancing, but while the actors sing, they are not credited for their vocal work as in a conventional musical. This is a sci-fi play, and not ashamed of the variants among the performance art.

 It’s a prequel to the Netflix streamer, whose audiences admire the tale of how a boy becomes a villain.  The Duffer Brothers, Jack Thorne and Kate Trefry are collaborators of this outing, and they at best know their audience; the show I took in attracted throngs of very young people, viewing a play that clearly has R-rated elements, including brutalities that could explain its peculiar appeal.

I daresay, Victor De Paula Rocha, as the intense but villainous Henry Creel,  turns in a mind-blowing performance in his Broadway debut. It’s not your usual entrée, but clearly one jammed with passion and power, like a loaded pistol or keg of dynamite. Boom!

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Confession on Concessions:

Broadway  is a sacred place

NEW YORK — Remember when you bought tickets to a Broadway show, and simply watched the performance?

Alas, Broadway theaters have adopted the movie mojo, hawking concessions once exclusive with film-going.

I have a frank confession about concessions. No, no. no. If you book seats for a Broadway show, you don’t go there to eat. Or drink. Or share snacks.

You go,  supposedly, to watch, to be entertained, to witness a musical and sing your way out, or cherish a chuckle about a hilarious moment or character in a comedy, or wipe off tears if you experience a heart-tugging or impactful chicken-skin scene element in a drama.

Leave the food in your hotel room. Eat it before or after the show, please.

We need to restore the dignity and respect for theater performers. Please?

There was a time –back in the day when with shows featuring legendary and outspoken actors like Patti LuPone — would halt her show if someone was eating  or chatting during her performance. Ballsy LuPone would stop her show, if faced with distractions from the stage. She would find you to shame and yes, shame on you… so you don’t mix eating and chatting during a performance.

 Similarly,  I recall Glen Close halting her performance and pinpointing a spectator in a Los Angeles theater, when a cell phone rang.

Popcorn, candy and munchies are not suitable for theater. Ditto, iPhones. Theaters become circuses and ballparks when viewers bring food to the table. To me, that’s a worrisome wrinkle on Broadway.

Perhaps it’s too late, to sound off the alarm, since  the flood of food at Broadway shows apparently began as far back as the 2000s, when you could only buy a drink with a tight lid to sip and watch a performance.  How the movement has changed. I noticed this year, folks were hauling in gigantic soft drinks, and kids were carrying drinks with sealed lids, as if there’s a drought outside. Many theaters allow wrapped candies and soft drinks and sealed wine glasses, and I haven’t seen spilled drinkables. Yet.

Remember, Broadway theater seats don’t have cupholders on the arms, which means that a careless drinker could kick and spill a filled cup left on the floor. Messy and sticky, if this happens.

The Shubert organization, which operates 17 Broadway theaters (nearly half of the show houses), used to be the strictest in the snack parade,  allowing only quiet-opening candies like Kit-Kats and M&M. Times have altered operations; theater owners know concession sales  will make the proverbial cash registers ring and jingle and yield more bucks to combat rising costs.

The Nederlander chain embraces the movie-style, too,  with common candy, chips  and popcorn, normally at shows with family and kiddie audiences.

The volume of snack sales go up with family shows like “The Lion King,” “Aladdin,” and “Lost Boys,” and “Harry Potter and the Cursed Child” and perhaps fewer sales in dramas like “Giant,” and “Death of a Salesman.”

 I didn’t see it at the abridged “Harry Potter” this year, but several years ago, when “Harry Potter” was a twofer Part 1 and Part 2 – there were snack and drink menus at the theater seats. So if you ordered  before intermission, the bounty of orders was delivered at the break.

The theater fare so far excludes pizza, a concerning edible since it can be messy and it smells. But some shows approve popcorn, which of course signals whiffs of buttered popcorn as the lights go down.

All theaters now have that standard plastic cup for soda and booze, and special promotions boasts logos of the show, a means to charge even more. But you get to take home a souvenir.

At a “Harry Potter” performance I was at the Lyric Theatre in early July,  a boy’s phone rang, with bonus of bright lights shining, but he was quick to shut down the phone, wisely without  answering. But it gave him an op to share candy with his girlfriend.

Alas, LuPone was not in the cast. That’s food for thought…

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41 Broadway theaters gross $1.9 billion

NEW YORK – There are 41 theaters on Broadway, and in early July, I visited eight theaters and consequently saw a  remarkable range of shows.

The good news: Broadway amassed its best season ever, in its just-ending 2026 season, achieving $1.9 billion in total grosses, reflecting a remarkable $14.6 million tickets sold, according to Ken Davenport, a Tony Award-winning producer who monitors the tempo, the heartbeat and pulse of The Great White Way,

Davenport publishes weekly analytical breakdowns tracking individual show revenues, and regularly monitors developing theatrical trends. He also is an active producer of shows.

Ken Davenport

As a show-goer, the eight different productions I caught over a six-night stay leading to the July 4 holiday weekend was my umpteenth New York vacation over the years.

The first trip my wife Vi and I made to Broadway was in 1973, when we saw “A Litle Night Music,” which was ensconced at the Shubert Theatre. “Night Music,” a Stephen Sondheim creation, was the season’s gotta-see number, playing to sellouts. We had no reservations, so we dropped off our suitcases at the Algonquin  Hotel a block away and headed to the Shubert.

 In those days, sales were largely done in person, and the woman at the ticket window said the performance was a sellout for the matinee. I smirked a bit…and she quickly informed us  there were two tickets left, located near a column so there would be moments we wouldn’t be able to see two quickie scenes. We bought the tickets, so at least we got in. And  those days, I was such a country-jack, looking and gawking at the antique theater décor.

Decades later, I shared this little story with Hal Prince, the prevailing theatrical giant of his lifetime, and he chuckled. He was visiting his longtime friend, the late Joy Abbott, widow of the legendary playwright George Abbott, who was a sometimes resident, who hosted us at a lunch at the Orchids Restaurant at the Halekulani Hotel.  The director and the playwright Abbott had collaborated with a bounty of Tony-winning shows, so it’s a remarkable irony that neither director Prince nor writer Abbott have theaters named after them today.

A Broadway theater must have at least 500 seats to qualify as a “Broadway theater,” the genre that includes such legendary  attractions as  “The Lion King,” “The Book of Mormon,” “Hamilton,” “The Phantom of the Opera,”  “Les Misérables” and “Cats.”

As for the 41 existing theaters, I daresay I’ve seen musicals, comedies and dramas possibly in  perhaps 38 of the 41 theaters since the ‘70’s.

John Rhoades, enjoying a chic breakfast at Delta’s Skyclub at JFK’s Terminal 4 in New York.

Some reflections:

  • This  last trip was a long-planned family journey to take our grandnephew, John Rhoades (now 28, and a sergeant in the Army), on his second visit to the Big Apple. The first was when he was in middle school. This time, he offered to tend to the wheelchair I needed to get around Times Square, and oversee the weighty suitcase transport. The trip was somewhat a dream come true treat for all, with first class seats on Delta, which included visits to the Delta Skyclub in Honolulu prior to our departure flight, which was not as glorious as the luxurious dream-come-true experience at the modern and swanky Delta One Club, throbbing with excellence and grandnes, in Terminal 4 of JFK airport.
We’re all checking out the Delta Skyclub; from left, John. Wayne and Vi. Breakfast calls.

No one took advantage of the massage and shower options available, but I utilized a swanky  men’s room, which had ample space, with possible even guest-sitting, with space for a handler for wheelchair. No, I was solo, while John was checking out other options.

  • Times change; while my energy has diminished, the spirit’s still there, but a new strategy was vital. Two heroes in the 2026 plan: Vi’s penchant for details, John’s  devotion and physical power to navigate the wheelchair with savvy. This reportage is slanted to help other handicapped travelers who  may be reluctant to visit to The Big Apple but are fearful of crowds, and thereby denying themselves of taking in marvelous entertainment. Seek support, and you can possibly made a desire happen.
The able Mr. Walker
  • Mr. Walker, whom you’ve heard me mention previously, was on the trip with me, so I was able to do a bit of meandering with the walker. I had rented a power wheelchair, which was was a huge mistake, because I couldn’t easily get around. It was John who canceled the electric wheeler and exchanged it with a  traditional chair which  he pushed  and twirled amid the jam-packed sidewalks and roadways in the Times Square vicinity.
The traditional Mr. Wheeler.
  • The new Mr. Wheeler got me  to all eight shows on time with John quickly learning the routines of Mr. Walker and Mr. Wheeler, who had to be alternately  parked before and retrieved after all performances.  Ground transportation was never so easy, when in the right hands.
  • The shows we saw:

       “Lost Boys,” at the Palace Theatre. A musical spectacle with vampires and more!

“Oh! Mary!,” at the Lyceum Theatre. Secrets and music a-plenty, with Mary Todd Lincoln.

“Cats: The Jellical Ball,” at the Broadhurst Theatre. The cat’s out of the bag, competing in drag-show, fashion-plate pace.

“Schmigadoon,” at the Nederlander Theatre.” A parody of “Brigadoon” with homages to “Oklahoma” and more. The year’s Best Musical Tony winner, and the most fun.

“Harry Potter and the Cursed Child,” at the Lyric Theatre. The magic is reimagnied in this drama about Albus Severus Potter, son of Harry and Ginny, who strives to maintain and live up to the fame of his father’s legacy.

“Moulin Rouge,” at the Al Hirschfeld Theatre. A jukebox musical, loaded with 70 disco and boogie music, embraces a tragic star-crossed romance between songwriter Christian and. chanteuse Satine, set at the Montmartre Quarter of Paris. 

“Titanique,” at the St. James Theatre. A parody of “Titanic” and vocalist Celine Dion. And of course, The Song goes on and on.

“Stranger Things: The First Shadow:” This is a strange play withmusic and dance, featuring beaucoup songs by a singing-dancing cast. It’s a prequel to the Netflix streamer, whose audiences are supporting the tale of how a boy became the villain. The least likeable of the shows I saw.

(Note: I’ll post mini-reviews in a subsequent column).

Show tickets are costly, like other life pleasures.  In earlier times, I would splurge and purchase seats in prime orchestra locations. In checking prices this year, some shows had orchestra seats for under 400.  I sought orchestra, but in secondary locations, with per-show admission up to $250, range,  as follows: “Boys,” $121.06; “Mary,” $251.66; “Cats,” $276.11; “Schmigadoon,” $231.34; “Potter,” $233.10; “Rouge,” $192.86; “Things,” $94.70; and “Titanique,” $111.00. (And do the math, if you want to know the tab for  three seats for each show).

  • Locations matter, when seeking a hotel.

 I used to book rooms that offered frequent-stayer points, like Marriott,  Hilton, Sheraton and Hyatt. Not any more, since they are useless unless you are a business traveler capable of  accruing enough status to justify the amenity.  From nearly a decade ago, location mattered more because my walker-wheelchair needs mounted. So we now book Hotel Edison, on W. 47th St., in the heart of the Times Square. And tariffs were in the upper $300 during prime summertime travel.

Hotel Edison, on W. 47th St.

 From the Edison, walkability to the shows was breezy  block or minimally a block or two away – no cab, bus, or subway necessary. From Times Square, the  furthest north theater is the Vivian Beaumont at Lincoln Center, the furthest south is the Nederlander, on W. 41st St.  The bulk of the theaters are located in the grid of the 40ths, between 6th Ave. and 9th Ave.

  • The bathroom issue? Yes it can be problematic.
Getting to know where to “go.”

When you’re handicapped, going to the lua is a challenge; you may rely on a cane, some crutches, a walker or a wheelchair, so knowing where accessible bathrooms in theaters is prime before heading to your seat, or at intermission.

Realistically, theater  restrooms at Broadway theaters are either In the basement, sometimes on the mezzanine, but only rarely on the orchestra (first)  level.

Do what I do, if you’re theater-bound. Before you secure tickets, inquire with the theater, or seek help with ticket sites. I inquired with broadway.com, where I bought all my tickets, and they’re friendly like heck —  almost as easy as Goggling each venue.

However, I’ve done the math for you, if you’re only  bound for any of these destinations: Palace Theatre, wheelchair access on orchestra level;  Lyceum Theatre, unisex wheelchair access on main level; “Cats,” wheelchair on orchestra level; Nederlander, previously not available, but now with accessible restroom on first level; Lyric Theatre, accessible restrooms in Dress Circle lobby, with ADA locations in Orchestra and Dress Circle, with elevator access; Hirschfeld, wheelchair access on orchestra level; Marquis Theatre, facilities on 3rd and 4th levels of Marriott Hotel, with elevator access; St. James Theatre, access on main level.

  • Other information  important to know before go:

You’ll require a buddy or family member to help, especially with the wheelchair; New York has rentals, which are conveniently dropped off and picked up at your airport at your desired times.

Inform airline about handicapped assistance, and it will  note your needs in your flight data; ADA access will include wheelchair transit assist, from check-in through TSA checks, with lifts to your flight gate; at arrival, wheelchair assist continues to baggage claim; on return flight, similar assistance is available, from flight to baggage claim, to curbside for a pick-up or cab ride.

I secured an ADA room at the hotel rental, with shower stall catering to the handicapped…

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Bruno: Next Stop Zippy’s

Bruno Mars, Hawaii’s favorite musical son, gives the islands’ Zippy’s restaurants a sweet boost in the current People magazine. It’s the issue with Jon Bon Jovi on the cover, in the magazine’s summer June 29  issue exploring  favorite food and destinations in the 50 states.

The “Risk It All” singer – and constant chartbuster, as a soloist, as a duet-with-divas,  and a co-star with Anderson. Paak in Silk Sonic — heads straight for Zippy’s when comes home.

So what’s his favorite? It’s the Korean chicken plate. Hmmm, so maybe you’ll see him when you’re in line waiting for your Korean chicken plate, too…   but the People item didn’t list which branch Mars seeks his take-out. Hey, Bruno—the Zippy’s in Kahala has reopened after a three-month renovation….

Lyric’s on ‘Big Brother’

Lyric Medeiros

Another local – and future star –  is singer-actress Lyric Medeiros, one of the featured faces and talents on CBS’ “Big Brother” this summer.  You know her musical father Glenn Medeiros, who became a superstar singer as a youth, when he recorded  “Nothing’s Gonna Change My Love for You.”  Now he’s president of Saint Louis School, but his children – Lyric’s brother’s name is Chord – are  unsurprisingly musically inclined.

Said Mediros: “I told my kids (Lyric and Chord)  growing up that they can reach for any dream they have, but  they first need to attain their education to prepare them for a job that will give them a comfortable life in case their first option does not come to fruition,” said dad Glenn. “Both my kids have done that. In the case of Lyric, her dream has always been to be an actress, She loves to sing and dance but she is an amazing actor. After attaining  both her law degree and MBA,  she is now ready to follow her dream by getting herself out  there for all to see on TV and other forms of forms of media.”

Lyric will be in the show until she gets eliminated…

When Robert’s ‘Moon’ shines

Robert Cazimero

It’s not precisely when there’s a full moon, but Robert Cazimero’s done one “Full Moon Concert” at Chef Chai’s on July 12, and plans more serenades Aug. 16, Sept. 6, Oct. 25 and Nov. 15.

Then he goes into Christmas mode, Dec. 21, 22, 23 and 24.

Dinner is served at 5:30 p.m., with Cazimero serenading from 6:30 p.m.

Cost is $125, and reservations may be made at Open Table or Chai’s at (808) 333-0279…

And that’s Show Biz…

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Postcards? I make and send ’em

Nobody sends postcards anymore.

Yes, post carding used to be a trip-related thing. Back in the day, you’d secure a bunch of postcards whenever you visited a city. You’d buy a few cards and  bring some postcard stamps with you when you hit the road.

That’s a tradition that’s mostly extinct now. Before, if you visited Europe, your hotel concierge in Italy or France would have the appropriate foreign stamps to affix to your postcard.

Nations like the U.K., New Zealand, Mexico, Croatia, etc. possibly would have  exotic stamps, including some treasures. In reality, however, you’d beat your card home because out-of-country mail is understandably slow-mo.

In days of old, you could even use generic postcards showing your hotel. Or gratis cards from your airline. Boring, but doable.

My home-made postcards/notecards, for a week-long New York visit. The tradition lives!

I’m so old-school and believe the postcard industry – and perhaps even the  post office – have killed this element of travel communication. Bright new postcards at a curio shop cost a few dollars now, if you can find ‘em at all. The standard cheapo cards were 10 for $1, and they were OK if you don’t mind cards depicting  outdated Statue of Liberty or Empire State Building images.  Equally out of date: a post card flashing  Times Square neon signs depicting “Phantom of the Opera” or “A Chorus Line” billboards, a pair of singular sensations long gone.

E-mail has changed the world. And I changed, too. I make my own, decorating cards pr paper sheets depicting my destination. It’s almost always a New York theme, and this year, I’m doing a Broadway jaunt.

But postal costs are also a factor. The present price to mail a first-class envelope is 78 cents, but will rise to 82 cents beginning July 12. A domestic postcard stamp currently costs 61 cent, and it rises to  65 cents  starting July 12.

I’m utilizing my Forever stamps, bought earlier at  discounted for eternal use.

E-mails erased the necessity of sending postcards; a quick “arrived 10 a.m.; off to a boat tour,” via your iPhone would suffice, along with a companion image of you on a tour going ‘neath the bridges in Chicago, New York, or San Francisco.

But I’m a crafter, and a crafter crafts. And notecards -to the Big Apple- with appropriate stickers or rubber stamps –are especially easy to create.  It’s very basic crafting, but I enjoy sharing ‘em.

A confession: I’m bound for New York this week, to catch a clutch of Broadway shows, including “Lost Boyd” and “Schrigadoon,” both Tony winners this year.

FYI,  I’m done making my N.Y. postcards/notecards, 2026 edition,  and  have assembled envelopes, too, in anticipation of the keeping the postcard ritual alive.

 I affixed an apple with glitter inside, and chose a signature NY attraction or nameplate to complete the NY theme.

In the past, I used subway maps, adorned with tiny yellow cabs; Lady Liberty has been a favorite motif and years ago, I purchased a great rubber stamp. Two years ago, I was ambitious created a mini-newspaper filled with data of shows I was seeing and it was so easy to make, using one sheet of 8 ½ x 11 paper, folded like a book with only two  scissor cuts. Grade school teachers know this trick for their youngsters— a mini book with a few actual pages to turn. I filled the wee pages with text messages.

With my homemade cards, I’ll write notes and mail ‘em in-between Broadway shows or while breakfasting or lunching. Hmmmm, not certain if I made enough notecards or will have enough time to scribble a note and affix the stamp and find a mailbox…

And that’s Show Biz…