HAWAII’S MILES IN ‘SWEENEY TODD’ REBOOT

Hawaii’s Ruthie Ann Miles, a Tony Award winner, will be part of the cast of a revival of “Sweeney Todd, the Demon Barber of Fleet Street,” the acclaimed musical by Stephen Sondheim and Hugh Wheeler.

Miles will  play the Beggar Woman in this reboot, headlined by Josh Groban as the murderess barber Sweeney Todd and Annaleigh Ashford  as Mrs. Lovett, the pie maker.

Ruthie. Ann Miles

Miles, a Kaimuki High School graduate, earned a Best Supporting Actress in a Musical Tony for her portrayal of Lady Thiang in an earlier revival of “The King and I.”

Other supporting roles include Jordan Fisher, from “Dear Evan Hanson,” as Anthony, and Gaten Matarazzo, of “Stranger Things, “as Tobias.

Thomas Kail, who directed Lin-Manuel Miranda’s Tony-winning “Hamilton,” will helm the show.

Previews begin Feb. 26 at the Lunt-Fontanne Theatre, with opening night set for March 26…

Hiccups on KSSK

I’ve been listening to KSSK, to get into the holiday mood, and it’s a most wonderful thing to hear the likes of Johnny Mathis, Andy Williams, Nat King Cole, Dean Martin, Brenda Lee, and many others whose vocals are not commonly on the airwaves these days.

But the radio station has a peculiar hiccup/stutter distraction, where a word or two is repeated. Sounds like those old phonograph records, which can jump or be stuck while listening, but KSSK’s music resources are all digital, so something’s quirky on air and that shouldn’t be happening.

Makes me wonder if anyone deejaying on air listens to what’s playing, to fix the problem.

Just wondering …

Broadway grosses, week ending Dec. 11

“The Music Man” still prevails at No. 1, in Broadway gross tallies, with $3.389 million.

But there’s been a bit of up-and-down rankings last week.

No. 2 is “The Lion King,” with $2.365 million.

No. 3 is “Wicked,” with $2.083 million.

No.4 is “Hamilton,” normally second, but dropping to $2.077 million.

No. 5 is “The Phantom of the Opera,” with $2.020 million

The list is courtesy of the Broadway League…

And that’s Show Biz. …

MAKE YOUR OWN CHRISTMAS CARDS

So I’m pretty much done doing Christmas pins and decorations, so now focusing on easy do-it-yourself Christmas cards.

Utilized scraps from gift paper, cut three segments using different designs, and assembled with double-sided tap to secure on vellum or card stock paper.

Add a star at the top, if you have stick-on stars, and the base is those hot-coffee shields cut into little stands. Can’t see ’em in the photo, but used fringed string at the bottom of the three tree segments, to cover possible irregular space in-between the three tree cut-outs. Give it a try!

These cards say aloha. Enjoy!

STAYCATION: THE RISK AND THE WRIST

Even a one-day (overnight) stay at a Waikiki hotel is a wondrous way for a staycation.

Here’s the background: I covered two back-to-back shows Sunday (Dec. 11) at Blue Note Hawaii, located at the Outrigger Waikiki resort.

The first show  (Frank DeLima) was at 12:30 p.m., a brunch event, followed by two later shows at 4 and 8 p.m. (Makena, aka as Ho’okena and members of The Makaha Sons), a Christmas and Hawaiian show. Took in the later performance.

Made no sense to drive in (during the Honolulu Marathon on Kalaniana‘ole Hwy.) only to return home in Hawaii Kai, and commute back a few hours later.

So I took the risk and checked out kamaaina rates, but they were $325 a room. Imagine what regular rates might be!

Contemplated the kamaaina rate. It was easiest to book a room where the shows were, but at those prices? An expensive risk, perhaps.

Waited a bit, then rechecked several days later via phone what rates were and the price had gone down, I guess, to $225, with no resort fee and half-price for overnight parking ($45 regular price).  So I decided to book ‘em, a holiday gift to myself and my wife.

At check-in, we were enticed into signing up for an upgrade ($89 more) for a room on a higher level with access to the hotel lounge, where breakfast and happy hour/dinner meals were included. Hmmmm. Decided to go up in price and room level, figuring we’d just eat at the hotel, utilizing the included dinner at night and breakfast the next day before checking out. After all, meals for two in Waikiki at a restaurant would cost more than $89. And our wrists became a gameplayer (why and how, more later).

The room was spacious, on the 16th level (17th is the penthouse), not super-duper elegant but comfy, clean, and convenient, with wi-fi, upgraded soap and shampoo amenities and an exclusive lobby-to-room access located near the Blue Note club.

A happy hour trek to the lounge, located on the former Chuck’s Steak House site on the lobby level, provides an efficient but no-choice meal, with the largest taro chips plus traditional corn ships with a slightly zesty aku dip, a couple of fruit options, and fried noodles with chicken and pork protein. Enough to satisfy the hungry, but lacking lounge-level fare choices and perks I’ve experienced at Mainland brand-name hotels at much higher tariffs.

Henry Kapono, ‘neath the tarp in black shirt, on the beach at Waikiki

A Sunday visit meant that Henry Kapono was doing his beachfront jam sessions near Duke’s, his signature show for decades. From a stone’s throw away, I peeked and listened from the lounge, noticing that swimwear folks were truly enjoying the moment.

Breakfast was satisfactory but also pedestrian – buffet eggs, bacon, bread and bagels for do-you-own toasting, tiny strawberry yogurt, fruits like honeydew melon and sweet pineapple.

Turned out to be a working staycation, since I was at my computer following the DeLima show to write and post a review, while my wife ventured out to reacquaint herself with some of the Waikiki spots we used to but haven’t visited since before the pandemic. Also got up early Sunday morning to do a Makena review, which I completed later from home.

Wrist band is room key for lounge guests a Outrigger Waikiki.

The most convenient discovery of the staycation was that the Outrigger, and likely other chic hotels elsewhere,  provides lounge guests with a new kind of wristband that includes your digital key (no more plastic cards to slide or wipe) to access the elevators and enter your hotel room.

Convenient for beachgoers and swimmers and no more misplaced or lost plastic card key.

That was the most eye-opening element of the staycation. And no complaints for the upgrade fee – worth it!

And that’s Show Biz. …

YULETIDE WITH HYBRID GROUP MAKENA

Makena, the splendid hybrid group comprising members of The Makaha Sons and Ho‘okena, staged two performances at Blue Note Hawaii yesterday (Dec. 11) at the Outrigger Waikiki resort.

The clever fusion of two prolific and popular Hawaiian acts – the “Ma,” for the Makaha guys Louis “Moon” Kauakahi and Eric Lee, and “kena” for Ho‘okena’s  Horace Dudoit III, Chris Kamaka, and Glenn Smith – has resulted in an entity with impeccable harmonies and flashy guitar and fiddle bass dynamics. Wow!

With Ho‘okena’s hula dancer, kumu Nani Dudoit, providing elegant, exquisite dances, the Hawaiiana forces are formidable.  She’s also singing now, adding new dimension to the act.

I took in the second show and it was a rouser, with generous  island melodics and a dash of Christmas favorites, perfect for the season.

Nani and Horace Dudoit: She now sings, too..

The magic began with cheerfully curated yuletide numbers, “Home for the Holidays” and a medley of “Christmas in Hawaii Nei” and “Mele Kalikimaka Ia Kakou,” which smoothly expressed the spirit of the season.

Chris Kamaka

Then came a nostalgic and nuanced medley, from the archives of The Makaha Sons of Ni‘ihau (the original act, with the regional name) recreated from a live show, themed “Makaha Bash,” at the Waikiki Shell. A sizzler!

With wisdom and wonderment from the two camps, Makena is a lingering marvel and invention. One of The Makaha Sons’ signatures – famously sung by the late Israel Kamakawiwo‘ole at a previous Na Hoku Hanohano Awards show, but struggling because he forgot the lyrics – and the moment of aloha came when the estranged Kauakahi and his singing bros took the stage to join and “rescue” Bruddah Iz on “Kaleohano,” a treasure in the Sons’ music box forever.

Glenn Smith

The newish twinkle in Ho‘okena’s repertoire is Nani (Horace’s spouse) joining Makena on “Nou e Pauahi,” and she shared her powerful soprano voice with joyful confidence, earning applause from the audience and smiles from the musician singers. Of course, her periodic hula interpretations added grace and glamor to the evening.

Additional Christmas treats included “The Most Wonderful Time of the Year,” an ensemble effort, and Lee’s lead voice commanding “What Child Is This.”

Eric Lee

Ho‘okena’s annual holiday ditty — Kui Lee’s “The Song of Christmas” — happily is shared with Horace’s back-in-the-day story/attempt to listen to the tune and write down the lyrics. He was confounded with the phrase, “Aurora Borealis,” the majestic night lights in the skies, garbling up his original notations with non-sensible lyrics. Nani also had to make-up moves, now altered, when nature’s wonder is sung. ‘Tis the best chuckle of the season.

Louis “Moon” Kauakahi

The show had its oddity,  the inclusion of a budding Waimea (Big Island) couple, Kala‘e and Kalenau. Both sing; he strums guitar, she’s on the synthesizer. Their moments on an original, “We Are a Voice” and “O Holy Night,” the latter in English and in Hawaiian, lacked the chemistry or musicality to match the high bar of talent on stage. It’s wonderful to introduce new talent, but the duo, with pitch issues, seemed like auditioners on “American Idol.”

She redeemed herself a skosh on “The Prayer,” the Ho‘okena holiday hit with English and Hawaiian lyrics, since Maila Gibson has exited the entertainment realm in favor of real estate. …

And that’s Show Biz. …

FRANKLY, IT’S ALL ABOUT HOLIDAY CHEER

Comic Frank DeLima, an Island favorite, put a Christmas spin at his Blue Note Hawaii gig noontime today (Dec. 11) at the Outrigger Waikiki resort.

He entered the stage as Lolo Bono, the sumotori, with a body costume reflecting a bulky Japanese wrestler. When he undid the bulky piece, he uttered, “I wish losing weight was that easy.” ‘Twas an apropos lament blending reality with show biz.

Between sit-down patter and chatter and a few stand-up routines with his trademarks such as Foo Ling Yu Chinese character, DeLima had some mobility issues but managed to wobble and toss out punch lines familiar and new.

His ethnic faves prevailed, led by the timely “Filipino Christmas” with DeLima as a lit-up Christmas tree, with audience members chiming in appropriate vocal support. An errant strand of tinsel from his head occasionally danced along, and in typical DeLima ad-libbing,  he managed to get his right hand to stuff the garland into his neck zone.

Frank DeLima, decked out in a lit tree, sings “Filipino Christmas/”

Frankly, his mood and message was all about yuletide cheer … to share the gift of laughter.

He offered two new shticks to his silliness:

DeLima with sock puppet.
  • “76 Hormones,” a parody to the tune of “76 Trombones” from “The Music Man,” to address the issues of aches here and there among seniors, from neck to knees, from back to shoulders. The parody was a collaborative effort between DeLima and sometimes parody creator David “Kawika” Talisman, who has personally endured beaucoup pain treatments.
  • “Blue Christmas,” his new parody with the familiar holiday ditty, bemoaned the pain of high prices for everything, from hamburgers to bananas to gasoline. The tune, a bit uncertain with DeLima (in Santa coat with faux beard) embracing a sock puppet for the first time, could be tweaked with an expanded intro about the reality of soaring prices that affect the pocketbook of many.
DeLima as sumotori Lolo Bono.

DeLima also revisited his “Twelve Days of Christmas,” the local version beginning with “one mynah bird in one papaya tree.” Unable to stage this one at the height of the pandemic, this revival had funny moments in his effort to secure audience members to utter each of the 12 days, with the viewers taking on No. 5, with a chorus of “five big fat pigs.”

Yes, there was a brief revisit to his No.1 from yesteryear, “Lucille.” However, the pair he selected from the audience were not familiar with his trademark, though his wahine visitor had expressive bursts as Lucille.

The strength of his material included childhood recollections of growing up in Pahoa as a Portuguese kid living among Chinese and Japanese households from where he picked up the skills of mimicking. Reproducing these ethnic lingo for comedic effect, his intent is to honor the mixed plates of island life. No racism here, because he respects the ethic differences that constitute island life.

With musical support from Bobby Nishida and David Kauahikaua, DeLima is the lone stand-up comic who sings.

A wish for next year: Hope DeLima will bring back his singing voice on the likes of “Waimea Lullaby,” which is a splendid departure from his comedic style. …

And that’s Show Biz. …