Comedian Frank DeLima’s Christmas gift to fans and followers is a parody of the yuletide classic, “Blue Christmas.”
In his treatment, DeLima moans and groans – like most of us – about the prevailing inflation that affects every aspect of life. Eating – brunch, to cut out one meal. Shopping – a single banana, instead of the whole bunch. Commuting – selling his Caddy because of gas prices.
Of course, he groans In his own inimitable manner. In pidgin. This time, in his video, a companion – a sock puppet.
“Blue Christmas” sounds like a new song, with his new lyrics:
Frank DeLima and sock puppet pal.
“Ima havin’ a Blue Christmas
“Inflation
“Hamburgah price outrageous
“Inflation
“Thanksgiving dinna set me back
“I gotta sell my Caddalac
“My money…no can go as far…”
To download the parody, go to www.frankdelima.com and make a donation to his Frank DeLima Enrichment Program to support his tour of inspirational tours of local schools.
The video also is posted on my Facebook page.
DeLima will premiere this parody at his holiday brunch show, at 12:30 a.m. today (Dec. 11) at Blue Note Hawaii, at the Outrigger Waikiki resort. Doors open at 10:30 a.m. (Blue Note announced the time changes earlier this morning).
The more you watch “Hamilton,” the more you discover and savor; the more you observe, the more you reflect on how impactful the Lin-Manuel Miranda mega-hit is with parallels in modern-day history.
Happily, the touring company dubbed “And Peggy,” now ensconced at the Blaisdell Concert Hall for a historic eight-week run, is the longest any show has cast its anchor here. It opened Wednesday night (Dec. 7) and runs through Jan. 29, 2023, with a well-honed cast carrying on the ebullient tradition of the musical still running in New York.
The Dec. 8 show was my fourth visit to “Hamilton,” and I’m still on a high. And I’m attending the show again, tonight (Dec. 10).
DeAundre Woods
The hip-hop/rap score, with occasional R&B tunes, still is vibrant with diverse blind casting that initially might throw you a curve. Many African Americans are in the company, including DeAundre Woods as Alexander Hamilton (commanding and conniving, propelling the story of America’s founding father ), and George Washington (Darnell Abraham, splendid and convincing) and Aaron Burr (Donald Webber Jr., dominating as Hamilton’s clever and conniving frenemy), and they all quickly define their characters with drum-beat perfection. The rap genre boasts lines and words and these dudes have mastered the delivery of smooth lyrics, in synch with the tempos of hip-hop.
The delivery is smooth and audibility is clear, without being overbearing. The facility’s sound often has been a source of irritation –often difficult to hear a singer or appreciate the musicianship — but there’s no quibbling here.
The “Hamilton” set has been tweaked with new hues .
First thing I noticed: the new-look set by David Korins (two levels, with a stylish “unfinished” fringe above the catwalk platform) augmented with lighting tweaks by designer Howell Binkley (his pallet includes orange and light blue-grey hues, with eye-catching tones that change periodically enhancing the performing space). Paul Tazwell’s costumes (properly light and bright, from formal soldier wear to elegant gowns) add to the spectacle.
(These technical team members are the show’s original artisans, so there’s powerful energy and imagination, for the road shows).
And yep, Hamilton’s “just you wait, just you wait” pitch in the opening number, is an indication he’s a do-er and he does. A political fighter and leader, who’s not afraid of verbal spats; a romantic, who has indiscretions; fearless and perhaps reckless; the secretary of treasury who takes a bullet. These are echoes of modern politicos.
Eliza Hamilton (Morgan Anita Wood, elegant and faithful) marries Hamilton and outlives him by 50 years is the portrait of The Victim) and her sister Peggy Schuyler (Rebecca Covington, the commanding adulteress who becomes The Other Woman in Hamilton’s life) are equals in precision and perfection. Angelica Schuyler (Maria Harmon, superb, is the third Schuyler sister and intellectual equal of Hamilton).
Two other characters will wow the audience: King George (Rick Negron, comedic and captivating, via his hilarious “You’ll Be Back” anthem) and Marquis de Lafayette (Paris Nix, outrageous as Hamilton’s comrade, doubling as Thomas Jefferson).
Those fearing and uneasy of rap shouldn’t worry; the form is part of prolific Miranda’s language has been an avenue of success, not changing, but augmenting Broadway ever-changing landscape and map; it’s not the gansta rap where hip-hip is commonly adults-only vocabulary.
Further, the revolving stage is intact and in motion, a design factor popularized by the “Les Miserables” model, and it works well in “Hamilton,” rotating performers with choreographic swirls.
The whole shebang is choreographed by Andy Blankenbuehler, orchestrated by Alex Lacamoire, and directed by Thomas Kail, all from the original award-winning Broadway team.
What’s better than one crossover TV show? How about a three-way networking?
The online buzz, confirmed by recent CBS promos, is that the first-ever three-way crossover is set involving the three remaining “NCIS” shows in the procedural’s stable on Jan. 2, dominating prime time from 7 to 10 p.m. that evening.
The three-hour-long block will assemble teams from the three shows who will unite in Washington, DC, to celebrate a FLETC (Federal Law Enforcement Training Center) professor, who trained members from each squad. On the eve of the celebration, the prof is discovered dead of an apparent suicide and his former students immediately suspect foul play.
Familiar “NCIS” regulars, gathered for the triple crossover shows airing Jan 2.
First up, “NCIS” and its episode, entitled “Too Many Cooks,” where the teams will come together and sort out investigative strategies.
“Hawai’i” is next up at bat, via “Deep Fake,” where some agents will find themselves captured while some find assets arriving in the islands that could be connected to several overseas assassinations.
“L.A.” is the finale, with an episode called “A Long Time Coming,” with agents find themselves ambushed with each with a $200,000 bounty on their head.
One night, three thrillers and teams, proving there’s strength in numbers, with CBS banking on high ratings from the Good Ship NCIS. Remember when the flagship procedural gave birth to three other series: “NCIS: Los Angeles,” “NCIS: New Orleans,” and “NCIS: Hawai‘i” (New Orleans has been cancelled).
Mark Harmon
It would be a coup, if the flagship original show’s Leroy Jethro Gibbs –that would be Mark Harmon, who led the investigations as special agent Gibbs over 18 seasons – might be aboard, too. But it’s unlikely, since he has not been an on-camera regular for the past two seasons, though he has been credited as an executive producer for most of the run. He wanted out after season18, but remained for two appearances in season 19, to assure CBS to remain committed to the franchise.
Spoiler! Online buzz theorizes that a body bag figures in the crossover, with an unthinkable and unsettling discovery!
There have been some crossovers involving three shows still airing on three other fronts. The networks haven’t been toasting a three-bie involving the trio of “Chicago,” “FBI” and “Law and Order” franchises. One doctor or cop or fireman or investigator have made quick cameos in these camps. …
Sight ‘ems
Melanie Tojio Lockyer
I bumped into New York theater couple local actress-director Melanie Tojio Lockyer (“Miss Saigon,” “Allegiance”) and her actor husband Peter Lockyer (“Miss Saigon,” “Les Miserables,” “Chicago”) at the opening of “The Year Christmas Was Almost Cancelled last weekend at Mamiya Theatre. They’re holidaying here to visit her family but enjoyed a reunion of the holiday musical’s co-creators, Kyle Kakuno and Roslyn Catracchia. …
At the recent Randy Rainbow concert at Hawaii Theatre, he asked the audiences during a Q&A moment, where he might find nightlife action following his concert. Several in the audience shouted “Hula’s,” and it was uncertain if Rainbow knew this was a gay hangout. I ran into Hula’s proprietor Jack Law, after the show, in a nearby parking garage, and he was all smiles. “Quite a plug,” said Law. Not likely that the comedian/parodist made the trek after the show. …
Broadway grosses, week ending Dec. 4
While “The Music Man” remains No. 1 as the top-grossing Broadway show with $3.083 million last week, “The Lion King” roared to the tune of $2.162 million for No. 2 creds, leaving “Hamilton” at No. 3 with a respectable $2.083 million.
Such is the see-sawing rankings, courtesy The Broadway League.
“Hamilton,” Lin-Manuel Miranda’s highly anticipated musical that embraces hip-hop and rap to depict the history and climate of the nation’s founding fathers, opens a historic eight-week run tonight (Dec. 7) at the Blaisdell Concert Hall.
The show — which has won 11 Tony Awards (including Best Musical), the Grammy Award for Best Musical, and the 2016 Pulitzer Prize for Drama –is the first Broadway musical ever to be booked for an extended run through Jan. 29. Most shows are in and out of town for two, maybe three weeks, so this is a biggie. Hope Hawaii supports this mammoth endeavor.
I have seen the show twice at New York’s Richard Rodgers Theatre on Broadway, once with the original cast that featured the beloved creator who did the book, music and lyrics.
I have fond memories of the first time, when Miranda was the lead. It was so difficult and expensive to secure tickets then, because of high demand and the frustration of elevated ticket prices. Long story short: I had to pay $750 per ticket ($1,500 for a pair) and the seats were in the second-to-the-last-row in the balcony, where you almost could touch the ceiling! But worth it, what with the anticipation and expectation of a high-profile show.
My second visit was in Chicago, when local boy Joseph Morales was portraying the Sunday matinees at the Private Bank Theatre (now renamed). He since has assumed the Hamilton role in an ongoing national tour for nearly three years, criss-crossing the U.S. and earning hurrahs, before the pandemic and since all theatrical shows resumed tours.
The third time was again in New York, when Big Islander Marc delaCruz was in the ensemble and understudying the Hamilton and other roles before the pandemic.
Here’s the rub: Wherever you sit or whomever plays the title role, it’s highly likely you’ll be charmed.
DeAundre Woods is “Hamilton.” Joan Marcus photo
The show has been a leader in diverse casting, with Hispanics, African Americans, Asians and others singing and dancing among white actors. Don’t be stunned if George Washington is an African American.
In the production here, DeAundre Woods will play Hamilton.
And if you think you’ve seen “Hamilton,” since you watched that luscious and revealing filmed version on Disney+, you really haven’t. Like the promos airing on TV say, to truly appreciate the show, you have “be in the room where it happens,” meaning in a theater. The film had bonuses of close-ups and aerial shots, but theater means being there in the flesh.
I will be taking in three performances here, for different reasons; I’ll attend a media performance on Thursday (Dec. 8), and also on Saturday (Dec. 10 is my season ticket slot). But I’ll be in the room where it happens again on Dec. 21, when I’m inviting my nephew, who will be spending Christmas in Hawaii, on a break from his Army duties at Ft. Bragg, N.C.
Some general advice and tidbits, for first-timers at the show:
Get acclimated in advance to the cadence and rhythm of the hip-hop raps. If you saw the Disney film, great; you know the flavor and tempos. If not, secure a CD to listen to the numbers before attending. In other words, prepare for your investment in tickets and time.
This visiting cast is dubbed “And Peggy.” That’s the name of the tour, with other companies also boasting a different code name.
There’s a marvel of techie stuff on the single set, which has multiple movements to fit the needs; all shows (assuming And Peggy, too) utilize a turntable revolving stage that’s part of the choreographic modes.
King George (a delightful character) appears in the show twice, so his big number, “I’ll Be Back,” rings true. FYI, his crown weighs 2 ½ lbs. and conceals his mike. You’ll adore him.
A catwalk will fly in-between acts, so if you’re in the house, look for this set installation. Be in the house when it happens.
“Hamilton” is the lone show, one of four in the Broadway in Hawaii season, which employs mobile tickets for non-season sales. Season subscribers had “hard” tickets mailed to buyers; if you ordered via Ticketmaster or the Blaisdell box office, you’ll have to transfer your tickets to your mobile phone for entry. (Those without iPhones can complete ticketing at the box office on the night or day of the performance).
“Hamilton” has a special color for some costumes, including the lead actor’s coats, a tannish tone, dubbed “Hamil-tan.”
It takes 13 trailers (53 footers) to transit the show from one city to the next (not certain if those trailers moved via planes or boats).
Splurge a little before you exit; secure a souvenir of a memory you won’t forget. On Broadway, I purchased a T-shirt as well as a baseball cap with A. HAM inscribed…
“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.
*. * *
“The Year Christmas Was Almost Cancelled”
Showtimes: 7 p.m. Fridays and Saturdays and at 6 p.m. Sundays, through Dec. 18.
