Month: June 2024

Seventh of a series

NEW YORK —  “Water for Elephants,” a circus-themed love and flashback story, is an amazing  and ambitious stage creation. It has lot of heart and soul, an energetic ensemble of acrobatic actors working alongside real-life performers from The Big Top, and a number of puppets manipulated with sheen and savvy, making them life-like.

This spectacle, based on the novel by Sara Gruen and a film by the same name, is a grand, gorgeous and gargantuan spectacle, something rarely seen on Broadway. Kudos to director Jessica Stone for creating such stupendous splendor.  Once inside the Imperial Theatre and the circus tents are up (on stage) you feel you’re amid the real deal, minus the sawdust.

If nothing else, go to see Rosie, the size of a baby elephant,  with awesome eyes that twinkle that you imagine she’s also smiling. She is, after all, the star of the circus, and her entrance is a beauty – she arrives in body parts, with handlers providing animation, so you witness flopping ears, her legs, her trunk, and finally, that face with those adorable eyes. Hard to fathom that her fate and status (think maintenance cost, like H2O, in a Depression-vintage circus) become a focal point of her residency.

Rosie comes to life, thanks to the puppetry of Caroline Kane, Paul Castree, Michael Mendez, Charles South and Sean Stack.

Silver Star, a stunning white horse puppet, is also memorable and enticing. Marlena (Isabelle McCall) is the stallion’s handler, and the horse undoubtedly is in pain. It takes two (Antoine Boissereau, operates the head and flowing mane, and Keaton Hentoff-Killian picking up the rear) to bring it to life. When Silver Star is airborne, its body of silk fabric soars in a poignant but painful acrobatic display of loss and emotion.

But into each life, some pain must fall – with Silver Star faltering, August the ringmaster (Paul Alexander Nolan, perfectly stubborn and deflective) doesn’t want to lose the horse. Death means loss of revenue. His temper causes friction with his wife, the Marlena character.

With the device of a narrator, Mr. Jankowski (played by Gregg Edelman, engaging and endearing), there’s reflection of circuses past. In the days of his youth, Jacob Jankowski (portrayed by Grant Gustin, dashing and commanding) and there are occasional connections, channeling the story.

The love story entails the rocky relationship of the Marlena and August characters.

The flashback element feels like a carnie’s memories of the circus “then,” fused to the “now” like a father and son liaison thought the characters are one.

The musical score, by a seven-member PigPen Theater Co., fuels a canopy of touching, poignant moments. Choreographers Jesse Robb and Shana Carroll are visionaries, with incredible aerial dynamics coupled with lively movements by the carnies. The show’s book by Rick Elice, borrows from the film.

And the aforementioned Shana Carroll also is circus designer, enabling various elements of the genre: triangular big tops, cords and cords and more cords for acrobatics.

Of all the new Broadway shows I’ve seen in a week, I have faith that “Water for Elephants” should win the Best New Musical laurel in Sunday’s Tony Award. I’ve not seen the “Hell’s Kitchen,” which has garnered the most nominations (13) going into the competish, so yes, “Elephants” is a dark horse. And Takeshi Kata’s design for “Elephants” – with style, flair and imagination — is positively the Best Scenic Designer of a Musical…

And that’s Show Biz…

Sixth in a series

NEW WORK –“Six” perhaps exists because of its half-a-dozen traits that intertwine into a bouncy, beautiful show. The musical, co-directed by Lucy Moss and Jamie Armitage from Toby Marlowe and Moss’  script, is crisp, entertaining and relatable, about the six wives of King Henry VIII. 

Doesn’t quite matter if it’s wholly authentic, or if you don’t adore British queens of the past; it’s casual fun, with six capable belters, who share viewpoints about their ex, and the format is like an I-can-do-better-than-you competition. Could this have been, perhaps a pilot for “Britain’s Got Talent”?

The show, running a tidy 80 minutes without an intermission at the Lena Horne Theatre, can be deemed:

* Sexy – The all-woman cast looks good, dances well, and could logically become an all-girl group.

* Saucy—This is a lively ensemble, unafraid to speak out.

* Silly—Oh, they’re not serious all the time, allowing moments to be goofy.

*  Slick—One or two contemplate being the last one standing.

* Sentimental—Not every ex-queen survived the king.

* Swonderful—The glimpse at this empire of women who have a story to share might have historical implications, and hey, if you get some knowledge out of this, ain’t that ‘swonderful?

The show is a concert and a competition, and in the Broadway lexicon, a contender; an earlier cast enabled the production to land a Tony in 2022, for Best Original Score.

The cast, in historical order, are:

• Khaila Wilcoxon is Catherine of Aragon.
• Storm Lever is Anne Boleyn.
• Jasmine  Forsberg is Jane Seymour.
• Olivia Donaldson is Anna of Cleves.
• Didi Romero is Katherine Howard.
• Gabriela Carrillo is Catherine Parr.

So why are these Henry VIII wives relevant and worthy of a musical? Youngsters in Britain popularized this mantra, “Divorced, beheaded, died, divorced, beheaded, survived,” and the gals in the production repeat this phase often, which easily could be a takeaway for this show.

Wikcoxon has a dominating presence with a brooding voice, echoing the style of Beyonce. And she claims the No.1 spot early on. The melodies are high-level pop stuff, and with occasional disco-style of flashing bright lights, in blinding tempos and hues, competing with the splendor of costumer Carrie Ann Ingrouille.

Katie Pope’s costumes reflect and project glamor as its very best, in the spotlights, and a four-member all-girl band, conducted by Julia Schade, hits all the right notes. This is a show produced by Hawaii’s Kevin McCollum.

And that’s Show Biz…

Fifth in a series

NEW YORK – “Cabaret at the Kit Kat Club” is a rarity. The latest reincarnation of the John Kander, Fred Ebb and Joe Masteroff musical, looks like a circus and indeed plays like one, preceded by a pre-show party of drinks, songs and dancing.

And Eddie Redmayne, as the fabled emcee, occasionally is dressed like a clown (with a cute party cap) but sort of engaged in the role of a circus ringmaster doubling as a nightclub barker. This is a visually stunning Olivier-winning production, staged in the round at the August Wilson Theatre. Redmayne has committed to a six-month run through Sept. 24, 2024, so if you are inclined to take in this show, book a flight. Oh, he doesn’t perform Monday nights.

You’ll find Redmayne fascinating, beginning with the keynote drumroll, part of the customary “Willkommen” welcome. You know, everything is beautiful inside; leave your troubles outside.

The show is staged in the round, meaning audiences see slightly different perspectives, depending on where you’re seated. I opted for the orchestra seats, one of two locales available on the set-up, and two balcony zones are above orchestra.

The in-the-round format embraces a revolving circular performance platter, with a central circular sector which enables Redmayne and his cast to enter from the depths or escape in the two-tier hatch resembling an over-sized birthday cake.

This circular exit-entrance is one of five demanding passageways. Imagine a capital X; all actors utilize each point of the alphabet, often with an occasional leap, so there’s lurking possible danger, even for the up-front viewers. But the crew seems confident and ready for the logistic challenges. Why not? Director Rebecca Fracknall earned a Best Director Olivier trophy for her vision.

Redmayne undoubtedly is the most outrageous Emcee to date, ranging from a welcoming host to a raucous, slightly manic challenger threat of Hitler.

Vocally, he carries his weight and is robust and ravishing, in all his solos, including “Welcome to Berlin,” “Maybe This Time,” and “Tomorrow Belongs to Me,” delivering power and stamina. He’s priceless, when he’s supported by the Kit Kats on “Money,” oozing charisma. And he’s literally the host of the Kit Kat Club and also the audience at the August Wilson.

But he is not the lone star in this galaxy; Gayle Rankin as the love-seeking chanteuse Sally Bowles, is a scintillating match, reflecting passion and hope. “Maybe This Time” is her show-stopper.

The plot features a gay American author, Clifford Bradshaw (Ato Blankson-Hood, excellent), who is in Berlin in search of inspiration for his novel. He meets Sally on the first night and they become coo some twosome, and both are broke and eager for company, so she quietly moves into his rental.

The author’s landlady is Fraulein Schneider (Bebe Neuwirth, oozing kindness and empathy), who has a warm relationship with a Jewish renter,  Herr Schulz (Steven Skybell, a beau and a gentleman).  They have the kind of chemistry that wins Tony Awards.

Arriving in the midst of  New York’s Pride Month celebration, “Cabaret” boasts an ensemble of singers and dancers of assertive sizes, shapes and races, and perhaps a trans, too – difficult to know because of the glorious and risqué costumes, bathed in lively, exotic and mood-setting lights and sound, with non-stop, dynamic choreography by Julia Cheng, all in synch with music directed by Jennifer White…

And that’s Show Biz…

Fourth of a series

NEW YORK – Kevin McCollum, the prolific producer of Broadway shows, has two hits on the board currently. And planning two more productions.

“The Notebook” at the Gerald Schoenfeld Theatre is McCollum’s newest.  It’s attracting sold-out crowds, and I enjoyed the show, based on the rom-com novel. Its production values are stunning: handsome sets with multi-levels, creating elements of a home, a hospital and a river.  And this is one of two shows with pouring rain in Act 2.  Impressive!

Several years ago, McCollum launched “Six,” at the Lena Horne Theatre. Finally caught up with this one on my current trip. Its six-member, all-women cast boasts powerful voices, delivering a myriad of material but focusing on thumping and danceable disco vibes.

But McCollum has a pair of new productions, details of which have not been announced:

“The Devil Wears Prada” and “Night at the Museum,” based on hit movies. Presume these will be musicals, since that’s been his gold mine, if his past triumphs are a barometer. He earned Tonys for “Rent,” “Avenue Q” and “In the Heights.”

His other credits are “The Drowsy Chaperone,” “Something Rotten,” “Mrs. Doubtfire,” and “Motown: The Musical.” Off-Broadway, he also produced “The Play That Goes Wrong,” which won an Olivier award.

Pretty darn good, for our local boy…

Local lads

Couldn’t set up an interview with Ezekiel Kekuna, the Kaneohe lad doing the Young Simba role in Disney’s “The Lion King” at the Minskoff Theatre, and since a conversation was not possible, didn’t secure tickets to see the show…

And pardon moi: Forgot that Zare Anguay, another Kaneohe dude, is a swing performer in the ensemble of Disney’s “Aladdin,” still running at the New Amsterdam Theatre.

Both Kekuna and Anguay had much of their theatrical training as members of The I’m a Bright Kids Foundation…

And a contingent of the Bright family – Ronald Bright’s widow, Mo Bright, and daughter Jodi and the Lee Stein ohana– are back home in Kaneohe, following a Broadway show visit. Of course, they took in the two aforementioned shows to reconnect with the actors, including Zeke’s mom, Sarahlea Gamiao Kekuna, who has been a Broadway mom, meeting constant islanders who’ve come to New York, in support of Zeke, who will part of the Pridelands, till August. Way to go! …

Plane coincidence

When boarding our Hawaiian Air flight in Honolulu, heading to the John F. Kennedy Airport in New York, we ran into sometimes island resident/visitor Mary Gutzi, who also was heading to The Big Apple.

Most recently, she has been starring in an Asian Korea tour of “Sister Act” in South Korea. Next destination: Japan.

We tried to set up a meeting in New York but couldn’t find a mutually convenient time. Guess a reunion might happen in Honolulu…

And that’s Show Biz…

Third in a series

NEW YORK – Ben Platt’s concert – which is the opening attraction at the renovated Palace Theatre through June 15 – clearly demonstrates that the world includes lovers and haters. OK, perhaps the in-betweeners, too.

Platt, the Tony-winning singer-actor on Broadway, is attracting his diehard fans—in the thousands – to his “Ben Platt Live at The Palace.”  The venue is the fabled theater, in the heart of Times Square, where earlier starring tenants included Judy Garland and Liza Minnelli, two of his idols.

The lovers adored the show – that’s what lovers do – and Platt’s 18-show run, brief residency is not the  traditional Broadway fare. It felt like a CD-launch party, for his new “Honeymind” album —casual, chit-chatty, like a fan party. I found it all astoundingly honest.

It was charming to witness Platt interviewing himself, revealing he came out when he was 12, but his gayness was timely: Broadway is celebrating Pride Month in June, with all Playbills at all shows redressed to display the rainbow hues in the masthead.

 The haters, including  unofficial online reviewers, share the flip side of the coin.

“Three weeks of a yet-to-achieve-actual-stardom performer is an odd way to open the gloriously renovated Palace,” said one online reviewer-turned critic. “Ben Platt sang his little heart out, but it all seemed like a sham, an actor pretending to be a superstar when he’s actually a (not untalented) Broadway middleweight. He plugs his new album eight or was it twenty times? Really?“

For a 30-year-old, Platt’s career has not yet reached the superstar level, but he’s certainly earned his stripes, and he reflects on his past conquests, like the movie “Pitch Perfect” and the Broadway musical “Dear Evan Hansen,” which earned him a Tony Award. ‘Nuff said.

Every night, he’s featuring a different guest artist: Kelli O’Hara was the featured singer, doing “Both Sides Now” with Platt, at the performance I attended, and previous artists have included Kacey Musgraves and  Kristin Chenoweth.

Platt comes off as an earnest vocalist, with a bundle of songs unfamiliar to me, but when he calls for a sing-along, many lovers of his craft immediately chimed in, the lyrics pouring out with gentle passion.

Watching/hearing Platt is somewhat of a peculiarity. He chats a lot but does have things to say – not mere babbling. He names his partner and talks about a planned wedding; he sips a lot of water, from bottles placed at several spots on stage. He has his own brand of choreographics, a style that is repetitive, and more like disco-dancing. And he’s funny; a comedian resides in his soul.

He has two back-up singers, a woman and a man, and a mid-sized orchestra that provides vibrant support. In other words, he’s not merely a singer-actor Broadway musicals; he composed most of his treasured titles.

His Palace residency, thus, is yet another notch on his show biz agenda; you’re on your way to new levels, if you can assemble 18 guest artists, sell merch ranging from concert posters to T-shirts; and hold the attention of your cherished lovers.

As a Tony winner, he strangely bypasses his “Dear Evan Hansen” hit song and delivers instead a secondary tune. Bad move: share what your listeners know.

He shares songs linked to his idols; but the tributes should come in the same moment for continuity – Minnelli’s “Maybe This Time” from “Cabaret” was spotlighted well before Garland’s “Over the Ranbow” from “Wizard of Oz” just prior to his finale.

As for the refurbished Palace: I love the feel and look of the venue, with orchestra and balcony considerations. But the seats line up in tightly spaced rows, when instead a modern house should be an improvement of the past; your knees touch the seats in front of you, like coach in an airplane, and you can’t cross your legs. So yesterday.

The old theater’s entrance was on Broadway; the new one faces W 47^th St. understandable because of the constant heavy foot traffic on the avenue. The new theater doesn’t boast a formal “lobby,” but has sectors that clearly want to eliminate a bottleneck, with patrons either ascending an escalator, or heading into an elevator. But guides hustle you in the right direction to properly get you to your seats.

I was in orchestra but had to go “up” to my seats, and the elevator was modernistic, programmed to get you a level or two up to your destination, and down afterwards to ground level. Efficiency, for sure.

And that’s Show Biz…