SCHUMAN READY TO ‘BRING HIM HOME’

Does Craig Schulman, known for his role as Jean Valjean in “Les Miserables,” ever shed tears when he delivers his signature tune, “Bring Him Home”?

“Never,” he said in a phone interview from his New York home. “I have a routine that goes through my head. You have to control it (the tears).”

Schulman is heading to Honolulu for a much-delayed performance when he appears with two Broadway colleagues in “The Three Phantoms,” at 7 p.m. Oct. 29 and 2 p.m. Oct. 30 at the Hawaii Theatre. It’ll be a night of Broadway tunes from a myriad of shows, including “The Phantom of the Opera.”

Schulman, who is the producer of the event, will naturally render “Bring Him On.” So he’ll have to keep up his guard, since fans and followers often drop tears due to the emotion in the song, even out of context of “Les Miz.”

Craig Schulman, as the Phantom, himself, and Jean Valjea.

Some years ago, when he did the first national tour of “Les Miz,” he thought “Bring Him Home” might bring out the waterworks.

“At that time, my dad was having cancer surgery, and I kept that memory, which keeps me in control. But when I lost a daughter, I was having emotional pain.”

His determination to maintain discipline, so he doesn’t “lose it,” has been helpful. But there have been a few instances “when my body couldn’t keep up with my mind.”

He misses “Les Miz,” specifically, and the stage, generally.

So “Phantoms” will enable him to embrace Broadway biggies that feature a panorama of familiar tunes performed by male tenor soloists, like Andrew Lloyd Webber’s “The Phantom of the Opera.”

Keith Butergaugh
Gary Mauer

Schulman organized the concept back in 2000. The Hawaii Theatre edition — with support from Honolulu arts patron Carolyn Berry Wilson — will be the first resurrection of the show since the pandemic shut down theater everywhere. He has assembled the substantial talents of two buddies – Keith Buterbaugh and Gary Mauer, who, like Schulman, have donned the mask of the “Phantom” over the decades, as well as performed in other key leads in the Broadway repertoire.

Dan Riddle, musical director, will helm a six-piece group of island musicians for the evening.

Schulman, who has performed Valjean in previous Honolulu visits of “Les Miz,” earlier partnered with Cris Groenendaal, who played the phantom here, and Kevin Gray, who starred as Scar in “The Lion King” at Blaisdell Concert Hall, in the phantom trio portfolio. Groenendaal has retired from active singing and Gray died of a heart attack while shoveling snow at his New York home.

Craig Schulman

Collectively, the original Phantom buddies accrued an average of 20 years of Broadway experiences and  performances in regional shows, opera and TV roles.

“When we do a set show, with a symphony or a six-piece orchestra, you have to stay with the script,” said Schulman about “Phantom.” “You can do some shtick, but you have to be consistent.”

The planned repertoire includes male-delivered hits from shows like “Miss Saigon,”  “Guys and Dolls,” “ Annie Get Your Gun,” “Kiss Me Kate,” “South Pacific,” “Jesus Christ, Superstar” and “Damn Yankees.”

Tickets are $30 to $50, available at www.hawaiitheatre.com or by calling (808) 528-0506. During the pandemic, the theater box office is closed, so ticket access is via online or phone.

After Honolulu, the threesome  will have two more “Phantom” bookings,  in Muncy, Ind. But Schulman said he always keeps a stable of singers in tow, just in case. “You need to keep eight to ten people, as singers come and go. I had hoped to have Mark Jacoby aboard, but he is one of two Neil Diamond actors (the younger is Will Swenson), in the Broadway-bound ‘A Beautiful Noise’” which is launching in Boston next June before heading to New York later.

 Of course, he’s open to do a legit Broadway biggie, should an opporutunity arise.

Otherwise, he said, “I still do voice-teaching. And I’m enjoying my grandchildren.”

But It’s been a frustrating past decade, for the whole theater industry. “The industry retired me, making a decision that I stop (doing traditional theater). And that makes me angry.” …

And that’s Show Biz. …

CARROLL MEMORIAL ON NOV. 27

A memorial service will be held for the late Dennis Carroll, the playwright and professor emeritus at the University of Hawaii’s Department of Theatre and Dance, from 2:30 to 4:30 p.m. Nov. 27 at Kennedy Theatre.

Though associated with UH, Carroll was founder of Kumu Kahua Theatre, which is organizing the memorial with the cooperation of UH. Nov. 25 is the first anniversary of his death; he was 81.

He nurtured and led Kumu Kahua, living his dream. Carroll was an accomplished playwright whose vision for his craft evolved into the formation of Kumu Kahua, the theater group specializing in works with island themes written by folks who share the same focus and staged with actors enacting tales of the Hawaii experience.

Dennis Carroll

Submissions for inclusion in the event – photos, tributes, video –  are sought, from now through Nov. 1. To upload submissions, visit Photos & Tributes for Dr. Dennis Carroll .

Following the memorial, a reception will be held in the Upper Lanai of Kennedy Theatre..
“Dr. Dennis Carroll was a tremendous friend, colleague, mentor, and educator. The impact of his legacy will long be felt throughout the halls and hearts of this campus and the extended community,” said Tammy Haili‘ōpua Baker.

“Kumu Kahua is at its core a playwright’s theater—reflecting Dennis’ passion for our
tremendous local playwrights that share the voices of our community and the cultures reflected here,” said the theater’s artistic director Harry Wong III. …

Postscript on the Wolfe firing/reinstatement

Rick  Chong, chair of the board of directors at Diamond Head Theatre, has shed light on the way costume designer Karen G. Wolfe was terminated, then reinstated. Turns out there were vague decisions about retirement, resignation and reinstatement, on both sides of the coin. And mind-changing on her part didn’t help.

Rick Chong

An in-house letter, shared with me, clarifies some of the issues surrounding Wolfe’s standing. Chong shed light on the hitherto not mentioned fact that Wolfe initiated her exit by submitting a letter of intention to resign last February, prior to the opening of “Jesus Christ Superstar.”

“She was never asked to resign; she verbally submitted her resignation,” said Chong in the memo.

Subsequently, Wolfe had discussions with her supervisor and “she agreed to delay her resignation until the closing of ‘Anything Goes,’ which would also coincide with the closing of the old theater. By that time, however, steps had been taken to recruit and hire for her replacement to plan for the changes that her departure would necessitate,” said Chong.

In August, she sought to extend her retirement until the opening of “Cinderella” (next January).

Separately, Wolfe has said via Facebook that she was back is in the saddle, on the timetable she requested.  Curiously, Chong’s memo said “DHT has agreed to extend Karen’s employment to the opening of ‘Cinderella’ (next January) as Karen requested; however she has declined that offer.”

So: don’t know if all that rallying for her to maintain her role is over.

There’s encouragement, however, in Chong’s declaration that “Karen has expressed interest in still returning as a guest Costume Designer for future shows so it’s our hope that she will continue to be able to offer her creative talents and artistic touch for many shows in the future.”

Sounds like an encouraging  e-handshake. After all, no one – surely, not DHT –disputes Wolfe’s long years of dedicated service and creative costuming. …

Broadway grosses, week ending Oct. 2

Maybe Broadway is returning to the pre-pandemic times, with folks flocking back to the theater again.

The top three grossers remain the same: No. 1, “The Music Man,” with $2.794 million; No. 2, “Hamilton,” with $1.913 million; and No. 3, with “MJ the Musical,” with $1.728 million.

The next leaders are: No. 4, “Funny Girl,” with $1.638 million; No. 5, “The Lion King,” with $1.573 million; No. 6, “The Phantom of the Opera,” with $1.331 million (picking up support since it announced its closing in February, 2023, after a 30-year run); and No, 7, “Wicked,” with $1.328 million.

The compilation, courtesy The Broadway League:

And that’s Show Biz. …

A ‘HOCUS POCUS’ TUNE-UP ON BWAY?

The Sanderson Sisters – that would be Bette Midler, Sarah Jessica Parker and Kathy Najimy – apparently may be singing and heading to Broadway.

The trio, a hit in the 1993 fantasy horror film, currently appear in a streamer, “Hocus Pocus 2,”  airing on Disney+.

Though the crystal ball suggests that the witches are likely to return again in another venue, the Broadway stage sometime soon, you gotta wonder why.

No. 2 is cute and funny, but not the treat audiences will relish. In case you missed No. 1, there’s a prologue about the Sanderson Sisters as teens, so it seemed nearly forever for the “modern” elderly trio to fly in.

Why would “Hocus Pocus” make the Broadway jump? Could be partly because Midler, who used to be the Divine Miss M in earlier times, did great box office when she was Dolly Levi, in the reboot of “Hello, Dolly” two seasons ago. And she loves Halloween, based on the fact that her annual fundraiser called Hulaween is always on her agenda. The play on hula, of course, is to reinforce her Hawaiian roots.

But getting back to “Hocus Pocus, the Musical” – the tune-up apparently has been under wraps, according to David Kirshner, a producer in the franchise. It might have happened earlier, but COVID-19 swooshed it from the front on the stove to the back burner. So the film sequel must’ve been in the works, and beat the stage version to the cauldron.

The plans for the Broadway vehicle were revealed on the Broadway Podcast Network’s “The Art of Kindness.”

Sarah Jessica Parker, Bette Midler and Kathy Najimy in “Hocus Pocus 2.”

Of course, it would be a treat to reunite Midler, Parker and Najimy for one more flight on the broom. All have experience on the Great White Way, and the dealmaker would be if the producers can corral the threesome one more time. The trio delivered a couple of tunes – the best was “One Way or Another” – in “Hocus 2.”

But on Broadway, if there’s no Midler, there’d be no musical.

As for the streaming film: it’s Disney fluff mainly for the kids. The timeline is 2022, compared to the 1990 Salem in the original flick, and overall, it’s lame lunacy.

The revelation about a stage musical was made on Broadway Podcast Network’s “The Art of Kindness,” several days ago.

The stagecraft of giddy witches with spells that can spook, could work, but it’s got to have elements beyond shtick, considering Broadway tariffs. . And the modern times require updated apothecary surprises; No. 2 involves glowing powers, plus a wild, bewitching romp through a Walgreen’s store.

If a cast, composer, choreographer and director can be inked – and able to lure Midler, Parker and Najimy to frolic in a new Salem populated by dancing and prancing townsfolk – the show could evolve into a  Halloween tradition on Broadway …

‘Magnum’ transfer includes two seasons

“Magnum P.I.” currently is filming in Hawaii, under new alphabetical bosses: NBC instead of CBS.

And looks like Jay Hernandez and Perdita Weeks, will have a second season after this one to work out romantic issues.

Perdita Weeks and Jay Hernandez, in “Magnum P.I.”

That’s the outlook. Ten shows this year, ten more next year.

Reasons CBS pulled the plug after season four include a hefty audience base of 8 million viewers in the earlier years, shrinking to 6 million during the fourth year, plus a lack of Emmy nominations and wins (none). Ultimately, contractual conflicts with Universal, which produced the procedural, led to the downfall for the cancellation.

So “Magnum” has 20 episodes to reassess and ramp up the numbers….and hope for louder outcry from fans which helped give the show another chance. …

And that’s Show Biz. …

‘SHAKA’ FILM SHOOTING FINALE AT PCC

What does shaka mean? Who originated it? Is there the right way to wave one?

Producer Steve Sue and a team of filmmakers are trying to get the right spin on the widely used hand-and-fingers sign.

Sue, chairman of Bizgenics, a Hawaii-based nonprofit 501CE that specializes in creativity, innovation and supports  entrepreneurs to fulfill dreams, is aiming his cameras in the islands to find the meaning and origins of the shaka sign.

“It’s an interesting story to pursue,” said Sue, a Chinese entrepreneur who studied law but determined he was not going to be a lawyer. A former Californian married to a local girl who now lives in Kaimuki, Sue has toiled as a conceptualist creating theme parks, staging entertainment and corporate theater events, mega-resort casinos and other ventures.

His latest project is a documentary entitled “Shaka, a Story of Aloha,” with a planned mammoth finale Hawaiian luau at the Polynesian Cultural Center on Oct. 19, in which three original songs are being composed by Henry Kapono to debut at the shooting.

The documentary will boast a Hollywoodish capstone in the PCC’s Hale Aloha showroom-theater, home of the “Ha” spectacle. And the public is invited to attend and participate and become part of the audience in the taping.

Steve Sue, an entrepreneur, is producing “Shaka, a Story of Aloha.”

“I’ve been interested in the shaka, learning from a friend in the LDS (Latter Day Saints) community, and three years ago, I met with the kupuna there,” said Sue.

Kella Miller, who is 100 per cent Hawaiian, was a resource with a lot of knowledge (of the shaka),” he said.

More recently, Sue went back to the PCC/LDS campus, started probing the legend of the shaka, with many logical origins, depending on the community.

“Anthology studies indicate 91 per cent of people don’t know where the shaka came from  and 7 per cent were curious about its origins.”

And region had a lot to do about the varying notions of where the shaka sign originated.

“There was a story  Hamana Kalili late in the 1800s, who lost three of his digits (between the thumb and the pinky finger), and a member of the Mormon people said it’s true. But there was a tale about a security guy on the train in Kahuku and how he lost his fingers,” said Sue.

“We talked to the Lippy Espinda family, and they say Lippy (a former operator of a service station at the entry of Waikiki and a veteran used car dealer) invented it,” said Sue.

While Joyce Fasi, widow of the former Mayor Frank Fasi, acknowledges Espinda, she said her husband made the shaka part of his brand as he campaigned on the streets of Honolulu.

The stories reflected a lot of aloha and fellowship, with variations galore.

Molokai folks give credit to leprosy residents of Kalaupapa, who lost digits.

The Portuguese paniolo of yesteryear considered the shaka as a drinking symbol.

Former surfer Fred Hemmings said dudes in the waves of Hawaii should not be forgotten in the popularity of the shaka, since surfers waved the sign as a symbol of the sport.

In Kahuku, there’s belief that the shaka was brought here by Japanese who worked at the sugar mill, because in Japan, there was Shakyamuni (with the y) who was known in short as the Shaka (without the y) buddha.

Early media personalities on TV, like Kini Popo (the late Carl Hebenstreit) utilized the shaka in his greeting.

The shaka also was flashed, albeit in a secretive manner, by a character on “NCIS: Hawai’i,” in last night’s episode on CBS, exposing the sign to a network TV audience.

And, of course, TV station KHON continues to end its newscasts with folks in all walks of life shaking and sharing the shaka – with film crews regularly shooting footage in a range of situations, from schools to malls, from hospitals to sporting events – to reflect both appreciation and friendship in a “TV moment” for the shaka-ers.

The simple flashing of a hand with three middle fingers facing to the nobs with thumb and pinky in the “up” position communicates without words.

The common shaka sign — three fingers down, between the thumb and the pinky finger.

But there’s really no right or wrong with doing the shaka. One can do a right-handed one or a left-handed version.

“The value of the shaka is connection,” said Sue. “It’s a feeling like you’ll be safe.”

Generally, the shaka should be simple, “without the elbow and body shaking.”

Sue recalled a memorable personal experience with the shaka. “It was the mid-1980s, and I was in Waialae – at Hunakai and Waialae – where a kid was selling newspapers in the median  and he threw me a major shaka,” Sue said.

The shaka can mean aloha, howzit, mahalo, all right, hang loose, a lot more.  And traditionally, it is flashed without words — though “shaka, brah” is sometimes the way to go.

The shaka is not being ignored in academia these days. “Some schools are teaching that beyond the aloha spirit, it’s important to recognize the shaka values, too.”

Kamehameha Schools is supporting and partially funding the “Shaka” film. Other partners  are Kapono Inc. and Sight & Sound Productions.

Sue is working on the eventual inclusion of the proper “shaka” sign amid the gallery of emoji icons widely utilized in e-messages.

The film also has ties with Project Shaka, which is a non-profit that provides free shaka stickers, with a motto, “Share a Shaka, Live Aloha.”

Remedy Spa Hawaii, a newcomer in the premium spa experiences in Waikiki, is a Japan business which is supporting the film because of Japan ties with the spirt of the shaka and the spirit of aloha.

Further, PBS here is interested in airing the film, with a possible reach to headquarters for wider screening on the PBS network.

Sue said he’s exploring the film festivals market, too, to launch the final product, being directed by Hawaii’s Alex Bocchieri, whose previous films include “Go For Broke” (2018), “No More Aloha” (2013) and “Flat” (2011).

“We’re stoked, with what we’ve captured so far and can’t wait to share the power of ‘Shaka’ to the world,” said Sue.

The $375,000 budget for the documentary –  already raised –was for a film envisioned as a 30-minute short. But the doc has  expanded to a 90 minute feature —  with $125,000 more sought by completion in 2023. A rough cut is expected by January 2023.

The final “shoot” at the Polynesian Cultural Center  will resemble a red-carpeted  opening night premiere event, from 5:30 to 8 p.m. Oct. 19 – deliberately on a Wednesday, which is a dark night for the Laie venue – and space for 200 people is available.

Tickets are $225 (premium) and $175 (general) and will include a luau meal and a “Shaka” swag bag, plus photo ops  in front of a media wall. Those attending must sign a consent document to possibly appear in the crowd shots, part of a customary film-industry release  agreement.

Tickets are available at Eventbrite: shakacon2022.eventbrite.com

And that’s Show Biz. …

WOLFE STAYING ON TILL ‘CINDERELLA’

Still no official word from Diamond Head Theatre, but the decision to dismiss costume designer Karen G. Wolfe at the end of the run of  “Anything Goes” this weekend has been reversed.

Earlier today, Wolfe – who served as the theater’s resident costume honcho for 37 years – broke silence and revealed that she will be staying on through the end of the run of  “Cinderella,” which opens next January in a brand-new facility next door to the existing theater.

In a Facebook post, Wolfe said “I’m happy to announce that I will be staying as DHT costume director through the end of ‘Cinderella’ in 2023. I have always wanted to retire after my 70th birthday (Jan. 29) and I am grateful that I will be able to do so.”

Karen G. Wolfe

Why this process was not part of her departure was not fully explained. She revealed the outcome of the online outcry to “save Karen” in the past few days, after her daughter, Kyra Blasé, sent on an online appeal to the DHT board of director to appeal the case.

“Thank you for your support,” Wolfe said of the next few months where she will design costumes for the first new show in the brand-new theater.

“This was made possible by management and the board, and I want to thank them and John Rampage (artistic director).  With a new building and the next 100 years there is so much good that each of us can do to support community theater.”

Wolfe declined to talk about the turnaround, likely because this remains a personnel matter.

But why this arrangement was not considered earlier is a curiosity; Wolfe deserves to have a role in the shutdown of the old facility and help launch the start of the new one.

Sounds like she had a Fairy Godmother – not discounting pressure from ticket buyers and theater fans who rallied in her defense — on her side in the turnaround. Further, DHT owes Wolfe either a grand birthday party or an aloha oe retirement celebration at the end of her tenure.

All’s well that ends well. …

And that’s Show. Biz. …