A ‘CINDERELLA’ FOR THE ME-GEN

Camila Cabello, front, with Idina Menzel, Billy Porter, Nicholas Galitzine, Pierce Brosnan and Minnie Driver.

“Cinderella,” currently screening on Amazon Prime, is a pulsating rendering clearly for the 21^st century generation, with a familiar tale retold for the Me-Gen crowd.

It opens with a thumping redo of Janet Jackson’s “Rhythm Nation,” with a dancing hip-hop crowd, quickly providing a wow factor that might surprise traditionalists. No bibbidi-bobbidi-boo here; clearly, this is not your grandma’s Ella.

Camila Cabello, the Cuban-American pop singer, swiftly introduces herself as the titular character, delivering Des’ree’s“You Gotta Be,” setting her personal tone, tempo and theme to come.

As a film musical, it’s a mixed bag of new and old melodies, with the familiar likely to be more popular than the newbies.

As written and directed by Kay Cannon, from an idea by James Corden (he doubles as an exec-producer, and appears as one of mice-turned-coachmen when Ella heads to the ball), the update embraces a woman’s viewpoint of making her own life choices.

Familiar voices and names abound, punctuating values and versatility; it might be hodge-podge, but in the end, it all works because Cabello brings innocence and hope to the party. Yes, she’s the reluctant princess with a penchant for designing gowns, and she’s not interested in becoming a trophy bride. Perhaps not till the finale, anyway.

The ingredients are all here: the stepmother, Vivian, not so wicked in Idina Menzel’s interpretation. And yes, hers is a wholly wonderful vocal instrument, a la her Broadway creds in “Wicked,” but Pierce Brosnan as King Rowan is no better or worse than his “Mamma Mia” stint, but he fits the mold as the rigid royal who lacks ambition. Minnie Driver is Queen Beatrice, who isn’t given much to do, but comes out with the most relevant posture of credibility late in the party.

Galitzine as Prince Robert and Cabello as Cinderella.

Clearly the jewel of the project is Billy Porter as the Fairy Godmother, visually and vocally a piece of skillful work in his gilded finery of a gown.

Since this is a princess tale, not a prince’s story, Nicholas Galitzine as Prince Robert has the dubious task of dimming his headlights, not overshadowing Ella. He’s not a bad singer, however, but the rigidity of the Cinderella plot disallows romantic legitimacy. He goes searching for the midnight maiden, but the quest is reduced to door-knocking, minus damsels trying to get foot into the shoe.

So we mentioned familiar ditties, borrowed hits rebooted with gusto, and retrofitted to fit into the tapestry of the kingdom:

Madonna’s “Material Girl,” the stepmom’s marry-for-money declaration.
Queen’s “Somebody to Love,” Prince Robert’s proclamation that he’d marry for love, not merely an arranged bride.
Earth Wind and Fire’s “Shining Star,” the Fab Godmother’s vehicle to preen, as he/she turns the cinder girl into a saleable sizzler.
Ed Sheeran’s “Perfect,” the romantic anthem shared by Ella and the Prince, before the clock strikes 12;
Salt-N- Pepa with En Vogue’s “Whatta Man,” a crowd women rallying to earn the prince’s hand and wealth.
Jennifer Lopez’s “Let’s Get Loud,” a show-ending livewire to punctuate the happily-ever- after conclusion.
And yes, there are several new tunes in the soundtrack and the one to get on is Cabello’s composition, “Million to One.” It’s likely to be the film’s hit track; it is a made-for-radio, groomed-for-video gem.

Meanwhile, a Cinderella on the London stage

A footnote: there’s another “Cinderella” – a new musical – earning applause in the West End, London.

The Andrew Lloyd Webber musical, with collaboration with Emerald Fennell and David Zippel, was shut down at the Gillian Lynne Theatre during the panemic, but returned to action in mid-August.

The cast includes Carrie Hope Fletcher as Cinderella, Ivano Turco as Prince Sebastian, Victoria Hamilton-Barritt as the Stepmother, Caleb Roberts as Prince Charming, and Rebecca Trehearn as the Queen.
In time, this one likely will set anchor on Broadway.

August 25, 2021August 26, 2021

KOKO MARINA’S COMING BACK TO LIFE

Start spreading the news: Koko Marina, the shopping complex in Hawaii, is coming back to life.

The Consolidated movie theater has reopened without notice, with limited screenings; Ryan Reynolds’ “Free Guy” is the current headline flick, with Jordan Peele’s horror thriller “Candyman” opening Friday.

There’s buzz, too, that the Hawaii Kai Zippy’s is opening up its dining room perhaps in October. New carpeting is being installed, with work trucks parked daily outside the main entrance.

Despite the surge in COVID cases and heightened protocols mandate by the mayor, the return of the movie screens and the notion that dine-in options are on the horizon is great news.

And about time!

I’ve ventured to Ward Theatres several times to view quality films, like “Free Guy” and “In the Heights.” That I can now frequent Koko Marina is a blessing and a testament that slowly, businesses are attempting to return to some kind of normality.

I learned about the Zippy’s plan from a former waitress, now serving meals at another Hawaii Kai eatery. She was asked about a possible return to Zippy’s; and queried about letting the word out that the restaurant finally is moving to reinstate dine-in. Take-out has been wonderful, but there’s nothing like dining in.

If memory serves well, Zippy’s booths also needed upgrading. The air-conditioning has been a recurring issue, too. And there’s always been a need for waiters, since Hawaii Kai folks have not provided enough servers, with most workers commuting from other regions to work there.

And let’s be honest: Zippy’s Hawaii Kai is on the water and boasts a swell marina view like no other in the chain. These visual amenities add joy and satisfaction to the best fried chicken in the state, the always ono-licious Zip-Min, and the incomparable Zip-Pac loaded with local lore like the chicken and the beloved Spam.

So: see ya at the movies, and later this year, inside the Zippy’s we’ve all been anticipating…

On and off

With pandemic mandates changing by the day, here’s a quick recap of what’s on and what’s off.

On: Johnny Valentine joins the Honolulu Jazz Quartet in a Facebook Live virtual performance at 2 p.m. Saturday (Aug. 28).According to HJQ honcho John Kolivas, the session will focus on jazz but embrace not just the traditional but arrangements of tunes by the likes Stevie Wonder, Paul Simon, and The Beatles, among others. …

Off: Hawaiian Mission Houses Historic Site and Archives’ “Building Houses, Building Stories” History Theatre program, originally scheduled for Aug.27 and 28, 2021, has been postponed. A virtual version of “Building Houses, Building Stories” will be forthcoming; An in-person version will be staged when it is safe to do so. …

And that’s Show Biz. …

July 14, 2021July 14, 2021

‘WHITE LOTUS’ REVIEW: OVERTOURISM??

The real star of HBO/HBO Max’s “The White Lotus” is the Four Seasons Resort Maui at Wailea. Location! Location! Location!

Though the brand’s name is never utilized in the show, the property’s luxurious ambience — from suites to pools, from dining facilities to an abundance of beachfront cabanas –is the perfect site that suits the unending and unapologetic vibes of the rich-and-conflicted clientele depicted in Mike White’s dramady of manners, or lack thereof, set in a Pacific resort.

The six-parter which debuted this past Sunday (July 11) — with airing of new episodes for the next few Sundays — provides an intimate and outrageous portrait of disgruntled travelers of privilege. Its satiric strokes and pokes at the disrespectful wealthy arrives at a time – real time – when Maui and much of the rest of Hawaii resorts are coping with too many visitors and not enough workhands, and this tongue-in-cheek treatment presents one-sided evidence that travelers are a pain in the derriere.

Hotel workers welcome a band of travelers, in the first episode of HBO/HBO Max’s “The White Lotus.”

So the nuisance of overtourism rears an ugly head.

Exaggerated, yes, like the newlywed groom, complaining endlessly about not being in the honeymoon suite, while the bride tries to comfort him and explaining to the hotel’s front desk manner that the accommodations are fine, disputing her hubby.

Tanya (Jennifer Coolidge), a woman traveling with the remains of her late mom, seeks Belinda (Nathasha Rothwell), a masseuse and spa manager, to ease her backaches, and she is the essence of someone who also is a pain in the butt, clinging to the massage whiz like opihi on rock, but a good tipper.

It’s fantasy, of course, and clearly represents the myriad of mishaps and the multitude of complainants within the community of a hotel. The tale could easily be set on a luxury liner or at summer camp, with similar implications. In reality, the “Lotus” cast and crew set up house and workplace, at the pricey Four Seasons last October through December, when most everyplace else had shut down due to the pandemic.

As guests arrive via boat (presumably from a nearby island, after a formal flight), hotel manager Armond (Murray Bartlett) and newbie trainee Lani (Jolene Purdy) welcome the visitors each with different complaints.

The hotelier realizes that the privileged have a thirst for attention, so the squeaky wheels abound and catering to the requests is the key option.

There’s suspense, too; so “Lotus” will evolve into a peeling murder mystery in the weeks to come.

The good news, however sparse: There are three islanders in the cast, though one wonders if this is a credit worth boasting about. Loretta Ables Sayre shows up in one scene; if you blink, you’ll miss her. Kekoa Scott Kekumano will recur as hotel employee Kai. Brad Kalilimoku appears as a paddler, though in an uncredited role.

The bad news: In the opener, there were two somewhat startling scenes; Lani, the trainee, is hapai and her water breaks right next to the front desk.Traveler Mark Mossbacher (Steve Zahn), not only reveals he has a medical issue, testicular cancer, but he shows his junk – presumably not really his, but stand-in privates. It’s mockingly queasy stuff.

Perhaps the future episodes will render more startling scenes with less offensive results. The Four Seasons likely will remain the star, and perhaps welcome guests who may want to stay in the rooms of the “Lotus” cast. Without the baggage of whines.

June 11, 2021June 11, 2021

LOCAL LINK IN NEW ‘HEIGHTS’ FILM

Kevin McCollum, an executive producer of the just-released “In the Heights” musical film, brings an island link to the summer’s first hit film.

McCollum, who earlier co-produced “Heights” in its Broadway incarnation, has had a New York career spanning 25 years. He has earned the Tony Award for Best Musical for “In the Heights” (2008), “Avenue Q” (2004) and “Rent” (1996). In the upcoming Broadway season beginning Sept. 14, McCollum will be represented with “Six” and “Mrs. Doubtfire,” two newbies on Broadway.

He also previously produced “Motown: The Musical,” “Something Rotten,” “Hand to God” and “The Drowsy Chaperone” on Broadway.

His film credit this year will be the new vision of an old favorite, “West Side Story,” directed by Steven Spielberg.

McCollum was born in Hawaii, the son of Sue McCollum Gereben; she appeared in “Hawaii Five-0” and was active with media groups including the Honolulu Press Club. …

Meaningful numbers

In the aforementioned “In the Heights,” there’s a bunch of numbers for a hot lottery ticket, and the sum of $96,000 as the amount of the prize.

Jon M. Chu, who directed the film, has a particular interest in figures, so the 96,000 number is the title of the lavish water and swimming pool production number.

But New York Magazine’s Vulture wing also reports the background story on the lottery ticket number: 5-7-16-26-33.

Turns out Chu’s wife Kristin Hodge was hapax with their second son, the film was being shot, and as the director of “Crazy Rich Asians” shared this cooky series of reasons of why those figs were assembled: 5 is his wife’s birthday month; 7-16 is their daughter’s birthday; 7-26 is their anniversary date and also the due date of their son.

“When I showed my wife (the numbers), she was like, ‘You know our anniversary is the 27^th, right? And the baby is due on the 27^th,” he was quoted. But a few weeks after the shoot, the boy was born … on July 26, “so he had my back,” said Chu. And rightfully, the toddler was named Jonathan Heights Chu. Imagine the story he’ll share when he grows up. …

Fashion focus

Bruno Mars says his fashion muse is Cher.

Well, maybe he was kidding when asked whose style inspired him.

InStyle interviewed Mars, the superstar from Hawaii, and Mars credited Cher as his muse. The changed his mind and said he is his own muse.

Amusing? Maybe.

Mars is the inspiration behind his Ricky Regal lifestyle brand, named after his alter ego, and the Lacoste fashion house describes the Mars product thusly: “Inspired by a lust for life and an entrepreneurial Midas touch.” It’s a luxurious but sporty line. …

The Emmy goes to …

The Honolulu Theatre for Youth, Hawaii News Now, and Ballet Hawaii were bestowed regional Emmy awards recently from the Northern California competition.

HTY’s TV show, “The HI Way,” earned three awards:

For Arts/Entertainment – Long Format: “Da Holidays: The HI Way” (NMG Network/HTY), Jason Cutinella, Katie Pickman, exec producers; Eric Johnson, producer.
For Arts/Entertainment – Long Format: “Pono: The HI Way.” Same creators.
For Informational/Instructional – Long Form content: “Racism: The HI Way,” episode eight. Same creators.

Hawaii News Now won three::

For Hard News Report – “On the Frontline: Honolulu EMS,” KGMB/KHNL Hawaii News Now. Allyson Blair, reporter; Jonathan Suyat, photographer.
For Historic/Cultural – Long Format: “Queen Liliuokalani Keiki Hoike,” KGMB/KHNL Hawaii News Now,” Guy Sibilla, Wendy Suite, exec producers; Mary Beth McClelland, producer; Josephine Kristine, director-editor; Kennedy Carson and Lacy Deniz, hosts.
For Spot Announcement/Campaign – “Ballet Hawaii’s #Arts Beyond Covid,” KGMB/KHNL Hawaii News Now/Ballet Hawaii. Pamela Taylor Tongg, exec producer; Stasia Droze Jost, producer-director-writer-editor; Deborah Glazer, producer-director-writer-editor…

And that’s “Show Biz.” …

June 11, 2021June 11, 2021

REVIEW: DON’T BE AFRAID OF ‘HEIGHTS’

For the first time since the coronavirus pandemic started 16 months ago, I finally had the courage to see a movie in an actual theater last night (June 10). The coronavirus had been a threat for months.

The lure was “In the Heights,” the highly anticipated film version of the Lin-Manuel Miranda Broadway musical, which I saw at Consolidated’s Ward Centre complex. It was a 5:10 p.m. screening, a day ahead of today’s (June 11) national release date in theaters across America (also streaming on HBO Max).

ANTHONY RAMOS as Usnavi and MELISSA BARRERA as Vanessa in Warner Bros. Pictures’ “IN THE HEIGHTS,” a Warner Bros. Pictures release.

Till now, in my opinion, there hasn’t been a bona fide gotta-see-it-in-a-theater-attraction till “Heights” arrived. It’s this summer’s first big hit (it can’t fail), with Anthony Ramos (“Hamilton,” “A Star Is Born”) playing Usnavi, a bodega owner originally portrayed by Miranda on stage. Of course, Miranda co-wrote the musical and the new film in collaboration with Quiara Alegria Hudes.

Advice: Don’t be afraid of “Heights.” This is a true Hollywood musical, masterfully directed by Jon M. Chu (“Crazy Rich Asians”), with dash and splash and hip-hop songs aplenty. Parallel love stories co-exist with spectacles, and there are many exhilarating moments, like hundreds of agile dancers hip-hopping, popping, boogieing in the streets when they’re not prancing and swimming in a spectacular old-fashioned kaleidoscopic water ballet scene in the Highbridge Pool (shot from overhead, natch). The latter is an homage to the Esther Williams-Busby Berkeley tradition, and a feel-good, high energy vibe of real people doing real things with real dreams and real pain.

In other words, a worthy and relevant documentation of Washington Heights folks – largely Puerto Rican and Latino, with some blacks and whites — bonding and connecting in New York’s Upper West Side, struggling to make a buck, sort out conflicts in life, worrying about college payments, dreaming of winning the lottery of $96,000, and fearful and deprived of a planned black-out to ease the strain of power providers during a summer of intense heat.

The common denominator in the film and its populace is the keen and continuous dream and gleam of winning the lottery, and what to do, if and when. Move out of the hood? Invest in a new shop? Pay off college debt? Fantasy and reality meet head on, in a fusion of hope and the sense of community and culture is steadfast. And whoa, what a sweet dance scene when lovers in a tenement porch suddenly start moving up the walls amid ACs and steps in one of the most endearing moments of romantic fantasy

They key characters are modest icons of folks in any community. Usnavi’s gal Vanessa (Melissa Barrera) wants to exit to downtown, for a new life; Sonny (Gregory Diaz IV), the young assistant cousin of Usnavi at the store, wishes for computers to share with his barrio buds; the senoritas at the local beauty salon want to scoot to Atlantic City in pursuit of joy.

Cuba in the ’40s, she delivers a poignant “Paciencia y Fe,” reflecting the hardship of emigration.

And Jimmy Smits appears as Kevin Rosario, a cab service owner caught in a financial bind and his daughter Nina’s (Leslie Grace ) conflicted status as a collegial student or drop out

Two cameos are worth noting. Miranda appears as the piragua (shave ice) peddler; Christopher Jackson (“Hamilton,” “Bull”) is the scene-stealing dude in the Mister Softee van.

The presence of the George Washington Bridge, looming down the street, gives “Heights” an immediate sense of time and place, standing watch over the trials and tribulations of a community pride.

Ramos, with his charming, freckled face, likely will emerge as filmdom’s next big star, and being a Latino will help bridge the gap on diversity issues. His smile is genuine, his heart gigantic, he manages to leap from the crowd scenes to create a warm, convincing leading man.