Category: Stage

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MVT’S ‘MAYAH:’ ‘SO ONO FOR YOU!’

Bettah late den nevah.

OK, I wen’ go see – finally – Lee Cataluna’s “Da Mayah” last night (Oct. 4) at Manoa Valley Theatre.

My season tickets back in September conflicted with another event, and this local-style, loco-storytelling hit show was so popular, it was impossible to score seats. Small theater, das why, but MVT wen’ add two more shows this weekend, so I booked front row seats but I’m  so sorry I no can advise you to go see this outrageous and hilarious tale about one dude named Lester Perez (Devon Nekoba) because the show closed with a matinee today (Oct. 5).

Deven Nekoba, as Lester

Lester was the first Hilo mayah elected, a conniving, even incompetent leader who is out-of-control and one buggah with hidden secrets. So yep, there are political darts, but lots more about life and lore of island life, like work skeds, plate lunches, and trust.

OK, pau with trying to sound like Cataluna. “Da Mayah” was her first-ever play, concocted to fulfill a playwriting class assignment, and  was first produced by Kumu Kahua in 1998 and originally directed by R. Kevin Garcia Doyle. He also directed this MVT revival;  he either has little on his plate, but clearly,  he adores loves the cadence of Cataluna’s ability to make everyone smart in the local lingo, and the reunion is wonderful.

Elexis Draine, as Sandra,

The laughs are plentiful. The exaggerations are real. The actors must speak Cataluna-ese since the lines cascade out smoothly like Akala Falls.

The first person you see/meet is Jazzmin (Karen Kuioka Hironaga), who runs a washerette and a karaoke joint, and she’s quite savvy in recruiting audience members seeking their seats to sing.  She repeats her quest to sign up more karaoke singer at intermission, and yep, Jazzmin is a jewel in what she has to do. She even lured director Doyle to sing “Sweet Caroline,” a natural choice, since everyone knows when to chime in,“whoa whoa whoa.”

The true star of the show is Sandralene (Elexis Draine), the mayor’s assistant who writes his speeches, monitors his calendar and simply is his right-hand-man who is not properly rewarded or recognized for all the damage control she’s done.

Kalani (Sharon Garcia Doyle) and Kanani (Juvy Lucina) provide hilarious moments and they surely help the show to roll along; they often push the pair of rotating stages, created by set designer Kevin Keaveney, to change the four performing spaces, including the mayor’s office and Jazzmin’s dual launderette and karaoke bar.

Matthew Miller, as Stanton

Dukie (Stu Hirayama) and Stanton (Matthew Miller) are the quirky gents in the play. Dukie is the cousin of Sandralene, she learns that Derek Pang, an unseen rival of the mayor, lands an undeserved spot in the administration. Further, the mayor wants him eradicated.

Enter, Stanton, the hit man who has emotional baggage and  a long rap sheet, who is tasked to murder Derek;  Stanton also harbors a thing for Sandra. Whoa, whoa, whoa.

Further, there’s a sole tune, “So Ono for You” (words by Cataluna, music by Roslyn Catracchia), staged and sung late in the show.

On another note, it’s great that MVT has reinstated its playbill; now it’s a two-sheeter, folded to create eight pages, and guess what: the customary bios and mugshots of actors (sorry, techies, you are credited minus the bio-mugs) have been revived, presumably for the entire season. Been something I’ve advocated since the pandemic that it was the theater’s responsibility to provide brief notes and pics of the performers and even technicians, as a thank you for those on and off stage, and of course, the show patrons, too. Previously, the  data was fully shared only online, not in the handbills provided at the performances, so applause, please, for the comeback. Thanks, Jeff Portnoy and the MVT board…

‘Hamilton’ tops chart, lone $3 million play

For the week ending Sept. 28, “Hamilton” is the lone member of the Broaday $3 million club.

The Top 10:

1–“Hamilton,” $3.773 million

2–“Wicked,” $2,003 milion

3–“ART,” $1.648 million

4–“Mamma Mia,” $1.645 million

5–“The Lion King,” $1.586 million

6–“Waiting for Godot,” $1.618 million

7–“Oh, Mary!,” $1.328 million

8–“Just in Time,” $1.309 million

9–“Death Becomes Her,” $1.295 million

10–“Maybe Happy Ending,” $1.169 million

The complete gross list, courtesy the Broadway League:

And that’s Show Biz…

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FOR FALK, ‘THE BUCK STOPS HERE’

Willy Falk, best known for creating the role of Chris in the hit musical, “Miss Saigon,” is going presidential in his next stage endeavor. He’ll portray Harry S. Truman in William Spatz’s “Truman vs. Israel: Abzug and the Undressing of Truman,” making its Off-Broadway world premiere at the Theater at St. Clements, with previews beginning Oct. 9 preceding the formal launch Oct. 16 in a limited run through Jan. 4, 2026.

Willy Falk, formerly of Honolulu, is cast as Harry Truman in “Truman vs. Israel” in New York.

“He  (Truman) was impressive in his no-nonsense approach to leadership and decision-making,” said Falk, recalling what was said in history books. “‘The Buck Stops Here!’ was his famous slogan. The only president without a college education, Truman took over the presidency from FDR very soon after being sworn-in as VP and during WWII.“

Pres. Harry S. Truman

Truman was the nation’s 33rd  and 34th president, serving from 1945 to 1953. As vice president to Franklin D. Roosevelt, he assumed the presidency in 1945 after FDR’s death.

In the play, Falk is featured with Helen Laser as Bella Abzug, an American lawyer, politician, social activist, and a leader in the feminist  movement. The cast also features Matt Caplan and Mark Lotito, with  Randy White directing.

The work centers on the little-known political clash behind the creation of the Jewish state during the Truman administration.

“He was put in a position of great importance and had some very weighty decisions to make within weeks of becoming President,” said Falk. “What I did not remember, and this play delves into quite a bit, was his role in being ‘The Father of Modern Israel.’ During his second term, he was the first world leader to recognize The State of Israel and its eventual formation, in partnership with the United Nations.”

Falk is widely known for musical roles; he was Tony-nominated for “Miss Saigon,”  but his theater credits include “Les Misérables,” “The Phantom of the Opera,” “Aida,” and “Marilyn.” Most recently, he appeared in “And Just Like That.”

A graduate of Punahou School, Falk was somewhat surprised to learn Truman played piano “quite well,” but “I did know that he worshipped his only child, Margaret, and was a big fan of her singing. Though critics were often not.”

Falk said he has been auditioning for singing and non-singing roles during this stage of my life. “By and large, more interesting roles are written for mature actors in plays and movies than in musicals,” he said. “Having said that, I am lucky enough to be concurrently workshopping a new musical that has a cantankerous older man as the lead, so who knows? 

“But, right now, I am excited about ‘Truman vs. Israel’ because I find this piece to be challenging, topical, and well-written.”

As a singer in theater, Falk admits that it’s easier to learn lyrics than memorize extensive text and spoken lines in s dramatic play.

“Learning songs is easier for me,” said Falk. “It might be because there’s a tune to remember the words, and there are rhyme schemes that help you to remember what line comes next.

“What helps me to get the lines (and I have over 75 pages to learn right now) is to have a clear idea of why your character is saying what they say.”

Part of his drill to absorb text? “Listening is part of acting, what you are hearing spurs what you answer. Having that knowledge helps to bring the words to life and, with any luck,  to mind. After that…it’s practice, practice, practice!”

Why did he seek this particular role/play?

“It is always a special gift to have a juicy role in front of a New York audience. Where it may lead is up to the ‘Theatre Gods!’”

Is the Broadway musical still a viable option, even if it’s a revival?

“Folks have been predicting the demise of the Broadway musical for many decades, and yet it survives,” said Falk.  “Certainly, it goes through changes and phases, but there will always be something magical about hundreds of people, sitting peacefully, side by side in the dark, watching a live performance. I have had people come up to me decades after seeing one of my Broadway shows and tell me that they still feel strongly about the memories of that. It is something very special.”

Rehearsals for “Truman” started Sept. 15 and the first preview will be Oct. 9.  “They didn’t tell me I had to be off-book, but there is just SO much that I could not start without most of it memorized.  Just the other day, I got some revisions…so I am already un-learning as well as learning.  All part of the process!”

He thanks his spouse for moral support, patience and understanding.

“My husband of 21 years, Andrew (Steiner) is always supportive of my career in every way,” said Falk.  “A funny story: He already bought tickets, in the front row, for opening night of ‘Truman vs. Israel.’ I said ‘Front row!! Andrew, that could be distracting!’” 

His answer: “No, it won’t bother me at all!!”

And that’s Show Biz…

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Tickets to “Truman vs. Israel” are available via OvationTix.

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NICOLE SINGS FOR JERRY AT AULANI

Jerry Santos knew that Hawaii’s Nicole Scherzinger was a celebrity of note.

“Her performance and acceptance speech at (this year’s) Tony Awards really blew me away,” he said.

Imagine, then, when the star of London’s and Broadway’s “Sunset Boulevard,”  showed up on a recent Tuesday evening, when Santos and his partner in music, Kamuela Kimokeo, were doing their gig at Disney’s Aulani resort.

“Apparently, some of her ‘ohana work at the Aulani, and they were having a family gathering to celebrate her being home,” said Santos.

Kamuela Kimokeo, Nicole Scherzinger and Jerry Santos at Disney’s Aulani resort.

“Getting to meet her was an honor,” he said of the former leader of the Pussycat Dolls, now a certified global celebrity. “I was truly touched by what a sweet, humble spirit she is.”

Scherzinger acquiesced to her family’s urging to sing a song. ‘I was just hoping we could play for her,” he said.

Then the surprises unfolded, one by one.

“What a lovely surprise to find that she knew who I was (surprise No. 1) and said she’d like to sing my song (“E Kuu Home O Kahalu‘u,” surprise No. 2). “To hear my words coming to me from that beautiful voice was such a gift (surprise No. 3). “I can understand why people love her” (surprise No. 4, but come on, why?)

Scherzinger knew the lyrics to Santos’ trademark Olomana hit, which made him a household name, and perhaps another surprise might’ve been how he could play the melody, but why not? Most fans can sing the song by heart, and clearly, she has been a fan from way back, possibly before she became a stellar stage trouper.

The fact, too, that she would sing his song,  and not one of hers, was a certification of her generosity. After all, this was his gig, his turf, his own moment of celebrity.

What is astounding is that Santos and Kimokeo – who’ve been performing at the Disney resort since it opened in  2011 – deserve to play before local and visiting listeners  beyond the Mickey Mouse venue. But Waikiki properties are not known for hiring and supporting talent, like the bygone era when every major hotel had a showroom, and most gave island acts time and space to perform in lounges and in bars. Not so today.

So folks like Santos augment their livelihood with one-nighters, like the recent Henry Kapono Foundation’s fundraising gala, and Molokai’s Kulaia event this Saturday, a street festival for Na Wahine O Ke Kai,  plus an upcoming slack key festival Oct. 18 in Seattle.

“Just doing the fun stuff when they come,” he said of his show scheduling.

“I’m old; it’s more than enough,” Santos said. OK, he’s a senior citizen still possessing the gift of mele, and he should be in the limelight more regularly in venues frequented by locals. He had a secure Friday-Saturday gig at the Hilton Hawaiian Village for 25 years, but management changes put the skids on his casual kanikapila shows for locals and visitors…

Here, there, everywhere

Got to say hello, and renew ties, with retired Broadway conductor Bob Billig, at a performance of “Come From Away” at the Diamond Head Theatre. He has resettled in Hawaii again with husband Richard Vida, who is executive director Ballet Hawaii.

Bob Billig

Vida was in New York earlier this month and Billig – who conducted “Les Miserables” in early times on Broadway — was Mainland-bound, too, to oversee and supervise the music for the forthcoming Kander-Ebb musical,” “Chicago,” which will be at the Blaisdell Concert Hall Dec. 2 to 7.

I recall seeing Billig once when he was conducting “Chicago” on Broadway. The maestro and ork were positioned on stage rather than in the pit, for the revival that’s still running, and it’s been a great tactic since the evergreen became the new rage for singers, dancers and audiences alike.

Billig won’t be conducting “Chicago” here – the show is the finale in the Broadway in Hawaii series…

Trees trigger letter-writing

Poet Frances Kakugawa, formerly of Pahoa and Honolulu and now a Sacramento resident, is a prolific author and an occasional letter-to-the-editor writer.

“I’ve had three letters published,’ she said of her words, aligned in a poem, and recently printed in the New Your Times. Yes, thrice is nice.

Her submission dealt with a recent NYT feature story, by Dodai

Stewart (with photographs by Alex Kent),

about some of the magnificent, giant, angled, and aging specimens on New York’s fabled roster of trees.

Here’s her poem, accepted as a passionate response to the wonderful piece on the city’s greatest trees.

‘I SEE YOU’

I see you.

Put that saw away.

You will not use my sisters and brothers

To fill your bank account

With Real Estate towers.

I see you.

Put that saw down.

Look up at my glory,

Home to hundreds of life

More than you can accommodate

In your blue-printed home of destruction.

See me.

Before it is too late.

— FRANCES KAKUGAWA, SACRAMENTO

Tree-mendous submission, Fran!

And that’s Show Biz…

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‘COME FROM AWAY’ EXTENDED AT DHT

What you’ll discover, when you befriend the Hawaii premiere of the Tony-winning “Come From Away” at Diamond Head Theatre, is the tsunami of niceness, humankind, and compassion that resonates from start to finish.

This musical – with Canadian origins — won’t bowl you over with melodies you can hum as you exit the theater.  (Just announced: two extended performances, at 7:30 p.m. Oct. 3 and 3 p.m. Oct. 4).

However, you’ll likely be overwhelmed by the giving, the sharing, the caring and the unconditional hospitality of the folks in Gander, Newfoundland, who welcome and host and embrace a bunch of travelers in need. Their flights have been routed to the little Canadian community, at the height of the tragedy and terrorism of the devastation of the Twin Towers of the World Trade Center  in New York City, in what history will never forget and still vividly remember the trauma of 9/11.

The show is a creation of Canadians Irene Sankoff and David Hein, who collaborated on the book, music and lyrics, so naturally embraces Canadian, Irish and other nationalities and traditions. Like fish; wait for the scene.

The Ganderian greeters simply were opening their hearts and homes for the “come-from- aways,” the lingo for those “outsiders” stranded because air traffic was halted and airliners had to find airports where the planes could land. In retrospect, 38 carriers transporting nearly 7,000 travelers who were airborne when “it” – the devastation of Sept. 11, 2001 – happened.

In Hawaii, this giving generosity might be termed “the aloha spirit.”  Chelsea LeValley, making her DHT debut as director and choreographer, has previously mounted “Come From Away,” and her grace, imagination and savvy are on display. She weaves together emotion and motion, creating a touching and emotional lei that reflects the nature of nurturing feelings through this remarkable story of humanity.  

Oh, she’s also one of the cast principals—Beverly. And all actors have an “& others” tag in the playbill, meaning they tackle multiple roles.

So the company includes Bob (Jarren Amian) Claude (Howard Bishop), Bonnie (Marisa Noelle Capalbo), Oz (Andrew Erwin), Kevin T. (Isaiah Gundermann Graham), Nick (Kalani Hicks), Hannah (Lelea‘e “Buffy” Kahalepuna-Wong), Beulah (Vanessa Manuel-Mazzullo), Janice (Ainsley Shearer), Kevin J. (Samuel Tafolo), and Diane (Courtney Watabe).

The company of 12, playing multi-roles, in “Come From Away.” DHT photo by Brandon Miyagi.

The ensemble members are Adam Allison, Landon Ballesteros, Caitlin Bright, David Hurley, Gina Miyazaki, and Juliette Moody.

Casting was important in this specific outing, where there’s a lot of intersecting moments and movements and overlapping spirts. Trevor Tamashiro, executive director of DHT, tells me that all cast members need to know each other’s roles, in the instance that there are multiple needs to replace an actor.

It’s a tad econfusing for spectators when actors play both airline crews and passengers and visitors and locals, but the operative word here is storytelling. This company is highly versatile; it could easily win ensemble of the year laurels for the constant transformation of roles.

Howard Bishop (as Claude), hoists the codfish to kiss. DHT photo by Brandon Miyagi.

I’m not privy to the kiss-the-cod tradition that welcome newcomers as honorary locals. It adds humor to the Twin Tower loss and the fish is kissed with a shot of traditional Screech rum.

I recall the minimalist staging – tables and chairs in the midst of a grove of faux trees – in the Broadway original I saw several seasons ago. Here, Brian Sullivan’s clever set design reinterprets this non-intrusive scene with multiple tree trunks – something like 15 of ‘em – towering towards the sky and reaching out into the audience, Wooden planks form a back wall that stretches from stage left to stage right and stage floor to airspace above .

Brian Sullivan’s set includes trees, with plenty of room for a hootenanny, DHT photo,

This framework still allows for multiple effects – actors move airplane seats that double as café chairs; there’s ample space for hootenanny vocals, soul-shaking hand-clapping and foot-stomping dancing.  Even the orchestra’s in the shadows of the stage setting.

A few things you should know:

  • The show runs 100 minutes.
  • There is no intermission.
  • There are hints of prejudice, with resolution, about Muslims and gays.
  • Celine Dion makes two brief aural appearances, via her “Titanic” hit tune, “My Heart Will Go On.” Anticipate the karaoke rendering!

And that’s Show Biz…

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‘Come From Away’

What: A musical by Irene Sankoff ad David Hein

Where: Diamond Head Theatre

When: Regular run, through Sept. 28; isolated seats available; two extended playdates, at 7:30 p.m. Oct. 3 and 3 p.m. Oct. 4

Tickets: $43 to $70; call (808) 733-0274

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IT’S SHOWTIME AT MVT AND DHT

The fall season for Hawaii’s theater community brings two acclaimed productions this weekend. One is very appealing and time-tested for local —  or loco — palates, with previous sell-out runs at Kumu Kahua Theatre. The other is a Tony Award-winning musical, making its Hawaii debut and bustling with feel-good feelings, inspired by the life-changing after effects of 9/11.

Playwright Lee Cataluna.

Manoa Valley Theatre is reinventing Lee Cataluna’s beloved comedy, “Da Mayah,” which explores the hijinks of a shady Hilo mayah – that’s mayor, in pidgin. The laugh-filled local-style political  shenanigans opened last night (Sept. 11). And I believe this is Cataluna’s debut at MVT; welcome, dear prolific one — better late than never.

Diamond Head Theatre presents the island premiere of “Come From Away,” a true and timely 9/11 story of humanity about the residents of Gander, Newfoundland, which welcomed 38 airborne flights to land in their airports when other airports were locked up and shut down during the tragic bombings of New York’s Twin Towers. The drama opens tonight (Sept. 12).

Due to public demand for tickets – many performances are virtually sold out  — MVT has already tacked on two extended playdates, at 7:30 p.m. Oct. 4 and 3 pm. Oct. 5; if you seek seats, this would be where you’ll find ‘em.

DHT’s “Come From Away” should attract theater-goers, too. The announced run should end Sept. 28, but an extension for a couple more shows could happen.

The cast of “Da Mayah,” at Manoa Valley Theatre.

The “Mayah” cast features politics, secrets, and plenty of mishaps collide in Hilo with a shady new mayor, his stressed-out assistant, a bumbling hitman, and a karaoke bar owner who’s seen it all. The talented cast includes Devon Nekoba, Elexis Draine, Matthew Miller, Karen Kuioka Hironaga, Stu Hirayama, Juvy Lucina, and Sharon Garcia Doyle.

Themes of politics, secrets, and mishaps galore collide  in Hilo with a questionable new mayor, his stressed-out assistant, a bumbling hitman, and a karaoke bar owner.

“Come From Away,” written by Irene Sankoff and David Hein, features Howard Bishop, Andrew Erwin, Kalani Hicks, Samuel Tofolo, Isiah Gundermann Graham, Jarren Amian, Vanessa Manuel-Mazullo, Courtney Watanabe, Leleaʻe “Buffy” Kahalepuna-Wong, Ainsley Shearer, and Chelsea LeValley. 

Imagine if you’re landed in an unfamiliar turf, without your luggage and become friends with your giving, kind Gander folks, who provide shelter and kindness and rescue you with an outpouring of unexpected aloha spirit while America, and the world, were rewriting the nature of travel amid the fiendish skies.

Real-life Hawaii chef Vikram Garg (right) visited Diamond Head Theatre; he’s a character in “Come.”

The DHT cast met with Vikram Garg, a real-life global restaurateur, of UMI at Halepuna Waikiki Hotel, who had a front seat in the Newfoundland situation, creating meals and fellowship and hope, and he wound up as a character in the tale of resilience, sharing, and caring. On Sept. 11, DHT welcomed first responders to take in the musical, which features gentle folk-rock music in the spirit of healing during a dark time in history.

For MVT tickets, call (808) 988-6131.

For DHT tickets, call (808) 733-0274.

‘Hamilton’ is where it’s still happening

“Hamilton” still rules, and Leslie Odom, back in the show as Aaron Burr, surely is the reason. “Wicked” still is defying gravity, as both “Hamilton” and “Wicked” dominate the $2 million club.

The Top 10:

1—”Hamilton,”$2.150 million

2—“Wicked,” $2.005 million

3–“Mamma Mia!,” $1.503 million

4—“The Lion King,” $1.451 million

5—“Art,” $1.263 million

6—”Maybe Happy Ending,” $1.234 million

7—”Just In Time,” $1.217 million

8—“Oh, Mary!,” $1.213 million

9—”Death Becomes Her,” $1.164 million

10—”John Proctor is the Villain,” $1.054 million

The full list, for the week ending Sept. 7, courtesy the Broadway League:

And that’s Show Biz…