Category: Stage

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‘MERRILY’ READIED FOR CINEMATIC RUN

“Merrily We Roll Along,” the uncanny 2024 Tony Award winner for Best Revival of a Musical,
will be rolling out sometime soon as a motion picture to be released by Sony Pictures Classics.

Thus, the Stephen Sondheim-George Furth show — once a failure in 1981 before becoming a box office hit after it opened in October 2023 till its closing in July 2024 — has been preserved for the ages. The music and lyrics are Sondheim’s; Furth did the book.

This is the show, if you recall, that was initially a box office dud in 1981, when it ran for 14 previews and 44 performances. “Merrily” was then mothballed until its first-ever revival in 2022, leading up to its phenomenal sell-out fave in 2023 through 2024.

And the reverse storyelling chronology – the show biz tale unfolds at the ending and works toward the beginning — will give the production a new life as a cinematic release. Fans who couldn’t score tickets in its run at the Hudson Theatre will finally have an opportunity to see what  the buzz was all about.

“Merrily” examines the friendship, the friction, and possible erosion of  workplace best friends, whose lives intersect with highs and lows, with some alienation and many challenges.

Daniel Radliffe, Jonathan Groff and Lindsay Mendez in “Merrily We Roll Along.” Photo by Matthew Murphy.

Jonathan Groff portrays Frank Shepard, an ambitious composer who wants to be a producer, who thrives alongside his longtime friends, lyricist Charley Kringas (played by Daniel Radcliffe) and writer Mary Flynn (enacted by Lindsay Mendez). Groff and Radcliffe earned Tonys, with a third Tony bestowed on Jonathan Tunick for orchestrations.

Maria Friedman directed the show and was a Tony nominee, and her illuminating vision made her characters come alive with vitality and vigor, drawing in the spectators.

Can’t wait from the transformation from stage to screen; imagine there will be a DVD release, too. Since this was my favorite Broadway show last year, I’d buy the DVD…

Clooney’s ‘Good Night’ still tops Broadway grosses

The rankings haven’t changed on Broadway. The pair earning more than $3 million last week, dominated again this week. Translation: George Clooney reigns as the top grossing actor via his “Good Night, and Good Luck;” and  Denzel Washington and Jake Gyllenhaal maintain their second place slot with “Othello.”

The Top 10, for the week ending March 30:

1—“Good Night, and Good Luck,” $3.282 million.

2—“Othello,” $3.150 million.

3—“Wicked,” $$2.561 million.

4—“Hamilton,” $2.123 millon.

5—“The Lion King,” $2.114 million.

6—“Glengarry Glen Ross,” $2.110 million.

7—“Cabaret,”$1.521 million.

8—“The Outsiders,” $1.459 million.

9—“Gypsy,” $1.386 million.

10—“Aladdin,” $1.355 million.

The complete list, courtesy the Broadway League:

And that’s Show Biz…

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BY GEORGE, HE DID IT! HE’S NO. 1

Perhaps it’s his box office charm.

Or he’s landed a show with a title that promotes goodness, including luck.

Or quite likely, “Good Night, and Good Luck” was the play  Broadway has been anticipating, the one that broke the weekly box office grosses, with a dazzling and dizzying $3.3 million for the week ending March 23.

George Clooney, the actor making his debut on the Great White Way, is the focus of the buzz and the big box office, whose numbers exceeded that of “Othello,” which has Denzel Washington and Jake Gyllenhaal in the leads, which dropped to No. 3 this week with $2.529 million. But “Wicked,” still defying gravity, remains a secure No.2  with its $2.545 million take.

George Clooney, the star in “Good Night, and Good Luck,” tops Broadway grosses.

“Good Night, and Good Luck” explores a tangle of themes including truth, intimidation, and the courage of corporate media. Clooney, who adapted the play with Grant Hoslov, from the earlier film version, portrays veteran journalist Edward R. Murrow, an iconic CBS anchor, who recreates a historic faceoff with Sen. Joseph McCarthy, who, at the height of the Red Scare, attempted to weed out imagined communist infiltration of the U.S. government.

The show gets its name from Murrow’s iconic signature sign-off, “good night, and good luck” at the end of his telecasts.

To understand the economics of the top shows, “Good Night, and Good Luck” is playing at the Winter Garden, which has 1,545 seats, priced from $307.07 to $775. In comparison, “Othello” is unfolding at the Barrymore Theatre, with $1,043 seats and typically selling for $897.

Star wattage is a factor on pricing, and still another element in the formula: “Good Night, and Good Luck” and “Othello” are in limited runs, a common rule when “name” actors are on stage.

But if you’re thinking of heading to New York, seats are available if you decide to score a pair of tickets with your  charge cards.

‘Night’  tops Broadway grosses for week ending March 24

The Top 10 courtesy the Broadway League:

1—“Good Night, and Good Luck,” $3.305 million

2—“Wicked,”$2.545 million

3—“Othello,” $2.529 million

4—“Glengarry Glen Ross,” $2.418 million

5—“Hamilton,” $2.072 million

6—“The Lion King,” $2.059 million

7—“The Outsiders,” $1.428 million

8—“Gypsy,” $1.394 million

9—“Aladdin,” $1.331 million

10—“Cabaret at the Kit Kat Club,” $1.327 million

And that’s Show Biz…

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A SATISFYING ‘GREASE’ ENCOUNTER

“Grease is the word, is the word that you heard
“It’s got a groove, it’s got a meaning
“Grease is the time, is the place, is the motion
“Now, grease is the way we are feeling.”

— From the title tune of “Grease,” the musical

Your first encounter of the show “Grease,” now at Diamond Head Theatre, is an oversized cut-out of a red car frame hanging over the proscenium of the venue, created by set designer Deanne Kennedy.

It is formidable, dominating, and reflecting a precise groove, of the time (circa 1959), the place (Rydell High School), the emotion (nostalgic teen-age angst) of an indefatigable serving of pop culture.

The show’s two centerpiece figures, Danny Zucko (played by Cameron Scot) and Sandy Dumbrowski (portrayed by Sophia Ysrael), initially lack chemistry and spark, like two lost souls from different sides of the railroad tracks. Summer’s over, and they’re back in school, with uncertainties of direction.

They are eventually united in song, dance and romance, in a powerful story tenderly directed by Michael Ng, in collaboration with the agile and imaginative choreography by Dwayne Sakaguchi. They both connect the dots in this familiar journey.

Such teamwork throughout the creative ranks eventually makes “Grease” a well-oiled wonderment, though the ghosts of John Travolta and Olivia Newton-John unintentionally linger from a hit film that obstructs the Danny/Sandy relationship.in the stage version. It’s not till Sandy, like the Newton-John’s late-in-the-show remake in a body-clinging leather outfit, that she starts percolating.

Sophia Ysrael is Sandy Dumbrowski in “Grease.” Photo by Brandon Miyagi.

Homecomings can be a snoozer, after all. The point is, unless you’re hip to the relatability of being greased, your presence has ceased.

Two things help bring the magic of “Grease” to life:

— The rich well of rock/pop classics. Happily, DHT has invested in paying extra royalties fees, to enable the cast to sing tracks from the movie, like “Grease,” “Hopelessly Devoted to You,” “Sandy” and “You’re the One That I Want.” These titles are solid gold, so the inclusion is a triumph for the audience.

The ensemble offers rigorous dancing in the show’s megamixes. Photo by Brandon Miyagi.

— The use of group vocals and dances by the company of troupers, in moments that  might be termed “megamixes” of specific tunes, is part of the process toward satisfaction.. The title song “Grease,” is the essence of time and place and even pace, but melodies like,“Shakin’ at the High School Hop,” “Born to Hand Jive,” and the finale version of “You’re the One That I Want” are hallmark. Karaoke meets disco, resulting in rousing vocals and choreographic explosions.

Secondary characters steal some of the thunder in the show. For instance, Jody Bill as Betty Rizzo, has a leading lady moment, on “Look at Me, I’m Sandra Dee;” Jantzen Shinmoto as Kenickie puts sizzle into “Greased Lightning;” Kiakahi Kekoa as Roger and Lainey Hicks as Jan shine on “Mooning;”  Gabriel Ryan-Kern as Johnny  makes “Born to Hand Jive” come alive; and Jeff Andrews as Teen Angel and Parker Kilkenny as Frenchy team up wonderfully on “Beauty School Dropout.”

The hand jive number is one of the megamixes of songs. — Photo by Brandon Miyagi.

A production of this magnitude – with a cast of nearly 30 — requires a vigorous and versatile ensemble: Kirra Baughn, Drew Bright, Victoria Chang, Paul Garcia, Justin Garde, Sammy Houghtailing, Caris Leong, Shane Nishimura, Maggie Ryan, Gabriel Ryan-Kern, Emi Sampson, and Jasmine Weldon provide dependable and exquisite support.

Designer Kennedy’s bag of set tricks work well; besides the car motif at the proscenium, she constructs smaller pieces (like sofa chairs, easier to move) and aerial groupings of signs and ribbons  (not a task to fly up and down,  and quiet) and scaled-down towers for Rydell High signage (moveable with barely a squeak). Oh, a smart move, too, to position a six-piece orchestra in an elevated stage; nice to see and applaud maestro Darcie Yoshinaga and her seven-piece ork here instead of the invisible pit.

Not certain who gets credit for creating Kenickie’s red car, seemingly a full-sized sedan; is it Kennedy’s vision, or part of the wizardry of Kyle Conner’s props design?

Chris Gouveia’s light design and La Tanya Siliao’s sound design are right on target.

Other background heroes include Emily Lane (costumes) and Aiko Schick (hair and make-up), whose tasks involve scores of color-coordinated gears for men and women, with seemingly unending costume changes, and beaucoup wig creations for the myriad of required looks.

It all adds up to a satisfying funfest…

And that’s Show Biz…

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“Grease”

What: A musical about homecoming teens at Rydell High School, with book and music by Jim Jacobs  and Warren Case, with a title tune by Barry Gibb

Where: Diamond Head Theatre

When: Performances at 7:30 p.m. Thursdays, Fridays and Saturdays;  also, at 3 p.m. Saturdays and 4 p.m. Sundays,  through April 20.

Tickets: $41 to $68, at www.diamondheadtheatre.com or (808) 733-0274

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TAG TAPS 3 WILSONS, 1 CATALUNA

TAG  — The Actors Group – has announced its 2025-26 season at the Brad Powell Theatre at Dole Cannery.

TAG will continue its cycle of  August Wilson plays – three titles are on the agenda this coming season – with two world premieres plus one Hawaii premiere. The island launch is the first by a work by popular island playwright Lee Cataluna,  which makes its world debut next spring.

The slate:

  • “The Piano Lesson,” a Wilson drama, Sept. 5 to 21 2025, directed by  Shervelle Hanna.
  • ‘Higher! Higher!,” a musical by Tom Cooper,  Oct. 31 to Nov. 16, 2025, directed by Brad Powell.
  • “Seven Guitars,” another Wilson entry, Jan. 9 to 25, 2026.
  • “Fire Pit,” by Cataluna, March 6 to  22, 2026, in a world premiere directed by Betty Burdick.
Lee Cataluna
  • “Fences,” the final Wilson drama, May 1 to 17,  2026.
  • “The Lake Effect,” by Rajiv Joseph, June 26 to July 12, 2026, in its Hawaii premiere.

Details on the season’s plays to be announced.

Season tickets will be available later.

Information: (808) 741-4699 or www.taghawaii.net

Cazimero’s birthday bash a halau benefit

Robert Cazimero will stage a birthday event from 5 p.m. today (March 19) through Sunday (March 23) at Chef Chai’s.

Robert Cazimero

His serenades, from the grand piano, will feature periodic hula from his usual pair of dancers, with other impromptu participation from hula troupers among the diners.

Cazimero’s actual birthday is tomorrow (March 20), when he turns 76. The event is a fundraiser for his Halau Na Kamalei O Lililehua, which is headed to Hilo next month to compete in the Merrie Monarch Festival.

The last time kumu hula Cazimero and his male dancers ventured to the Merrie Monarch competition in April 2015, they copped first place in the kane division, as well as best-overall laurels.

Cazimero participates in the hula competish once a decade, so this year is the timetable for that visit.

Reservations for the birthday celebration is $159, at www.opentable.com/r/chef-chai-honolulu …

Broadway grosses, for week ending March 16

George Clooney

Though “Othello” continues to top the Broadway charts – indeed, “the play’s the thing” – George Clooney’s debut in “Good Night and Good Morning” drama proved to be quite a draw, and clearly means star power works. It’s the No. 3 attraction, on the Great White Way.

The  Top 10

1—“Othello,” $2.824 million

2—“Wicked,” $2.490  million

3—“Good Night and Good Morning,” $2.358 million

4—“Hamilton,” $2.009 million

5—“The Lion King,” $1.994 million

6—“Glengarry Glen Ross,” $1.907 million

7—“The Outsiders,” $1.500 million

8—“Aladdin,” $1.312 million

9—“The Great Gatsby,” $1.260 million

10—“MJ the Musical,” $1.248 million

The complete list, courtesy the Broadway League:

And that’s Show Biz…

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LISTEN UP: SOME WORDS ON ‘GREASE’

Even before it opens tonight (March 14) at Diamond Head Theatre, “Grease” will add three more performances on April 18, 19 and 20 at the tail end of the original run.

“Grease,” the stage musical, is about Rhydell High’s Class of 1959, with all the frills of the era, from hot rods to duck-tailed hair for the dudes and gum-chewing box-soxers doing the hand jive. A period piece, yes, laden with nostalgia

But some cautionary expectations, please, so listen up. The play is not the movie, and vice versa. So get famiiar with the boundaries.

The original stage show, which opened in 1972 on Broadway, should not be confused with the film version which opened during the summer of 1978. The movie surely cemented the popularity of  John Travolta  as Danny  and Olivia Newtown-John as Sandy. And put the show on the map.

The Rydell High teens in the stage musical, “Grease,” opening tonight at DHT>

The now familiar title song was not  in the score of the play. It was a priority special insert, by Barry Gibb and performed in the film score by Frankie Valli, and  the hit song fueled the catch phrase,“Grease is the word,” still uttered decades later.

Some shared tidbits about three other tunes added to the film – that you won’t hear on stage.

Three other titles, added to the film version, provided those romantic flurries and also a solid sliver of rock, which enriched the songscape of the movie soundtrack. You know ‘em well: “Hopelessly Devoted to You,” “You’re the One that I Want” (both written by John Farrar for the film and “Sandy” by Louis St. Louis and Scott Simon.

So, what’s in the stage score? A few titles you’ll recognize, including “Summer Nights,” “Greased Lightning,” “We Go Together,” “Look at Me, I’m Sandra Dee.”  Oh, and that hand-clapper, “Born to Hand Jive.”

DHT’s cast features  Cameron Scot as Danny Zuko, Sophia Ysrael as Sandy Dumbrowski, Jody Bill as Betty Rizzo,  Alexandria Zinov as Marty, Parker Kilkenny as Frenchy,  Lainey Hicks as Jan,  Cate Labas as Patty Simcox, Jantzen Shinmoto as Kenickie,  Chad Navarro-Cortes as Doody,  Kevin Molina as Roger,  Jake Glasser as Sonny Latierri,  Pono Lundell as Eugene Florczyk,  Ryan Philips as Vince Fontaine, and Gabriel Ryan/Kern as Johny Casino.
The ensemble includes Emi Sampson, Jeff Andrews, Brianna Johnston, Victoria Chang, Kirra Baughn, Caris Leong, Jasmine Weldon, Maggie Ryan, Shane Nishimura, Drew Bright, Paul Garcia, Justin Garde and Sammy Houghtailing.

The artistic team includes  Michael Ng, director; Dwayne Sakaguchi,  choreographer; Darcie Yoshinaga,  musical director; DeAnne Kennedy, set designer; Kyle Conner,  props designer; Chris Gouveia, as lighting designer; Emily Lane, costume designer; Aiko Schick, hair and make -up designer; Kristen Kenney,  set painter; La Tanya Siliato,  sound designer;  and Trudi Melohn, stage manager.

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“Grease”

What: A musical about teens at Rydell High School, with book and music by Jim Jacobs,  and Warren Case, with a title tune by Barry Gibb

Where: Diamond Head Theatre

When: Performances at 7:30 p.m. Thursdays, Fridays and Saturdays;  also, at 3 p.m. Saturdaysand 4 p.m. Sundays,  from March 14 through Aprill 20.

Tickets: $41 to $68, at www.diamondheadtheatre.com or (808) 733-0274

Broadway grosses, for the week ending March 9

For the second consecutive week, “Othello” has grosses $2.8 million, retaining the top spot on the The Top 10.

The  Top 10:

1—”Othello,” $2.818 million

2—“Wicked,” $2,435 million

3—” Hamilton,” $1.683 million

4—”The Lion King,”$1.543 million

5—”The Outsiders,” $1.306 million

6—”Gypsy,” $1.248 million

7—”MJ The Musical,” $1.202 million

8—”Aladdin,” $1.183 million

9—”Death Becomes Her,” $1.077 million

10—”Cabaret at the Kit Kat Club,” $1.061 million

The complete list, courtesy the Broadway Guild:

And that’s Show Biz…