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
“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.
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.
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.
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, JantzenShinmoto 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.
“Rent,” Jonathan Larson’s autobiographical rock opera inspired by Puccini’s “La Boheme,” is a perfect vehicle for collegian actors at the University of Hawaii.
With ease and affection, the two-dozen youthful singers and actors comprise a company that has embraced the riches of the Larson score and style, while connecting with an enthusiastic and receptive viewership, if the sellout opening-night crowd last Friday night (Feb. 28) was an indication.
The charmed audience unleashed hoots and howls and hearty applause following favored tunes in the show. The joy culminated in a spontaneous standing ovation at the finale. If “Rent” at its best is all about the seasons of love, the adoration was mutual with the crowd.
“Feel the love,” the company sings late in the show. “Feel the love.”
And the folks did. But such appreciation raises a valid question: why has the Department of Theatre and Dance been neglectful so long, in staging contemporary musical comedy? For decades, Kennedy Theatre was the fountain to quench the thirst for cultural Japanese kabuki and bunraku puppetry, Peking opera productions periodic Shakespearean classics, plus a Great Plays cycle of notable drama.
Such programming is worthy, of course, when aligned to the academic theater cherished in Manoa, because of the plethora of pioneering directorial treasures in yesteryear’s faculty. Think Earle Ernst and James Brandon, for Asian/kabuki, Elizabeth Wichmann-Waltczak for Peking/Beijing opera, and Terence Knapp for Shakespeare.
Enter, “Rent,” repeating this weekend, but held over with one more show tomorrow night (7:30 p.m. Thursday March 6) and playing three sold outs Friday (March 7) through Sunday (March 9).
Josh “Baba” Mamoani’ala Tavares
Credit director Joshua “Baba” Kamoani‘ala Tavares, now a UH professor who portrayed the Angel character in a touring company of the Larson show, that happened to pause in Honolulu.
It’s Kismet. Not certain who steered “Rent” to Tavares, but happily, he lured a splendid crew of singing actors, nurturing the production with his insider experience. At last, a modern show with contemporary themes, songs, lifestyle choices and challenges…clearly packaging an explosive sense of wow in the delivery.
There’s no immediate assurance of a future star in the making here, but “Rent” produced notables. Adam Pascal, Anthony Rappand Idina Menzel were in the original Broadway company, and they frequently pop up in theatrical roles now. That’s the cycle of life in theatre.
Ikaika Mendez is Roger Davis, Jack Romans is Mark Cohen are best buddies.
Numerous leads stand out in “Rent,” amid constant camaraderie and connections and you possibly need a cheat-sheet to figure out the clusters. Casey Kekoa Lauti, as Angel Dumott Schunard, the gay cutie in a red Christmas outfit, has caught the eye of Keanu Roe, as Tom Collins, an academic figure; Jack Romans, as Mark Cohen, is a film-making buff never without a camera, and he’s Roger Davis’ best friend, played by Ikaika Mendez, who also is an ex-junkie, who falls in love with Ainsley Shearer as Maureen Johnson, who’s moved on to Daniella Addeo-Cortes as Joanne Jefferson; and Ka‘enaaloha Watson, as Mimi Marquez, is a strip club worker who has AIDS, and is the former girlfriend of Dean So‘oalo, played by “Benny” Coffin III, who’s not interested to commit.
Casey Kokoa Lauti is the Christmas cutie Angel.
Whew! Lots of motion and commotion abound, and you almost need a love chart to remember who’s who free available, who’s in a relationship, who’s battling AIDS, who’s got a job, who’s making music and movies.
The common ground here is a drab but serviceable two-floor warehouse space owned by the aforementioned “Benny,” whose luckless and broke tenants owe him back payment for rent. Hence, the show’s “Rent” title tune, with the battle cry, “We’re never gonna pay!”
Antonio Hernandez’s set design is a bit spartan, though serviceable, but lacks graffiti or signage that might “place” the East Village location in New York’s Lower Manhattan, where these bohemian artists convene, circa 1980s and ’90s. Caitlin Chavis’ costumes fit the era, and ditto the hair and makeup of Kevin Murata. Sound and audio by Timothy Mahamat works for the gritty tunes to heighten the ensemble moments. Aubrey Lee Staley’s choreography is minimal and natural, notable for the engaging group numbers like “Seasons of Love.” Kelli Finnegan’s lighting design is a skosh too dark but suits the bleak the N.Y. zone. Taisamasama Kaiminaauao-Eteuati’s music direction is expansive work, since there are live vocals and instruments on stage and unseen supplemental melodics off stage.
The “Rent”ensemble is brimming with love. Photos by Christine Lamborn.
While Larson’s score doesn’t provide songs you hum as you exit, except for the emotional and harmonic “Seasons of Love” — the show’s key anthem, performed at the opening of Act 2 (and twice more later) — was a moment to savor, with the cast forming a chorus line that felt like that singular sensation moment depicted in another classic Broadway favorite.
Advisory: the show has mature themes, dealing with sexual abuse and sexuality, plus strong language, so parental guidance is suggested.
“RENT”
A musical by Jonathan Larson, playwright, composer, and lyricist
What: An autobiographical rock-opera, based on the Puccini opera, “La Boheme,” which explores life and challenges of bohemian youths, in New York City at the height of the AIDS crisis
When: By popular demand, a performance has been added at 7:30 p.m. tomorrow (March 6). Remaining shows (all sold out) are at 7:30 p.m. Friday (March 7), at 7:30 p.m. Saturday (March 8) and at 2 p.m. Sunday (March 9); pre-show chat at 6:45 p.m. prior to Saturday’ shows
Tickets: $25, adults; $22, UH faculty and staff, military and seniors; $10, other discount groups; $15, non-UH Manoa students, youths; $8, UHM
“Othello,” a new Shakespearen tragedy starring Denzel Washington and Jake Gyllenhaal, zoomed up to the No. 1 slot in the weekly grosses ending March 3, denying “Wicked” the throne it’s held for weeks.
The production still is in previews, formally opening March 23, in a limited 15-week run only.
Washington plays the title character, the Moor of Venice, and Jake Gyllenhaal is Iago. With average tickets priced at $361 at the smallish Barrymore Theatre that seats1, 041 — compared to the $153.72 average for “Wicked,” at the larger Gershwin Theatre venue — the grosses will be astronomical. Add high voltage of star power, a key factor attracting audiences.
In the juggling, “Hamilton” also bypassed “The Lion King” in the step ladder of success.
