Category: Stage

Note: Since this review was posted, Manoa ValleyTheatre has extended “Cambodian Rock Band” through May 22. See MVT website for specifics.’

For me, the best thing about “Cambodian Rock Band” – playing through Sunday (May 15) — is that eye-filling, stage-expanding atmospheric set, designed by Michelle A. Bisbee. It depicts arcs of many hues of a ‘bow  that dominates the stage, with ribbons of stripes enveloping the band to the right side of the stage, reaching out to the other side, and even spilling over onto the floor decor of the stage. Credit, too, to scenic artist/properties designer Willie Sabel for making the environment pop.

The scenics attract the selfie crowd and iPhoners who aim and shoot before the show, at intermission, and after the final curtain. When the set gets that kind of scrutiny, it evolves as a “character” in the storytelling.

It’s a beautifully bewildering statement that perhaps serves as a mindful reminder of the rays that depict the changing moods of the players. There’s a desk and a bit of furniture on the left side of the stage but there’s no denying: this trip to Cambodia will be remembered for this stellar rainbow.

Depending on what your expectations might be, “Cambodian Rock Band” is a tad challenging. It’s a little-known contemporary rock musical (it had an off-Broadway run, plus an indie film release) with historical and political implications of Cambodia in the 1970s, yielding questions that test your appreciation of non-traditional theater where the actors perform on instruments, too.

The play, by Lauren Yee, was bumped from MVT’s 2020 season due to the COVID pandemic, so it’s a bit tardy but provides a refreshing burst of invention. MVT is the first to stage the show in the islands.

The drama-with-music is a melange of different tiers, from a family drama to a staged rock concert, from a possibly tormenting drama about genocide to a dose of Dengue Fever (not the ailment but the rock band). This is foreign history put into words and lyrics that enhance a hip tempo. But a “Hamilton” it’s not.

Yee’s work is frequently wavering, with periodic disturbing turns, about a fictional band running afoul of the Khmer Rouge and potential demise, and tosses political bones with the reliance of prevailing surf-rock California vibes aired on Cambodian radio, with some tunes in the native tongue.

Yet the show is a rarity, with all but one of the seven-member cast singing and acting while performing on instruments and four actors have dual roles. Because several tunes are rock-oriented, be aware that the volume is occasionally loud.

The ensemble sashays in alternating time warps from the mid-70s to 2008 in Phnom Penh, Cambodia, and the pearls are in the retrospective past, with costumer Kimmerie H.H. Jones fine-tuning the garb to reflect the era.

Neary (Kelsey Bachrens, attractive and agile) is a motivated American lawyer, who is a lead singer who delivers the Cambodian repertoire with authority; she is the daughter of Chum (Adrian Khactu, impressive as dad and a lead voice ), a Cambodian native, accused of being a spy and sent to prison.  Not surprisingly, they are at odds with generational viewpoints.

Pou (Micki Yamamoto, sweetly fragile ) also tackles vocal leads, with bandsmen Ted (Michael “Mickey” Delara, dependable and comforting), Leng (Kevin Yann, fashionably young-spirited) and Rom (Jason Nomura, versatile) is the reigning musical director).

Duch (Brandon Caban, effective and sardonic) is the narrator/antagonist with a powerful grin.

This isn’t a production where you’ll be humming a tune as you head home, but a whimsical “Old Pot Still Cooks Good Rice” and “Champa Battambang” might be titles you’ll cheer. And a Bob Dylan tune also is tucked into the soundtrack.

There are a few ironic twists as the denouement sheds light on relationships, so be aware.

 Remaining shows: 7:30 p.m. tomorrow (Thursday, May 12) and Friday (May 13), 3:30 and 7:30 p.m. Saturday (May 14) and 3:30 p.m. Sunday (May 15).

Tickets: $22 to $40

Reservations: (808) 988-6131) or www.manoavalleytheatre.com

And that’s Show Biz. …

Kevin McCollum, a former Honolulan and a veteran Broadway producer, is the lone Tony nominee with Hawaii ties competing as a producer of “Six – The Musical,” which is vying in eight categories this year.

McCollum also is a producer of “Mrs. Doubtfire,” the new musical nominated for one award  – –Rob McClure, for Best Leading Actor in a Musical. McCollum’s previous Tony wins include such hits as “Rent,” “Avenue Q” and “In the Heights.”

By nomination numbers, “A Strange Loop” leads the pack with 11 nods, followed by “MJ” and “Paradise Square” with 10, “Company” with nine, and “The Lehman Trilogy” and “Six” with eight.

The Tony Awards will be staged June 12, in two parts: the main three-hour broadcast, live via CBS from Radio City Music Hall, will be preceded by an awards special hour via Paramount+.

Since most Hawaii folks are not frequent Broadway visitors who might be acclimated to nominated shows or talent, we thought a rundown of the 2022 nominees might be a helpful guide.

The complete list of the 2022 Tony nominees:

Best New Musical

“Girl From the North Country”

“MJ”

“Mr. Saturday Night”

“Paradise Square”

“Six: The Musical”

“A Strange Loop”

Best Musical Revival

“Caroline, or Change”

“Company”

“The Music Man”

Best New Play

“Clyde’s”

“Hangmen”

“The Lehman Trilogy”

“The Minutes”

“Skeleton Crew”

Best Play Revival

“American Buffalo”

“For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

“How I Learned to Drive”

“Take Me Out”

“Trouble in Mind”

Best Book of a Musical

Christina Anderson, Craig Lucas and Larry Kirwan, “Paradise Square”

Billy Crystal, Lowell Ganz and Babaloo Mandel, “Mr. Saturday Night”

Michael R. Jackson, “A Strange Loop”

Conor McPherson, “Girl From the North Country”

Lynn Nottage, “MJ”

Best Original Score

“Flying Over Sunset,” music by Tom Kitt; lyrics by Michael Korie

“Mr. Saturday Night,” music by Jason Robert Brown; lyrics by Amanda Green

“Paradise Square,” music by Jason Howland and Larry Kirwan; lyrics by Nathan Tysen and Masi Asare

“Six: The Musical,” music and lyrics: Toby Marlow and Lucy Moss

“A Strange Loop,” music and lyrics: Michael R. Jackson

Best Direction of a Play

Lileana Blain-Cruz, “The Skin of Our Teeth”

Camille A. Brown, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Sam Mendes, “The Lehman Trilogy”

Neil Pepe, “American Buffalo”

Les Waters, “Dana H.”

Best Direction of a Musical

Stephen Brackett, “A Strange Loop”

Marianne Elliott, “Company”

Conor McPherson, “Girl From the North Country”

Lucy Moss and Jamie Armitage, “Six: The Musical”

Christopher Wheeldon, “MJ”

Best Leading Actor in a Play

Simon Russell Beale, “The Lehman Trilogy”

Adam Godley, “The Lehman Trilogy”

Adrian Lester, “The Lehman Trilogy”

David Morse, “How I Learned to Drive”

Sam Rockwell, “American Buffalo”

Ruben Santiago-Hudson, “Lackawanna Blues”

David Threlfall, “Hangmen”

Best Leading Actress in a Play

Gabby Beans, “The Skin of Our Teeth”

LaChanze, “Trouble in Mind”

Ruth Negga, “Macbeth”

Deirdre O’Connell, “Dana. H”

Mary-Louise Parker, “How I Learned to Drive”

Best Leading Actor in a Musical

Billy Crystal, “Mr. Saturday Night”

Myles Frost, “MJ”

Hugh Jackman, “The Music Man”

Rob McClure, “Mrs. Doubtfire”

Jaquel Spivey, “A Strange Loop”

Best Leading Actress in a Musical

Sharon D Clarke, “Caroline, or Change”

Carmen Cusack, “Flying Over Sunset”

Sutton Foster, “The Music Man”

Joaquina Kalukango, “Paradise Square”

Mare Winningham, “Girl From the North Country”

Best Featured Actor in a Play

Alfie Allen, “Hangmen”

Chuck Cooper, “Trouble in Mind”

Jesse Tyler Ferguson, “Take Me Out”

Ron Cephas Jones, “Clyde’s”

Michael Oberholtzer, “Take Me Out”

Jesse Williams, “Take Me Out”

Best Featured Actress in a Play

Uzo Aduba, “Clyde’s”

Rachel Dratch, “POTUS”

Kenita R. Miller, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Phylicia Rashad, “Skeleton Crew”

Julie White, “POTUS”

Kara Young, “Clyde’s”

Best Featured Actor in a Musical

Matt Doyle, “Company”

Sidney DuPont, “Paradise Square”

Jared Grimes, “Funny Girl”

John-Andrew Morrison, “A Strange Loop”

A.J. Shively, “Paradise Square”

Best Featured Actress in a Musical

Jeannette Bayardelle, “Girl From the North Country”

Shoshana Bean, “Mr. Saturday Night”

Jayne Houdyshell, “The Music Man”

L Morgan Lee, “A Strange Loop”

Patti LuPone, “Company”

Jennifer Simard, “Company”

Best Scenic Design of a Play

Beowulf Boritt, “POTUS”

Es Devlin, “The Lehman Trilogy”

\Anna Fleischle, “Hangmen”

Michael Carnahan and Nicholas Hussong, “Skeleton Crew”

Adam Rigg, “The Skin of Our Teeth”

Best Scenic Design of a Musical

Beowulf Boritt and 59 Productions, “Flying Over Sunset”

Bunny Christie, “Company”

Arnulfo Maldonado, “A Strange Loop”

Derek McLane and Peter Nigrini, “MJ”

Allen Moyer, “Paradise Square”

Best Costume Design of a Play

Montana Levi Blanco, “The Skin of Our Teeth”

Sarafina Bush, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Jane Greenwood, “Plaza Suite”

Jennifer Moeller, “Clyde’s”

Emilio Sosa, “Skeleton Crew”

Best Costume Design of a Musical

Fly Davis, “Caroline, or Change”

Toni-Leslie James, “Paradise Square”

William Ivey Long, “Diana, the Musical”

Santo Loquasto, “The Music Man”

Gabriella Slade, “Six: The Musical”

Paul Tazewell, “MJ”

Best Lighting Design of a Play

Joshua Carr, “Hangmen”

Jiyoun Chang, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Jon Clark, “The Lehman Trilogy”

Jane Cox, “Macbeth”

Yi Zhao, “The Skin of Our Teeth”

Best Lighting Design of a Musical

Neil Austin, “Company”

Tim Deiling, “Six: The Musical”

Donald Holder, “Paradise Square”

Natasha Katz, “MJ”

Bradley King, “Flying Over Sunset”

Jen Schriever, “A Strange Loop”

Best Sound Design of a Play

Nick Powell and Dominic Bilkey, “The Lehman Trilogy”

Justin Ellington, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Mikhail Fiksel, “Dana H.”

Palmer Hefferan, “The Skin of Our Teeth”

Mikaal Sulaiman, “Macbeth”

Best Sound Design of a Musical

Simon Baker, “Girl From the North Country”

Ian Dickinson for Autograph, “Company”

Paul Gatehouse, “Six: The Musical”

Drew Levy, “A Strange Loop”

Gareth Owen, “MJ”

Best Choreography

Camille A. Brown, “For Colored Girls Who Have Considered Suicide/ When the Rainbow Is Enuf”

Warren Carlyle, “The Music Man”

Carrie-Anne Ingrouille, “Six: The Musical”

Bill T. Jones, “Paradise Square”

Christopher Wheeldon, “MJ”

Best Orchestrations

David Cullen, “Company”

Tom Curran, “Six: The Musical”

Simon Hale, “Girl From the North Country”

Jason Michael Webb and David Holcenberg, “MJ”

Charlie Rosen, “A Strange Loop”

And that’s Show Biz. …

Something wicked this way comes. Or coming.

Twice, as a matter of fact, in two parts and a season apart.

That’s director Jon Chu’s plan to convert the movie version of the Broadway musical, “Wicked” — which  still is drawing audiences in New York — into a two-parter.

So the long-anticipated screen rendering, which will star Ariana Grande and Cynthia Erivo, as Glinda the Good Witch and Elphaba, the Wicked Witch of the West, respectively, will be watched with bated breath. Either the plan will be a thunderous hit or a thudding dud.

Putting it another way: this will be the longest “intermission” for one movie divided into two, an industry first.

If nothing else, it’s a worrisome situation, and a trial balloon, particularly since movie musicals lately have become financial failures, despite rave reviews and clearly an indication of a withering audience base, largely because it’s the elderly folks who generally watch musicals but have stopped going to the cinema, partially because of the shutdown of theaters and made going back harder with time.

Most youths, however, are not musical fanatics, perhaps  not since “Rent,” which had the rock beat that spoke to them like no other show.

You can’t fault Grande and Erivo, in this prequel to “The Wizard or Oz” story.  The division of one into two doesn’t seem practical. Chu isn’t doing a sequel or a prequel; it’ one story, and he’s altering the dynamics by making it into two. The roles were famously created by Kristin Chenowith and Idina Mendel on the Great White Way,

Chu, in a Twitter post, declared that the pandemic-delayed musical, wlll be a two-parter, the initial part premiering  as a Universal Pictures project on Dec. 25, 2024. The second wave will arrive a year later, on Dec. 25, 2025, hopefully without health and world issues intervening.

“As we prepared the production over the last year, it became impossible to wrestle the story of ‘Wicked’ into a single film without doing some real damage to it,” Chu wrote in a statement.

“As we tried to cut songs or trim characters, those decisions began to feel like fatal compromises to the source material that has entertained us all for so many years. We decided to give ourselves a bigger canvas and make not just one ‘Wicked’ movie but two!

“With more space, we can tell the story of ‘Wicked’ as it was meant to be told while bringing even more depth and surprise to the journeys for these beloved characters.

Chu has not been paying attention to the fate of high-profile, hit musicals of the recent past, that have struggled at the box office despite positive media reviews. Interestingly, the last film Chu directed was Lin-Manuel Miranda’s Tony-winning  inspirational “In the Heights,” which was a grand, dance-fueled homage to the Puerto Rican Washington Heights locale in New York, but the marketing failed the product. It streamed on HBO Max but also played in movie houses to enthusiastic reviews but dreadful attendance, with a meager $44 million gross world-wide.

Then there was director Steven Spielberg’s high-budget interpretation of the music of Leonard Bernstein’s Oscar-winning “West Side Story,” with lyrics, if you recall, by Stephen Sondheim. While Ariana DeBose as the new Anita earned a Best Supporting Actress Academy Award, the film was one that couldn’t generate crowds. In simple terms, it was box office bomb: An artistic winner, but a box office loser. The film grossed only $75.9 million globally, when it needed $300 million to break even.

The reflection on why or how both award-winning resources seemed to assert that audiences weren’t keen about movie musicals anymore is debatable.  But these song-and-dance fests appeal to the older generation, which rarely support filmed musicals anymore.

The last big Hollywood film musical was the Hugh Jackman-led “Les Miserables,” an undeniable hit as a staged musical, which grossed $441 million world-wide. The title is routinely staged in theaters, occasionally rebooted on Broadway, so it has built-in followers, a plus nowadays for filmed movie musicals.

Clearly, there are varying theories about why musicals don’t attract movie fans. One, it has to be a hot attraction. Remember the movie version of the stage musical, “Hamilton,” was held hostage for more than a year, but was delayed as a theatrical product and released at the height of the pandemic as a streaming title for Disney+, where show creator Miranda has his hands and toes in assorted Disney endeavors. The streaming was a great shot for Disney+, which earned huge numbers of new fans, possibly folks who couldn’t afford to see “Hamilton” on stage because of the unaffordable premium prices that plagued the show for several years.

Initially, 7.8 million watched the “Hamilton” stream, reaching 3.9 million households, upping Disney+ subscribers to 60.5 million. These figures are from secondary sources, since Disney remains mum about its hits or misses. Since a Disney+ membership also included Hulu and ESPN access, the deal was, simply, “affordable.”

Miranda, of course, continues to pump up his creativity at the Mouse House, the most recent being the unexpected streaming hit, “Encanto,” with the unintended runaway hit song,”We Don’t Talk About Bruno,” a title that wasn’t submitted for Oscar contention yet evolved into the first Oscarcast show to feature a full-fledged performance of a non-nominated tune, because, well, it would generate high viewership. (The actual reason: Van Morrison, by choice, declined to perform his nominated song because he was on tour, so there was a time slot for another song, and Disney, which owns ABC, opted to wedge in “Bruno,” and it worked.)

 The upcoming “Wicked” is based on the Broadway show, adapted by Winnie Holzman, adapted from Gregory Maguire’s novel, “Wicked: The Life and Times of the Wicked Witch of the West.” It runs for 2 hours and 45 minutes, with a 15-minute intermission, so one wonders how many more minutes, or hours, Chun will need to package the drama the tunes into halves. The music and lyrics are by Stephen Schwartz, who will provide the screenplay for the film, and it’s quite possible he could create one or two more tunes, to justify extra running time while yielding a dose of freshness. Producer Marc Platt, who produced the stage show, will also produce the movie and its two halves and might certainly seek a larger budget to justify two parts vs. one.

Traditionally, it’s old hat for for movies to offer sequels, prequels, and more spin-offs than imaginable; think of George Lucas‘ “Star Wars” back-and-forth franchise, along with the blockbuster “Indiana Jones: Raiders of the Lost Ark” series, the “Superman” remakes and sequels, the “Spiderman” brand with different lead webb-makers and even the “Jurassic Park” dinosaur adventures that still keep roaring along with the unending Marvel superhero adventures that ride the crest periodically. Like the “Batman” bounty, no need to label ’em 1, 2 or 3. Those classic “James Bond” and “Pink Panther” comedies were never sequels, merely different tales built on a centerpiece character popular with movie fans. Ditto, the “Fast and Furious” catalogue. You can scour for more similar films that gave birth to another film or a third.

But this two-part “Wicked” endeavor is a first to split one resource to configure a Part 1 and Part 2. Presumably, the whole will be sliced into two, running times to be determined, but a second installment won’t be a sequel, but will be a conclusion of the storytelling. “The End’ still is two years away. …

And that’s Show Biz, …