Category: Updates

Befuddled by the ongoing COVID-19 and Omicron variant, Hawaii’s two largest theater groups are grappling with how best to move on while being cognizant of the surge in cases and the state’s unchanged protocols.

An if/when attitude seems to prevail at both Diamond Head Theatre, Honolulu’s largest producer of shows and often dubbed the Broadway of the Pacific, and Manoa Valley Theatre, considered as Hawaii’s off-Broadway playhouse. They are hoping for the best but bracing for the worst.

Diamond Head Theatre has cast its “Steel Magnolias” production, set for a run from Feb. 4 to 20. But it hasn’t begun rehearsals because of the pandemic cloud.

Manoa Valley Theatre, also hoping to launch its much-delayed “Desperate Measures” for a run Jan. 13 to 30, has less prep time to kick off this one, but at least has one positive: there will be a playbill once the show opens.

Both groups had abandoned the customary playbill, handed out to patrons, that lists cast, tech crew, and other creators of their shows. Aside from cost factors, the iffiness of the most recent shows at both camps placed the playbill low in the priority list, though online versions were available but not easy to find or download.

“”We are moving forward, in so far as seats are on sale on the website, but not publicizing it,” said Deena Dray, DHT executive director. “Rehearsals not yet started, due to Christmas. Very much still huddling here.”

MVT publicist Kristin Jackson, speaking for Kip Wilborn, MVT executive director, said MVT “will be following the guidance of the Office of the Governor and the Mayor’s office, in terms of capacity and social distancing protocols. Our plan is to move forward as though additional regulations are not imminent but will certainly address them if/when they happen.”

Tickets are available for purchase online, but social distancing – which plagued both companies, affecting revenues with half-house  attendance —  so if “normal” sell-to-fill policies remain, there’s a possibility that seating complexities would be a headache if health protocols are tightened. Face masks will be required, along with proof of vaccinations, along with a photo ID.

So: it looks like the situation remains fluid and could either be a boon, if “normal” seating resumes, or a bust, if the surge of the pandemic continues, necessitating a Plan B. …

Meanwhile, COVID continues

Roslyn Catracchia, the musician-composer, posted online that she “got COVID for Christmas.” Not a serious case, apparently, and she’s on the mend. The c-bug “made me smile these past nine days …but this got me laughing out loud today.” Sounds like she’ll conquor the pandemic and be at her usual jovial best before New Year’s. …

The Green has had to cancel its New Year’s Eve festivities at Blue Note Hawaii this weekend, because members were tested positive for COVID. Details are not known, but the group’s Dec. 29 through Jan. 2 gig has been postponed till March 3 to 7, with original ticket purchases being honored for the rescheduled dates. …

A tutu take on Christmas rhyme

We’ve got to share this delighful spin-off of “The Night Before Christmas,” delivered in costume with perfect local-lingo cadence, by Sheila Black, a resident at Arcadia. As a Christmas gift to her fellow Arcadians, Sheila – in the guise of Tutu Eleele – shares the oft-parodied night-before rhyme with impeccable charm.

If you’ve attended one of those “Follies” productions during the decade-plus run at the retirement residence, you’ll remember Black as the diminutive one with great comedic timing and dancing skills. In these shows, the lyrics were lip-synched; in her Christmas pose, it’s her voice, her live delivery, her charm.

See it here:  https://clipchamp.com/watch/t6rLUIpyByY?utm_source=share&utm_medium=social&utm_campaign=watch

And that’s Show Biz. …

‘Twas the night before Christmas and all through the ‘aina

Santa was list-checking, gifts splendid and minah.

With Omicron still threatening, though COVID protocols declining;

He had concerns of Rudolph’s red nose still brightly shining.

For Gov. Ige and Mayor Blangiardi, a green light on waivers;

But for bars and restaurants: are the pushbacks life-savers?

To Bruno Mars, pretty please, come back, do a show;

You know how we love you and your Hooligans‘ glow.

A second season “go” signal, for the “Doogie Kamealoha” cast;

For “NCIS: Hawai‘i,” too, may one not be the last.

For Chris Lee, resident film guru, more savvy shared;

His knowledge and smarts go where no one else dared.

For Destin Daniel Cretton, “Shang-Chi” pride of Maui

A bid at the Oscars would make him a wowie.

For Dwayne “Rock” Johnson, who has more than he needs;

Maybe some fundraisers for a string of good deeds?

For the divine Bette Midler, a “Dolly!” for all seasons.

And now, Kennedy Center laurels, kudos for all the right reasons.

For QB Marcus Mariota, a wish: “Maybe next year;”

More huddling, more passing…TDs we would cheer!

Fresh water, not tainted, for those on Red Hill,

And Navy brass, come on, too many are ill.

For singer Shari Lynn, a trove of Sondheim ditties?

For her furry dog Lui? Two pairs of warm mitties.

For Kika Matsumoto, new bookings, more cats;

For Audy Kimura, pups and kittens… minus spats.

A one-time day-off, for dandy Andy Bumatai

His daily online postings are as bright as the sky.

For Frank DeLima, more tours of schools statewide;

For decades he’s shared comedic inspiration with pride.

Another isle concert has been his big wish;

So sing, Martin Nievera, share your songs! Delish!

A “safe pass” to visit, for Loretta Ables Sayre;

She’s self-secluded in Mililani, because of pandemic scare.

For Joseph Morales, Marc delaCruz, Hawaii’s “Hamilton” stars;

Let your “shots” in the musical leave you stronger, without scars.

Something homemade and special, for busy Henry Kapono;

A gigantic tub of poke, fresh-catch and so ono.

For Jerry Santos, maile, the lei with sweet scent;

And one for Bryan Tolentino, the uke-strumming gent.

For Misty and Afatia, tweaking the Tihati  brand;

With visitors returning, they’re still best in the land.

For retired Tihati founders Puna Cha and Papa Jack:

A leisurely cruise would ease their pain in the back.

For Robert Cazimero, a night club, where he can serenade and glow;

A chic Waikiki lounge to sing –three nights in a row?

For Roy Yamaguchi, Chai, Siu, the DK, MW team:

Filled fridges, full houses and creations that gleam.

A personal request to Alan Wong: please return to the scene?

We miss your culinary treats, you’ve always been keen.

For poet Fran Kakugawa, a new wrinkle of glory;.

A regular letter-to-the-editor writer, her words tell a story.

For floral whiz Asa Ige, a field full of bright blooms;

To create arrangements astounding, befitting hotel rooms.

For Kevin Iwamoto, also known as  Kevin I:

More surges in ‘80s music, giving him a new global high.

For creator Johnson Enos, a delayed “Honu” launch would do;

His Disneyesque musical would have folks cheering “Woo!”

For Keali ‘i Reichel, Roz Catracchia, too;

The kickoff of Michael Jackowitz’s

Hi‘iaka dream musical come true!

For actor Jason Tam, more Broadway hits;

For Greg Zane, kudos, for his DHT blitz.

For composer Jay Larrin a “white” Mauna Kea year-long

So deejays can keep spinning his appropriate song.

For Kalani Pe’a, perhaps Grammy win No. 3?

He’s nominated again, so a hearty shout-out: Whee!

For Jake Shimabukuro, our prolific ukulele czar

A Grammy, too, will elevate his global star.

A new path for Raiatea Helm, the songbird from Molokai;

With her new college degree, she’ll reach a new high.

For Carole Kai Onouye, a revamped Great Aloha Run next year

That will wind up at UH’s Ching Stadium, no doubt with a big cheer!

For Blue Note operators, a rousing big cheer

For hiring acts, staying open, welcoming patrons without fear.

For Karen Keawehawai’i, used Christmas cards aplenty;

She recycles, makes tote bags, full of cheer … not scanty.

For KSSK’s Michael W. Perry, more music, less talk;

His political rants are making many folks balk.

For Ho’okena, The Makaha Sons, groups always supreme

Perhaps regular music festivals would be keen.

For Yvonne Elliman, simply, redemption, she’s had a few bad years;

She’s rebuilding her life, and her tunes still evoke tears.

For Carissa Moore, the first lady of surf;

May the waves never cease while you’re in that turf.

For Vanita Rae Smith, a frequent lunch mate;

Shall we continue the chatfests once we select a date?

For all of you first responders, in this time of duress;

A huge mahalo, and aloha you’re all truly da best.

To vaccine dodgers, a plea: please halt the decline;

Two shots. Plus booster. Just join the line.

A holiday toast, precious readers, all you Mr. and Ms.,

Mele Kalikimaka! Happy New Year! And that’s Christmas Show Biz …

“Annie Live!,” which aired last night (Dec. 2) on NBC  and streaming now on Peacock TV, is a dose of optimism served by a refreshing and resourceful cast. Despite a few flaws, it’s the right show for the right time with a tireless message of hope and confidence.

Some impressions:

• Live TV is not easy to do; there were a few glitches, but staging a full-tilt musical without a conventional proscenium stage  plus a live audience watching, requires a mobile and agile cast. This one delivered masterful and quick action, from orphanage quarters to New York City locales.
• Celina Smith as Annie was a breakout star, looking like a young Aretha Franklin – those cheeks!—and singing like a diva. Yep, she gives life to “Tomorrow,” the show’s key anthem, in several incremental moments including the near-the-final curtain where she has President Franklin D. Roosevelt (Alan Toy) and some of his cabinet singing hopeful versions that “the sun will come out tomorrow,” referring to the New Deal.

• Taraji P. Henson as the manipulative and mean Miss Hannigan is a revelation. Who knew? She can sing, dance, and mug for the cameras; she is a new-generation, fashionable and formidable villain, but one wih a heart and infections charisma.
• Harry Connick Jr.’s Daddy Warbucks is a puzzlement. He can sing, which is why he’s in this, but that bald scalp cap seems to affect his disposition; the fake pate was a constant irritant, for him and for us viewers.
• Hawaii’s Nicole Scherzinger is a charming Grace Farrell, assistant to Warbucks, with a voice and  legs with plenty of action in the dance moments.
• Tituss Bergess as Rooster Hannigan and Megan Hilty as Lily St. Regis were the perfect foils, secondary schemers who want to collect $50,000 in a fraudulent guise as Annie’s long forgotten parents. Hilty, in particular, deserves special applause – replacing Jane Krakowski, sidelined with COVID and unable to perform.
• The ensemble of orphans is incredibly agile, remarkably darling, and delightfully polished — these youths can sing, dance and cartwheel like veterans. The opening “It’s a Hard Knock Life” is an example of swift and stunning movement (remember those mops and buckets?); this is a show-stopper, so early in the show, and tough to beat over the three hours of showtime (including beaucoup commercials, with Wendy’s homage to the era a keeper).
• In context of the show, several resonating elements — a homeless population, a depressed economy, and the return of Broadway shows –reflect the prevailing cultural and economic climate now. So forget datedness – “Annie Live!” has fresh-as-today ripples and undercurrents, like the need for optimism and hope.
• Don’t recall if the namedropping is part of the original script, but let’s face it: the history-lesson utterances of Babe Ruth, Walter Winchell, J. Edgar Hoover, and more (Annie doesn’t know ‘em) reflect the heroes and notables from the past who should never be forgotten.
• Every dog has its day, and Sandy, the pooch “adopted” by Annie, is a rescue adoptee himself, named Macy. He makes an early appearance, but doesn’t show up till the closing moments of the show, and the question is why? He’s apparently done a number of “Annie” shows and should complain to his agent.
• The score by Charles Strouse and Martin Sharnin  is jammed with inspirational tunes; besides “Tomorrow,” the spirit-lifters include “Maybe,” “You’re Never Fully Dressed Without a Smile” and “I Don’t Need Anyone But You” … all could be quotable truisms today. The stage musical, based on the  Howard Gray’s comic strip “Little Orphan Annie,” made its Broadway debut in 1977, with book by Thomas Meehan.  Lear deBessonet and Alex Rudzinski co-directed, with choreography by Sergio Trujillo.

Kudos to NBC, which continues to support and stage an annual “live” musical, despite the challenges of assembling the production for a mere one night and during the ongoing pandemic.  The good spinoff: a CD soundtrack is available and a DVD likely will follow. This is a tradition worth supporting and continuing…

And that’s Show Biz. …