wayneharada.com

December 12, 2022December 12, 2022

YULETIDE WITH HYBRID GROUP MAKENA

Makena, the splendid hybrid group comprising members of The Makaha Sons and Ho‘okena, staged two performances at Blue Note Hawaii yesterday (Dec. 11) at the Outrigger Waikiki resort.

The clever fusion of two prolific and popular Hawaiian acts – the “Ma,” for the Makaha guys Louis “Moon” Kauakahi and Eric Lee, and “kena” for Ho‘okena’s Horace Dudoit III, Chris Kamaka, and Glenn Smith – has resulted in an entity with impeccable harmonies and flashy guitar and fiddle bass dynamics. Wow!

With Ho‘okena’s hula dancer, kumu Nani Dudoit, providing elegant, exquisite dances, the Hawaiiana forces are formidable. She’s also singing now, adding new dimension to the act.

I took in the second show and it was a rouser, with generous island melodics and a dash of Christmas favorites, perfect for the season.

Nani and Horace Dudoit: She now sings, too..

The magic began with cheerfully curated yuletide numbers, “Home for the Holidays” and a medley of “Christmas in Hawaii Nei” and “Mele Kalikimaka Ia Kakou,” which smoothly expressed the spirit of the season.

Then came a nostalgic and nuanced medley, from the archives of The Makaha Sons of Ni‘ihau (the original act, with the regional name) recreated from a live show, themed “Makaha Bash,” at the Waikiki Shell. A sizzler!

With wisdom and wonderment from the two camps, Makena is a lingering marvel and invention. One of The Makaha Sons’ signatures – famously sung by the late Israel Kamakawiwo‘ole at a previous Na Hoku Hanohano Awards show, but struggling because he forgot the lyrics – and the moment of aloha came when the estranged Kauakahi and his singing bros took the stage to join and “rescue” Bruddah Iz on “Kaleohano,” a treasure in the Sons’ music box forever.

The newish twinkle in Ho‘okena’s repertoire is Nani (Horace’s spouse) joining Makena on “Nou e Pauahi,” and she shared her powerful soprano voice with joyful confidence, earning applause from the audience and smiles from the musician singers. Of course, her periodic hula interpretations added grace and glamor to the evening.

Additional Christmas treats included “The Most Wonderful Time of the Year,” an ensemble effort, and Lee’s lead voice commanding “What Child Is This.”

Ho‘okena’s annual holiday ditty — Kui Lee’s “The Song of Christmas” — happily is shared with Horace’s back-in-the-day story/attempt to listen to the tune and write down the lyrics. He was confounded with the phrase, “Aurora Borealis,” the majestic night lights in the skies, garbling up his original notations with non-sensible lyrics. Nani also had to make-up moves, now altered, when nature’s wonder is sung. ‘Tis the best chuckle of the season.

The show had its oddity, the inclusion of a budding Waimea (Big Island) couple, Kala‘e and Kalenau. Both sing; he strums guitar, she’s on the synthesizer. Their moments on an original, “We Are a Voice” and “O Holy Night,” the latter in English and in Hawaiian, lacked the chemistry or musicality to match the high bar of talent on stage. It’s wonderful to introduce new talent, but the duo, with pitch issues, seemed like auditioners on “American Idol.”

She redeemed herself a skosh on “The Prayer,” the Ho‘okena holiday hit with English and Hawaiian lyrics, since Maila Gibson has exited the entertainment realm in favor of real estate. …

And that’s Show Biz. …

December 11, 2022December 12, 2022

FRANKLY, IT’S ALL ABOUT HOLIDAY CHEER

Comic Frank DeLima, an Island favorite, put a Christmas spin at his Blue Note Hawaii gig noontime today (Dec. 11) at the Outrigger Waikiki resort.

He entered the stage as Lolo Bono, the sumotori, with a body costume reflecting a bulky Japanese wrestler. When he undid the bulky piece, he uttered, “I wish losing weight was that easy.” ‘Twas an apropos lament blending reality with show biz.

Between sit-down patter and chatter and a few stand-up routines with his trademarks such as Foo Ling Yu Chinese character, DeLima had some mobility issues but managed to wobble and toss out punch lines familiar and new.

His ethnic faves prevailed, led by the timely “Filipino Christmas” with DeLima as a lit-up Christmas tree, with audience members chiming in appropriate vocal support. An errant strand of tinsel from his head occasionally danced along, and in typical DeLima ad-libbing, he managed to get his right hand to stuff the garland into his neck zone.

Frank DeLima, decked out in a lit tree, sings “Filipino Christmas/”

Frankly, his mood and message was all about yuletide cheer … to share the gift of laughter.

He offered two new shticks to his silliness:

“76 Hormones,” a parody to the tune of “76 Trombones” from “The Music Man,” to address the issues of aches here and there among seniors, from neck to knees, from back to shoulders. The parody was a collaborative effort between DeLima and sometimes parody creator David “Kawika” Talisman, who has personally endured beaucoup pain treatments.
“Blue Christmas,” his new parody with the familiar holiday ditty, bemoaned the pain of high prices for everything, from hamburgers to bananas to gasoline. The tune, a bit uncertain with DeLima (in Santa coat with faux beard) embracing a sock puppet for the first time, could be tweaked with an expanded intro about the reality of soaring prices that affect the pocketbook of many.

DeLima also revisited his “Twelve Days of Christmas,” the local version beginning with “one mynah bird in one papaya tree.” Unable to stage this one at the height of the pandemic, this revival had funny moments in his effort to secure audience members to utter each of the 12 days, with the viewers taking on No. 5, with a chorus of “five big fat pigs.”

Yes, there was a brief revisit to his No.1 from yesteryear, “Lucille.” However, the pair he selected from the audience were not familiar with his trademark, though his wahine visitor had expressive bursts as Lucille.

The strength of his material included childhood recollections of growing up in Pahoa as a Portuguese kid living among Chinese and Japanese households from where he picked up the skills of mimicking. Reproducing these ethnic lingo for comedic effect, his intent is to honor the mixed plates of island life. No racism here, because he respects the ethic differences that constitute island life.

With musical support from Bobby Nishida and David Kauahikaua, DeLima is the lone stand-up comic who sings.

A wish for next year: Hope DeLima will bring back his singing voice on the likes of “Waimea Lullaby,” which is a splendid departure from his comedic style. …

And that’s Show Biz. …

December 11, 2022December 12, 2022

DELIMA DEBUTS ‘BLUE CHRISTMAS’ PARODY

Comedian Frank DeLima’s Christmas gift to fans and followers is a parody of the yuletide classic, “Blue Christmas.”

In his treatment, DeLima moans and groans – like most of us – about the prevailing inflation that affects every aspect of life. Eating – brunch, to cut out one meal. Shopping – a single banana, instead of the whole bunch. Commuting – selling his Caddy because of gas prices.

Of course, he groans In his own inimitable manner. In pidgin. This time, in his video, a companion – a sock puppet.

“Blue Christmas” sounds like a new song, with his new lyrics:

“Ima havin’ a Blue Christmas

“Inflation

“Hamburgah price outrageous

“Inflation

“Thanksgiving dinna set me back

“I gotta sell my Caddalac

“My money…no can go as far…”

To download the parody, go to www.frankdelima.com and make a donation to his Frank DeLima Enrichment Program to support his tour of inspirational tours of local schools.

The video also is posted on my Facebook page.

DeLima will premiere this parody at his holiday brunch show, at 12:30 a.m. today (Dec. 11) at Blue Note Hawaii, at the Outrigger Waikiki resort. Doors open at 10:30 a.m. (Blue Note announced the time changes earlier this morning).

Tickets: www.bluenotehawaii.com.

And that’s Show Biz. …

December 10, 2022December 11, 2022

‘HAMILTON’: THE MORE, THE MERRIER

The more you watch “Hamilton,” the more you discover and savor; the more you observe, the more you reflect on how impactful the Lin-Manuel Miranda mega-hit is with parallels in modern-day history.

Happily, the touring company dubbed “And Peggy,” now ensconced at the Blaisdell Concert Hall for a historic eight-week run, is the longest any show has cast its anchor here. It opened Wednesday night (Dec. 7) and runs through Jan. 29, 2023, with a well-honed cast carrying on the ebullient tradition of the musical still running in New York.

The Dec. 8 show was my fourth visit to “Hamilton,” and I’m still on a high. And I’m attending the show again, tonight (Dec. 10).

The hip-hop/rap score, with occasional R&B tunes, still is vibrant with diverse blind casting that initially might throw you a curve. Many African Americans are in the company, including DeAundre Woods as Alexander Hamilton (commanding and conniving, propelling the story of America’s founding father ), and George Washington (Darnell Abraham, splendid and convincing) and Aaron Burr (Donald Webber Jr., dominating as Hamilton’s clever and conniving frenemy), and they all quickly define their characters with drum-beat perfection. The rap genre boasts lines and words and these dudes have mastered the delivery of smooth lyrics, in synch with the tempos of hip-hop.

The delivery is smooth and audibility is clear, without being overbearing. The facility’s sound often has been a source of irritation –often difficult to hear a singer or appreciate the musicianship — but there’s no quibbling here.

The “Hamilton” set has been tweaked with new hues .

First thing I noticed: the new-look set by David Korins (two levels, with a stylish “unfinished” fringe above the catwalk platform) augmented with lighting tweaks by designer Howell Binkley (his pallet includes orange and light blue-grey hues, with eye-catching tones that change periodically enhancing the performing space). Paul Tazwell’s costumes (properly light and bright, from formal soldier wear to elegant gowns) add to the spectacle.

(These technical team members are the show’s original artisans, so there’s powerful energy and imagination, for the road shows).

And yep, Hamilton’s “just you wait, just you wait” pitch in the opening number, is an indication he’s a do-er and he does. A political fighter and leader, who’s not afraid of verbal spats; a romantic, who has indiscretions; fearless and perhaps reckless; the secretary of treasury who takes a bullet. These are echoes of modern politicos.

Eliza Hamilton (Morgan Anita Wood, elegant and faithful) marries Hamilton and outlives him by 50 years is the portrait of The Victim) and her sister Peggy Schuyler (Rebecca Covington, the commanding adulteress who becomes The Other Woman in Hamilton’s life) are equals in precision and perfection. Angelica Schuyler (Maria Harmon, superb, is the third Schuyler sister and intellectual equal of Hamilton).

Two other characters will wow the audience: King George (Rick Negron, comedic and captivating, via his hilarious “You’ll Be Back” anthem) and Marquis de Lafayette (Paris Nix, outrageous as Hamilton’s comrade, doubling as Thomas Jefferson).

Those fearing and uneasy of rap shouldn’t worry; the form is part of prolific Miranda’s language has been an avenue of success, not changing, but augmenting Broadway ever-changing landscape and map; it’s not the gansta rap where hip-hip is commonly adults-only vocabulary.

Further, the revolving stage is intact and in motion, a design factor popularized by the “Les Miserables” model, and it works well in “Hamilton,” rotating performers with choreographic swirls.

The whole shebang is choreographed by Andy Blankenbuehler, orchestrated by Alex Lacamoire, and directed by Thomas Kail, all from the original award-winning Broadway team.

And that’s Show Biz. …

December 7, 2022December 8, 2022

TRI-CROSSOVER ‘NCIS’ SET JAN. 2

What’s better than one crossover TV show? How about a three-way networking?

The online buzz, confirmed by recent CBS promos, is that the first-ever three-way crossover is set involving the three remaining “NCIS” shows in the procedural’s stable on Jan. 2, dominating prime time from 7 to 10 p.m. that evening.

The three-hour-long block will assemble teams from the three shows who will unite in Washington, DC, to celebrate a FLETC (Federal Law Enforcement Training Center) professor, who trained members from each squad. On the eve of the celebration, the prof is discovered dead of an apparent suicide and his former students immediately suspect foul play.

Familiar “NCIS” regulars, gathered for the triple crossover shows airing Jan 2.

First up, “NCIS” and its episode, entitled “Too Many Cooks,” where the teams will come together and sort out investigative strategies.

“Hawai’i” is next up at bat, via “Deep Fake,” where some agents will find themselves captured while some find assets arriving in the islands that could be connected to several overseas assassinations.

“L.A.” is the finale, with an episode called “A Long Time Coming,” with agents find themselves ambushed with each with a $200,000 bounty on their head.

One night, three thrillers and teams, proving there’s strength in numbers, with CBS banking on high ratings from the Good Ship NCIS. Remember when the flagship procedural gave birth to three other series: “NCIS: Los Angeles,” “NCIS: New Orleans,” and “NCIS: Hawai‘i” (New Orleans has been cancelled).

It would be a coup, if the flagship original show’s Leroy Jethro Gibbs –that would be Mark Harmon, who led the investigations as special agent Gibbs over 18 seasons – might be aboard, too. But it’s unlikely, since he has not been an on-camera regular for the past two seasons, though he has been credited as an executive producer for most of the run. He wanted out after season18, but remained for two appearances in season 19, to assure CBS to remain committed to the franchise.

Spoiler! Online buzz theorizes that a body bag figures in the crossover, with an unthinkable and unsettling discovery!

There have been some crossovers involving three shows still airing on three other fronts. The networks haven’t been toasting a three-bie involving the trio of “Chicago,” “FBI” and “Law and Order” franchises. One doctor or cop or fireman or investigator have made quick cameos in these camps. …

Sight ‘ems

I bumped into New York theater couple local actress-director Melanie Tojio Lockyer (“Miss Saigon,” “Allegiance”) and her actor husband Peter Lockyer (“Miss Saigon,” “Les Miserables,” “Chicago”) at the opening of “The Year Christmas Was Almost Cancelled last weekend at Mamiya Theatre. They’re holidaying here to visit her family but enjoyed a reunion of the holiday musical’s co-creators, Kyle Kakuno and Roslyn Catracchia. …

At the recent Randy Rainbow concert at Hawaii Theatre, he asked the audiences during a Q&A moment, where he might find nightlife action following his concert. Several in the audience shouted “Hula’s,” and it was uncertain if Rainbow knew this was a gay hangout. I ran into Hula’s proprietor Jack Law, after the show, in a nearby parking garage, and he was all smiles. “Quite a plug,” said Law. Not likely that the comedian/parodist made the trek after the show. …

Broadway grosses, week ending Dec. 4

While “The Music Man” remains No. 1 as the top-grossing Broadway show with $3.083 million last week, “The Lion King” roared to the tune of $2.162 million for No. 2 creds, leaving “Hamilton” at No. 3 with a respectable $2.083 million.

Such is the see-sawing rankings, courtesy The Broadway League.

The numbers:

And that’s Show Biz. …