THE MYSTERY OF ‘MAGNUM’S’ NO. 5

It’s the “$64,000 Question,” tapping the rhetoric of the 1950s TV game show: Why is CBS stalling and delaying the go-ahead green light for one of its top procedurals, “Magnum P.I.”?

Many other cop and investigative series on the network already have been renewed for a return this fall.

Not so for the “Magnum” camp. Season 4 is pau and in the can. No doubt, the cast is on standby, awaiting the go or no word.

But honestly, Season 5 is undoubtedly somewhere over the rainbow, but still, mum’s the word.

Jay Hernandez

Ratings for its Friday night slot, preceding “Blue Bloods,” has been solid. “BB” is Friday’s hottie and its 13th season is ahead, led by original Magnum star Tom Selleck, now Commissioner Regan.

Jay Hernandez is the current Thomas Magnum, private investigator in paradise; he’s popular and has done no wrong.

The show deserves another season.

Why?  Scripts have been pretty solid.

And aside from those somewhat infrequent but humbug road closures for filming —  notably the passage way through the tunnels of the Koolaus – they have been rare, so tolerable.

The cast is properly diverse, even if no true isle-reared actor has one of the plum co-starring roles, a fault for mostly all the network shows lensed here. As I’ve preached before, that’s a missed opportunity, and my ongoing mantra.

Waiting for the green light….

So what gives?

Are the showrunners waiting for Selleck, who created the role in the first go-round with Higgins, to agree to a cameo? (Not likely, he’s moved on to “Blue Bloods” and is indifferent to interfere with the spin-off reboot; and after eight years as a P.I., he was tired and wanted to terminate the show).

So what’s bewildering for the overdue invitation for the new Magnum to proceed and start planning a summer start on the new season of episodes, since we’ve heard of no chatter nor disenchantment to move ahead,  to film new episodes to launch the fifth season this fall.

CBS kept the reboot of “Hawaii Five-0” alive for more than a decade. Now, that was a skosh overlong, considering Alex O’Loughlin as Steve McGarrett wanted out, perhaps for three seasons before shutdown, and Scott Caan was an unhappy camper from early on. Daniel Dae Kim and Grace Park smelled a salary rat, and perhaps a racial bias, so they exited the show midway through the journey, and we all weren’t surprised that there were behind-the-scenes shenanigans with problematic showrunner Peter Lenkov. His firing was not surprising; his conduct was an issue that created unrest among the cast; the network dismissed him.

But “Magnum”— the other Lenkov-launched series here —  has had all its ducks in a row, even surviving the gender switch, turning Higgins into Juliet Higgins, enacted by Perdita Weeks. But we all forgave and forgot.

CBS already has green-lit new seasons, albeit with quirky circumstances, for its “NCIS” franchise series.

Mark Harmon

If you’ve noticed, the original NCIS no longer features iconic Mark Harmon, as the incomparable Special Agent Leroy Jethro Gibbs. Strangely, he’s still in the opening credits, even if his character no longer is part of the active acting team. Similarly, the original crime drama enables Duckie, the medical examiner Dr. Daniel Mallard played by David McCallum,  to be counted as a team member even if he’s not on call for every episode.

There’s more strange elements on sister show “NCIS: L.A.,” Linda Hunt, as Henrietta Lange, has been absent from the regular pace of storytelling – Hetty is mentioned but not commonly seen – a peculiarity not fully explained. Hunt is 77 and the NCIS honchos reportedly kept her safe and secure during the height of  COVID concerns, and though she was off show for nearly two seasons, she made a brief return on the show’s first episode this season. Her character’s status: she’s secure and invisible in Syria. The tradeoff is the recurring Gerald McRaney, as Adm. Hollace Kilbride, who has inherited her screen time, not a wholly acceptable or logical playout.

Of course, the latest serial, “NCIS: Hawai‘i,” has been tapped for a second season without any asterisked characters – meaning no roles have been tapped for limited programming.

Which bounces back to the basic earlier discussion: Why has the renewal of “Magnum” been delayed? We’re all anticipating No. 5. …

And that’s Show Biz. …

ELGORT’S NIHONGO IS CONVINCING

Have you been caught in the spell of “Tokyo Vice,” the enticing and intriguing HBO Max series that explores the dark corridors and Yakuza-clouded world of Japan journalism?

Ansel Elgort, who was Tony in Steven Spielberg’s “West Side Story,” stars as a newbie gaijin (foreign) crime reporter named Jake Adelstein, who is trying to earn his stripes in the daunting world of Japan’s gloomy and structural media world, based on Jake Adelstein’s novel about a fish-out-of sea element. While Elgort appears to speak and write fluent Japanese, he cannot appease his bosses because he asks too many questions, doesn’t abide to demeaning orders since he smells opportunity in the shadowy world of Hiroto Katagiri, the veteran police chief played by legendary Japanese actor Ken Watanabe, who has the power and voice to emphatically ban a cub reporter’s story, reasons not needed.

Ansel Elgort

Elgort is one of the executive producers of this hypnotic drama, which explores the underbelly of Tokyo’s 1990s club-and-crime scene, where an apparent murder cannot be reported as such, unless the cops say it is. The reporter is an eager soul with a thirst for that prime story that will put him on the map, but in the three (of eight) episodes I’ve watched, he’s still got a lot of tough challenges to confront. His fashionably long tresses, tall and lanky frame might project a model, but clearly, he’s a loose cannon uncertain what to make of Rinko Kikuchi’s Emi, his contemporary boss who oversees his assignments but always trashes his work. So he’s still working on his fame to turn around his shame.

Ansel Elgort, center, the Japanese-speaking gaijin in “Tokyo Vice.”

Director Michael Mann, who helmed the pilot episode, projects a film noirish universe, with its obvious hooks: crooked Yakuza agents pressuring clients to pay protection fees; hostess bars where Samantha, a transplanted haole played by Rachel Keller, is trying to work out her status since she speaks and adapts to Japanese ways. Samantha and Adelstein become friends as he conducts his own investigations to discover there is a link between the demise of two Japanese nationals whose deaths might be related, even in the manner of death. One, with multiple stabbing wounds; the other, a gasoline-stained guy who lights a match in an spectacle of a fiery finale; different but decidedly with similar hooks.

Action aside, a pleasant surprise was to discover an Island name in the credit rolls – that of Haiku, Maui native Destin Daniel Cretton, who is one of the producers for at least six episodes of “Tokyo Vice.” Suddenly, it became “Tokyo Nice,” with a local spin in the story and action.

Destin Daniel Cretton

Cretten, of course, is known primarily for shaping and directing “Shang-Chi and the Legend of Ten Rings,” the mammoth Marvel box office hit, which made Simu Liu a major action film star.

This, along with other yet-to-be-completed projects, including a sequel to “Shang-Chi,” will keep his name on the front burner for the next few years.

All the episodes of “Tokyo Vice” are streaming now and the spoken Japanese is sub-titled for gaijin viewers.

It’s gritty, atmospheric, and preciously dark, and part of the fun is to recognize quick shots of Japan’s bevy of tucked-away sushi bars and ramen shops, amid the crowded streets and alleyways of marketplaces and the network of subway trains.

And oh, about Elgort’s nihongo – no, he’s not fluent in the Japanese lingo but had to memorize lines, but managed to be a convincing conversationalist because of his diction and delivery. Apparently, he became a master of his lines and even could ad-lib, properly, the manner and the message in Japanese. …

And that’s Show Biz. …

ALL THAT JAZZ, AND MORE, WITH AMY

Amy Hanaiali‘i will be very visible at the Halekulani Hotel, beginning with a two-seating performance, at 7 and 9 p.m. May 7, at Lewers Lounge. A $50 cover charge is in place, with a two-drink minimum. “An Evening of Jazz With Amy” is the theme, so expect swing and blues, instead of her Hawaiian repertoire. …

In addition, Hanaialii also will be headlining  the earlier-announced  first-ever  Mother’s Day show on May 8 at the Halekulani ballroom. Hawaiiana and a more diversified song menu will prevail.

Amy Hanaiai’i

Hanaiali‘i, lest you forget, is the president of the Hawaiii Acacemy of Recording Arts, the organization that celebrates achievement in the music community. She informs voting members, via email, that preliminary balloting begins today and continues through May 6. HARA members who don’t receive the e-ballot should email infor@harahawaii.com to request the ballot. The competition will unveil during the annual Hoku evening later this year …

Shari Lynn

The Shari Lynn Trio, which ventures into jazz and the Great American Songbook, returns to Medici’s at Manoa Marketplace, for a lone show at 7:30 p.m. May 6. Doors open at 6 p.m.; a $59 fee includes dinner and the performance.

Shari has a lot to sing about; she’s retiring as a music teacher at La Pietra, Hawaii School for Girls, at the end of the academic year. She and husband Mike Acebedo will finally venture to Europe for a pandemic-delayed celebration of their wedding anniversary. …

The Broadway update

The same leaders pace the grosses for the week ending April 24 – meaning the money-makers continue to be  “The Music Man,” “Hamilton” and “The Lion King.”

Here’s the compilation, courtesy the Broadway League:

Broadway grosses, week ending April 24 2022

Week EndShowTypeTheatre#Prev#PerfGrossesGrosses
Prev Week
AttendAttend
Prev Week
% Cap
04/24/2022A STRANGE LOOPMusicalLyceum80$385,960$202,4035,8992,75680%
04/24/2022ALADDINMusicalNew Amsterdam08$1,318,223$1,737,85513,50115,04998%
04/24/2022AMERICAN BUFFALO 2022PlayCircle In The Square08$596,826$543,7145,2615,73388%
04/24/2022BEETLEJUICE 2022MusicalMarquis08$1,368,437$1,457,71810,33810,72981%
04/24/2022BIRTHDAY CANDLESPlayAmerican Airlines08$300,256$302,9584,2585,11273%
04/24/2022CHICAGOMusicalAmbassador08$713,877$829,2197,0868,03382%
04/24/2022COME FROM AWAYMusicalSchoenfeld08$568,442$588,1646,3366,68776%
04/24/2022COMPANY 2021MusicalJacobs08$672,599$691,7285,9466,31071%
04/24/2022DEAR EVAN HANSENMusicalMusic Box08$691,174$758,5786,3586,66281%
04/24/2022FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE / WHEN THE RAINBOW IS ENUFPlayBooth53$144,377$130,3593,8283,77162%
04/24/2022FUNNY GIRL 2022MusicalAugust Wilson71$1,147,648$1,415,0869,7909,760100%
04/24/2022HADESTOWNMusicalWalter Kerr08$1,013,272$1,044,3397,3477,304100%
04/24/2022HAMILTONMusicalRichard Rodgers08$2,445,193$2,453,31910,61110,638100%
04/24/2022HANGMEN 2022PlayGolden44$252,435$209,1954,7643,35474%
04/24/2022HARRY POTTER AND THE CURSED CHILDPlayLyric08$1,684,210$1,964,66511,71112,81890%
04/24/2022HOW I LEARNED TO DRIVEPlayFriedman07$265,830$237,8904,0034,30290%
04/24/2022MACBETH 2022PlayLongacre70$1,285,183$1,170,0137,3336,283100%
04/24/2022MJ THE MUSICALMusicalNeil Simon08$1,446,359$1,462,48410,57410,84195%
04/24/2022MOULIN ROUGE! THE MUSICALMusicalAl Hirschfeld08$1,469,432$1,468,21710,09810,11997%
04/24/2022MR. SATURDAY NIGHTMusicalNederlander70$770,229$652,9207,5045,47490%
04/24/2022MRS. DOUBTFIRE 2022MusicalStephen Sondheim08$631,929$528,8077,0785,88786%
04/24/2022PARADISE SQUAREMusicalEthel Barrymore08$253,374$4,79161%
04/24/2022PLAZA SUITE 2022PlayHudson08$1,684,725$917,8197,7284,50999%
04/24/2022POTUSPlayShubert70$313,367$152,7277,0553,46769%
04/24/2022SIXMusicalBrooks Atkinson08$1,287,373$1,357,2768,0888,15698%
04/24/2022TAKE ME OUT 2022PlayHelen Hayes08$424,287$397,3134,2654,21291%
04/24/2022THE BOOK OF MORMONMusicalEugene O’Neill08$1,018,320$1,134,6297,9848,38094%
04/24/2022THE LION KINGMusicalMinskoff08$2,000,821$2,560,96013,41115,15299%
04/24/2022THE LITTLE PRINCESpecialBroadway08$280,887$373,8313,2636,70428%
04/24/2022THE MINUTESPlayStudio 5408$401,095$304,0744,3184,54481%
04/24/2022THE MUSIC MAN 2022MusicalWinter Garden08$3,464,388$3,328,25312,17712,126100%
04/24/2022THE PHANTOM OF THE OPERAMusicalMajestic08$850,940$1,073,2638,35010,00965%
04/24/2022THE SKIN OF OUR TEETH 2022PlayVivian Beaumont80$174,880$138,6104,6563,84255%
04/24/2022TINA – THE TINA TURNER MUSICALMusicalLunt-Fontanne08$969,832$826,8218,1287,16469%
04/24/2022WICKEDMusicalGershwin08$1,908,644$2,314,08813,95815,94897%

And that’s Show Biz …

AUDY RETIRES AFTER 33 YEARS AT HY’S 

Audy Kimura is bidding aloha to his successful career as singer, guitarist, performer and recording personality.

After entertaining for nearly 33 years at Hy’s Steak House in Waikiki, Kimura has submitted his retirement notice to the restaurant,  calling it quits and closing this chapter of his career, effective immediiately.

Simply, he’s retiring to focus on pet projects close to his heart.

Kimura opened at Hy’s on June 23, 1987, perched in the bar area of the popular steakhouse on Kuhio Avenue in Waikiki. But because of the pandemic that plagued the world, including Hawaii, Kimura hasn’t been in the Hy’s spotlight throughout the shutdown, even since the reopening of the restaurant.

“I am grateful beyond words,” said Kimura in a statement. “The friendships and memories are priceless.

Not surprisingly, he credits the support of his family, friends, co-workers and customers who became part of his extended circle of friends, for supporting him over the years.

Audy Kimura at Hy’s: Retiring after 33-year residency.

“This is the end of an era at Hy’s.” says Marc Nezu,  general manager of Hy’s. “Audy will be missed by all of us – our guests and our staff.”

Too bad that his decision to exit the limelight doesn’t include an opportunity for his fans and followers to say aloha.

Kimura has been an icon at Hy’s, serenading diners and bar patrons and occasional chats. His style always has been gentlemanly and romantic; his repertoire reflecting his savvy in programming, tapping his own compositions and iconic ballads by the Beatles, Simon and Garfunkel, and James Taylor.

Through his business acumen, Kimura has put his imprint on the Hawaii recording community over the decades; as a budding studio engineer at Sounds of Hawaii, one of his early clients was Don Ho. In the realm of marketing, that appealing “One of the Good Things About Hawaii” signature for Hawaii News Now, is among his creations, as are the videos and commercials for Charley’s Taxi and Battery Bill, and the theme song for OC16’s “Hawaii Goes Fishing.”

He is one of the elite Hawaii artists to secure a major international recording contract (Universal Music and Epic/Sony).

Musically, he is best known for his No. 1 hit, “Lovers & Friends,” the trademark hit that put him on the map. His album titles reflect his outlook and mirror his inspirational thrust: “Looking for the Good Life” and “A Gift of Song.” These endeavors have earned him eight Na Hoku Hanohano Awards over the years.

A graduate of the University of Hawaii-Manoa’s College of Business Administration, Kimura earned the highest academic award, The Outstanding Senior in the College of Business Administration.

His interests have been wide and varied, including running in marathons, swimming feats, bicycling, skeet shooting and rifle competitions

Kimura plans to spend more time with family and begin to focus on select projects within his radar, embracing music, video, and composition.

He’s also been a longtime and vital ambassador to the animal population and intends to continue to work on charitable causes to support and benefit animals. …

And that’s Show Biz. …

WITH KING, EVERYTHING IS ‘BEAUTIFUL’

“Beautiful: The Carole King Musical” is one of the jewels of Broadway biographies crammed with hit songs. The title says it all. Beautiful, indeed.

Like “Jersey Boys,” the musical about Frankie Valli and the Four Seasons, “Beautiful” is bountiful with nuggets of revelation and nibbles about the composer of a kegload of pop songs fueling the soundtrack of a specific era.

Like “Ain’t So Proud,” the mega-hit loaded musical cementing and celebrating the astonishing career of The Temptations, “Beautiful” is one of Broadway’s savvy exploration and expedition of a songwriter who had the will and smarts to come from the ranks of creator to the spotlight of a performer.

And Sara Sheperd, as the queen who is King in this national touring company of “Beautiful,” celebrates the riches of the King’s cache of hot pops and its cycle of growth and appeal that not only made King famous and rich, but also brought glory and shimmer to the careers of many performers over a span of five decades.

Sara Sheperd, as Carole King, in “Beautiful: The Carole King Musical.”

The show, closing today (final performances at 1 and 6:30 p.m.) at Blaisdell Concert Hall, is an inspirational saga of the journey of an unknown composer who was able to cross the planks of uncertainty to make a name and enjoy her own fame as a prolific tunesmith who deserved to win back ownership of her compositions.

I apologize for the lateness of this review; I had minor health issues when “Beautiful” opened last Tuesday, and last night (Saturday, April 23) happened to be my ticket choice night before the finale.  Advice: if you have time, and can secure some tickets, go for it!

“Beautiful” is the launch of a first-time, four-musicals season that comprise a Broadway in Hawaii package this year. Later titles are “Cats,” “Hamilton” and “Jersey Boys.”

The play begins with King at home at her keyboard, prepping for her career-high concert onstage at Carnegie Hall, and ends with that triumphant performance fueled by her 1971 album, “Tapestry.” Talk about a dream come true.

That’s what friends are for: from left, Sara Sheperd as Carole King, Sara King as Cynthia Weil, Ryan Farnsworth as Barry Mann, and James D. Gish as Gerry Goffin.

Indeed, the King tapestry of tunes – then and now – defines the soundtrack of many lives. A Brooklynite, King juggled the struggles of becoming a female composer and young wife and mother to a successful hit-maker whose marriage was a victim of her sheer success. Sheperd embodies the spirit of a composer-turned-singer, visually (the tousled long hair) and vocally (a voice that makes you feel the earth move).

Her early collaborator, in songwriting and romance, was Gerry Goffin (James D. Gish, a cad with charisma), who shared ambitions and dreams of writing chart hits for a bevy of soloists and groups who would gain success, thanks to the King-Goffin well of tunes.

King and Goffin meet and compete with another duo of tunesmiths, Barry Mann (a comedic Ryan Fansworth, perfectly enacting a career hypochondriac) and Cynthia Weil (an in-control Sara King, as a fashionista and buddy in partnering), who became lifetime allies, during good and bad times.

The pleasure with “Beautiful” is the stroll down memory lane, reliving the memories of groundbreaking careers.

And because the leading characters are primarily singers, not dancers, the choreographic wonders – necessary in this kind of bio-musical — are provided by some of the delightful hitmakers of the past, like The Drifters (Torrey Linder, Jacquez Linder-Long, Julian Malone and Ben Toomer), who glide and dance through audience faves like “Up on the Roof” and “On Broadway.”

Then there’s The Shirelles (Rosharra Francis, Jamary A. Gill, Danielle Herber and Nazarria Workman) enacting “Will You Love Me Tomorrow,” with empowering sass.

It helps to have a little knowledge of historical facts. The mecca of pop music invention was the Brill Building, located at 1650 Broadway, known as the “factory” where composers (King and Goffin included) assembled to create hit songs like “You’ve Lost That Lovin’ Feeling” for the Righetous Brothers, “Locomotion” for Little Eva,  Bobby Vee’s “Take Good Care of My Baby,” Gene Vincent’s “Be-Bop-A-Lula,” The Animals’ “We Gotta Get Out of This Place,” Neil Sedaka’s “Oh Carol,” and The Chiffons’ “One Fine Day” (though the musical credits Janelle Woods, played by Rosharra Francis, as the deliverer of this title —  it’s an error, because she never recorded it) and Barry Mann’s “Who Put the Bomp.”

If you were astute back in the day, you’ll remember music “names” like Don Kirshner and Lou Adler, who were moguls in King’s prolific career.

Oh yeah, there’s a Monkees tune, “Pleasant Valley Sunday,” in the roster, but it’s overshadowed by King’s signatures such as “You’ve Got a Friend,” “It’s Too Late,” and “(You Make Me Feel Like ) A Natural Woman.”

And remain for the curtain call; Sheperd and company do an audience sing-along, enabling you to say– after your exit — that you sang with her. …

And that’s Show Biz. …