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‘MAMMA MIA!:’ GREEK EXPECTATIONS

‘MAMMA MIA!,” at the Joseph Rider Farrington Auditorium at Farrington High School, is fun and inspiring, brimming with love and loaded with character.

It ends a two-weekend run, with final shows at 7:30 p.m. today (Saturday, March 5) and 2 p.m. tomorrow (Sunday, March 6). Go if you can.

It’s a production lean on resources but keen on desire and pride. Led by director Miguel Cadoy III, a music teacher who also oversees an eight-member live orchestra, the show readily radiates and resonates with energy and purpose as, if you’ll pardon me, the adored Castle High School Performing Arts Center agenda launched by the late Ronald Bright, over the decades of his illustrious career. He was a mentor of Cadoy, who’s carrying on that spirit, planting seeds as he goes, but yes there are some rough edges here. No matter; “Mamma” exudes with personality and community vibes, indicative of the growth, acceptance and progress on this Kalihi campus.

Yo, Mamma! Many performers are first-timers to the FPAC stage, including Kaupali Aipoalani-Wong, who portrays Donna Sheridan (impressive, with a commanding voice and take-charge attitude), the mother who is the centrifugal force in this popular stage musical that has provided two films including a sequel.

However, its plot is razor-thin, involving daughter Sophie Sheridan (Janice Galiciano, also making her FPAC debut, and delightful with energy to spare), who is a bride-to-be who discovers mom’s diary containing info that one of three of her three suitors 20 years ago, just might be her dad. So natch, she secretly invites the daddy candidates to the Greek island site of the wedding, where all hell breaks loose.

The melodies are memorable pop and disco fodder composed by Benny Andersson and Bjorn Ulvaeus (with some tunes with Stig Anderson), the pillars of the ABBA discography and legacy, and yep, the urge to sing along and dance is constant. Infectious is the operative word.

Some critics of “Mamma Mia!” have been unnecessarily cruel, simply because the show is lightweight in character development but loaded with familiar songs generally described as a jukebox musical. But so what? Many know and can sing or hum along to such titles as “Dancing Queen,” “Super Trouper,” “Take a Chance on Me,” “Money, Money, Money,” “Mamma Mia!.” Audiences are wholly engaged in the phenom of ABBA, and we all know this isn’t Rodgers and Hammerstein and the “Sound of Music.”

Thus, a review of this production has to include a mention of the devoted audience, dominantly Kalihi-centric (school peers, family and friends, constant cheering and applauding for a favored performer or song, extending howls and hoots normally restricted to super stars. You’d think Meryl Streep was onstage.

Then again, several cast members – like Keith Kryzzler Cabbab as Harry Bright, Bernielle Isidro as Bill Austin, and Isaac Liu as Sam Carmichael, the trio of the possible father – generate isolated hurrahs for their musical numbers. That they have this kind of rapport and trust of spectators is amazing.

It’s a joy to spot budding talent in the lineup. Like Axle Munoz, as Eddie, an eighth grader at Kalakaua Middle School down the street from Farrington. He’s a charmer and focused in his supporting role, but displays dancing as well acting skills. You’ll recognize him, since he’s the shortest in the cast, and you’ll recognize his ability and agility, the kind of esprit that will enable him continue to grow and lead to major roles as he matures.

As a production staged in the era of the pandemic, it’s also worthy to note that the cast has a challenging accessory while on stage: the face mask. Everyone wears a plastic mask, clearly a safety measure, but  this provides another layer of safety for all. From the audience, there’s another reaction: the plastic masks often reflect a shiny brightness due to the stage lighting.

It’s possible this is the first all-masked cast on any stage. So bravo, FPACers, for being pacemakers.

Justin Garde is musical director of the ork, located centerstage in the back, and yes, live is better than pre-recorded tracks, so give the company a bonus point. Aubrey Lee Staley is choreographer, with the arduous task to make non-dancers dance. Costumes by Nadia Amian, Rachelle Ramirez and Jade Glover reflect Hawaii on occasion (think surfing shorts) and the ABBA-style gear (scalloped bell bottoms, oversized capes); slim budgeting disallows more of the kind of elegant and vintage costumes inspired by the Swedish group.

The set – two structures with stucco-style Mediterranean architecture — provide a warm suggestion of sun-kissed Greece. And it works, though shuffling a bed on and off stage is no easy chore. These are minor issues considering the outpouring of joy from the stage and the aloha extending to the stage, even from way up in the back of the auditorium.

Facemasks are required and usual admission protocols remain; vaccination cards and picture ID. Seating is assigned as you enter, with social distancing spacing.

Tickets: $10 adults, $5 students 5 to 17, $3 Farrington students with ID; available at the door at showtime or in advance at SHOWTIX4U.COM

And that’s Show Biz. …

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M & M: SURPRISINGLY SWEET TWINBILL

That Martin Nievera/Michael Paulo concert last night (March 3) at the Ala Moana by Mantra’s Hibiscus Ballroom, was a surprisingly sweet double bill of two locals who previously had never performed together on the same stage.

One exudes sexiness and charm, in his ballads; the other is all about the sax, a hoot of a tooter.

The pair have common backgrounds. Nievera is the son of Roberto Nievera, the late featured balladeer with the Society of Seven, and is Manila-born and Hawaii-raised. Paulo is an island native, the son of a singing mom and pianist dad who were known as Rene and Akemi Paulo in their heyday; his siblings are performers, too, and Paulo’s smooth jazz and pop riffs were part of the Kalapana legacy.

Incredibly, the twain never met till now. Nievera etched a career as the “concert king of the Philippines,” as a singer and TV host, and Paulo as a renowned jazz musician focused on his awesome saxophone tooting.

Clearly, this M&M union won’t be the last.

Martin Nievera and Michael Paulo: A surprising sweet M&M collaboration.

The sellout Ala Moana gig seemed to bring out each artist’s best. Nievera has always been a crooner of a tuner, like his dad, creating an imprint of love ballads mixed with slightly upbeat originals rendered in English and Filipino, signaling his wide international following. Paulo never sings a note, but sax’s the thing for him; his fingers work magic with the instrument, which emits eloquent sentiments without the arc of traditional language, but a vocabulary that reflects a variety of moods. He also is mobile and magical, traipsing through the crowd, never missing a note.

Paulo: A master in sax-speak.

How the pair would share the stage was the question.

So: Paulo offered a nearly hour-long set of jolting, expressive jazz tunes, incorporating his unique brand of hip-hopping prancing choreography, reflecting his joy and savvy in sax-speak, to coin a term; and he even jumped onto a table to show his socko involving power as an unrivaled risk-taker.

After an intermission, Paulo’s musicians became the house band for Nievera.

Nievera is never known to disappoint; he is witty, playful, inventive and totally in control,  belting out the familiar like “Corner of the Sky” and “I Love You More Today Than Yesterday,”

with confidence and charm. He adores adulation, and always makes an impression, this time jumping off stage to parade amidst the fans, utilizing a Plexiglas frame to suggest pandemic protocols. Unconventional, but a thrill for the audience.

One of the sweetly satisfying but unexpected duet was on Al Jarreau’s signature tune, “Mornin’,” with Nievera providing the voice and Paulo emoting the saxophone riffs, recalling the era when he was a sideman in Jarreau’s band. The sax accompaniment was otherwise sparing, thus effective.

Nievera: Approaching 40th anniversary.

Nievera, a composer when he’s not singing, shared two touching originals that showcased the depth and breadth of his sentiments. “Sacrifice,” inspired by the frontliners (first responders, hospital workers), reflected the themes of service and oneness – “we’re in it together,” as one phrase suggested. The other sentimental journey, “I’m Be There for You,” promised attention and love for the singer’s three sons, two in their 30s and making their niches in life, the third age 15 with special needs.

Clearly, Nievera has matured over the decades, and realizes he is a veteran and a likely role model for future wannabes. After all, he will mark his 40th year next July 5 as an entertainer; to anticipate the upcoming milestone, he did a reflective medlley that collated the memorable “Be My Lady” and “You Are My Song,” signatures in his repertoire.

Paulo’s sizzling band included Tateng Katindig, keyboards; Johnny Valentine, electric guitar; David Inamine, bass; Michael Grande, keyboards; Garin Poliahu, drums. For his segments, Nievera tapped two backup female singers and a trio comprising a horn section (sorry, identities unknown).

The M&M bill attracted quite a celebrity crowd, including former Governor Ben Cayetano and gubernatorial candidate Vicky Cayetano, Ginny Tiu, Jack and Cha Thompson, Danny Kaleikini, Melveen Leed, Augie Tulba, Emme Tomimbang, and the aforementioned Paulo parents.

Technically speaking, the lighting was erratic, lacking brightness for much of the evening, and the audio occasionally was uncomfortably louder than necessary.

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CHATTER PLENTIFUL IN NCIS WORLD

There’s a swirl of rumors – some true, some likely mere chatter for now – in the “NCIS” universe.

The first, in the “NCIS: Hawai‘i” brand, is that a crossover plan with the original mothership show, “NCIS,” still is in the works, with an episode to be filmed in Hawaii with two guest stars from the original show, coming here to paradise. For a brief spell, three players were to participate.

Wilbur Valderama, portraying Nick Torres, and Katrina Law, playing Jessie Knight, were the first two named for the crossover to solve crimes with Vanessa Lachey, who is NCIS brand’s lone woman boss, Jane Tennant. The duo’s still awaiting the assignment in Hawaii.

Brian Dietzen

A third actor, Brian Dietzen, who is medical examiner Jimmy Palmer, was later added on a short list of guest actors…but the brakes were put on his guest gig. Could happen later, if the Hawaii show lands an anticipated second-season order as expected, but in the meantime, Dietzen can unpack his bag and wait out the decision.

With little fanfare, CBS announced the formation of “NCIS: Australia,” planned for the 2023 season, likely to be led by the Hawaii showrunners,  Christopher Silber and Jan Nash, who came over here from the “NCIS: New Orleans” hierarchy, triggering the latest buzz that Scott Bakula , who played Dwayne Pride in the Big Easy show, might be a logical  choice to honcho the show in Sydney, since the N.O. project received an undeserved pink slip.

Scott Bakula

However, the news about the Down Under spin-off, timetable unknown, fueled more buzz that Cote de Pablo might also come out of the shadows, to reprise  agent Ziva David, from the original Mark Harmon production.

Neither the Bakula/Pride nor the de Pablo/David  situations have been  properly confirmed. Thus, we might as well toss in another viewer-oriented queary: Since Michael Weatherly, who played Tony DiNozzo opposite the David character (they had great chemistry, the best between two investigators in the franchise’s history), now is unemployed and available since his “Bull” series has been canceled, could he be considered for the Aussie team. too? Just thinking. …

Clublicity

Air Supply, featuring Graham Russell and Russell Hitchcock, will return to Blue Note Hawaii in a two-night stand and another three-show gig, at 8 p.m. March 8 and 9 and again March 11 to 13. Doors open at 6 p.m. for  dinner and beverage service.. Ticket prices vary: for March 8 and 9, $145 premium, $90 for loge seating and bar zone; for March 11 to 13, $165 and $115 for the parallel seating. …

Streetlight Cadence also return to the Blue Note, at 6:30 and 9 p.m. March 20. Doors open a 5 p.m. and at 8:30 p.m. Tickers: $35 premium, $12 loge and bar zones. …

And that’s Show Biz. …

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HEARTBREAKING:  NEWSROOM SHUTDOWN

It’s old news but sad news about the state of your daily newspaper.

For all practical reasons, the newsroom of the Honolulu Star-Advertiser has virtually shut down. Most reporters – the heartbeat of local news gathering – have been working from home since last fall. The work-at-home decision clearly is one way to reduce overhead costs.

But there’s something to say about devoted reporters and editors, toiling side by side with common goals of putting out a daily paper. The water fountain chit-chats are long gone. The camaraderie is nil.

“They closed the newsroom for good – can you believe it?” one veteran newsroom reporter told me in an email.

“It’s very sad and hurtful,” another said.

“(We’re) told everyone work-from-home is the new rule of law; I’m sure it’s saving the company a ton of money but the real expense is the lost of a vibrant newsroom.”

You’ve heard of “breaking news,” the usual media term whenever something worth your attention is announced. Well, “heartbreaking news” is the unannounced (to the public) situation  at the Waterfront Row  HQ of the morning daily. If TV reported this newsroom policy, I missed it. Honolulu magazine once dubbed the vicinity Death Row, since the early vibe of Restaurant Row (the site’s original name) disappeared.

Star-Advertiser newspaper dispenser.

So it’s a time to mourn, really.

As the state continues to struggle to return to restore the new normal for its citizens, the paper is shrinking and sinking its own ship by this work-at-home decree. I mean, haven’t the schools reopened for most campuses and government workers back to the daily routine since the protocols have been relaxed?   

Sure, skeletal crews are still toiling at the paper; editors, page designers and select hired hands essential in getting the paper out still are bound to desk stations.

But the heartbeat of journalism is the corps of news-gatherers, working the phones and bellowing to colleagues and yakking about the latest restaurant to open or close, as part of the rhythm of newsroom life?

I know. I’ve been there. For 45 years full-time at the then-stand alone Honolulu Advertiser, located at the Kapiolani Blvd./South Street landmark, then another dozen years as a retired free-lance contributor writing a column for the combined Honolulu Star-Advertiser, till I was summarily dismissed because of the looming health threat in the spring of 2019. Cost-cutting was the convenient alibi, but I couldn’t live on what I was paid, anyway, since I worked from home and paid for my own entertainment fees when reviewing shows. Still do, for my online presence now.

You knew the paper was suffering, when the daily four-section product became a two-second minimalist, when the pandemic was invasive and shutting down everything. It cut out a Saturday edition (online only, still) but restored the sports section so the daily paper now has three sections. The fourth – formerly Today, Island life when there were two papers,  and then Detours  as part of the merger– is seemingly gone forever. The arts community misses the separate entertainment/features section most papers traditionally retain. The newish Crave tabloid, like the Sunday Dining Out pull-out, is mainly an avenue for potential advertisers, lured to buy a Wednesday and a Sunday combo ad. Many of the food reporters work from home, too.

Full-time beat reporters no longer have an office desk or phone. Go figure.

 As one source indicated, “they (the bean counters) set up offices on the fifth floor for when people need a space to work, but no dedicated desks. And the newspaper is really bad; it’s embarrassing. I don’t have to tell you that.”

It’s also clear that the union has no muscle to argue the necessity and validity of the newsroom vibe. Not sure if some, or most, reporters like working from home, paying for their own smart phones and utilizing their own computers to file a story. The side amenity: no bosses to bother you.

The cutbacks might have been an essential decision when COVID was a daunting enemy, but the villain now appears to be at the publisher level with a mission to keep costs down.

The office communal esprit is what’s missing, for veteran reporters who know that camaraderie is part of the vitality of the newsroom.

“I miss the buzz and energy of the newsroom – a truly unique workspace. And especially in our business; you need to be able to bounce off each other, walk around, shoot the bull, compare notes, etc.,” said one longtimer. The vacuum might also impact cub reporters, at the start of their print careers. “How are the rookies supposed to learn, the ropes without being able to see the pros in action, yelling at each other and over the phone,” said the vet, hanging in there but can’t wait to retire. …

And that’s Show Biz. …