Posts

Posted on

A ROUGH START FOR ‘MAMMA MIA!’

“Mamma Mia!,” with a story and plot fueled by the music of the Swedish band ABBA, is widely considered comfort food for theater fans. Critics rarely give the show a thumb’s up

I loved the Broadway version, which ran at the Winter Garden in New York for 12 years and transferred to the Broadhurst Theatre for two more years.

First, a disclosure: I like comfort food and I adore the nostalgia of “Mamma Mia” in the early 2000s, because it’s a jukebox musical that chugs with ABBA melodies, boasts family virtues, amplifies the disco beat, and treasures girl and boy bands.

“Mamma Mia!,” the first show of the 2023-24 season at Diamond Head Theatre’s new facility, seems to have a disconnect problem, at least at Saturday night’s (Sept. 24) production I saw. The generally faithful audience seemed distant, sitting on their hands in the early moments of the show, and even the cast appeared to be somewhat disengaged, lacking chemistry.

It was discomforting, disturbing, disappointing that something was off kilter – like the feeling you get when you drop a quarter in the jukebox and it struggles to deliver the songs.

So, Act 1, which contains key ABBA tunes, was a see-sawing struggle to get into the groove. By Act 2, the audience and the cast seemed to separately find their mojo, right down to the longish final curtain call. So, the vehicle started, albeit a bit tardy.

The production, directed by Michael Ng in his DHT debut, offers lots to like. He brings vigor in his effort to rekindle ABBA’s moods, music, and manners.

His two female leads, Teagan Staslawicz as Sophie Sheridan and Alison Aldcroft as Donna Sheridan, project strong and luminous voices, as daughter and mother, respectively, living on a Greek island on the eve of the nuptuals of Sophie, 20, who wants her unknown dad to give her away, something her single mom, who independently operates a taverna, doesn’t know about and wouldn’t approve Sophie’s motives.

Teagan Staskawicz as Sophie, center, flanked by best buds Olivia Manahan as Ali and Marie Chiyo Staples as Lisa, in “Mamma Mia!”

Sophie peeks into Donna’s diary and discovers one of mom’s three beaus previous lovers two decades ago might be her dad, so she shoots off invites to each, who simultaneously arrive but not bearing gifts like those famous wise men.

At previous performances I’ve seen, the spectators spontaneously bounce to the rhythms, even sing and clap along, but not so here. Awkward.

Weary from rehearsals? A backstage issue? An off night?

One can wonder, but the reality is, the cast – singers and dancers – soldiered on and had to earn the applause. Might’ve happened somewhere between Donna and the company’s ensemble embrace of “Money, Money, Money” or Donna’s and Sophie’s romp on the title song with the three gents (Jeff Andrews as Harry Bright, Kirk A. Lapilio Jr. as Bill Austin and Kalani Hicks as Sam Carmichael) .

A gentle reminder here:  “Mamma Mia!” has a built-in exclamation point, for positivity! Lest you forget, the show was created by Benny Andersson and Bjorn Ulvaeus, the ABBA composers (with material contributed by Stig Anderson), with book by Catherine Johnson.

Quibble all you want, but the songs rarely describe the precise moments nor suit the performers. But this compilation is a quilt work of 20-plus ABBA numbers, and they made the cut, wherever there was a need.

Here’s where director Ng has found his niche. He enlists Dwayne Sakaguchi, also a first timer choreographing a DHT production, and Sakaguchi brings sass, swagger and inventive moves to energize the cast, including one hilarious number with the gents flinging arms and hands, with legs kicking to and fro, dancing with scuba gear flippers on.

Such body language of the choreographics enlivens the audience, since the production numbers are plentiful, providing action and reaction to Jenny Shiroma’s lively musical direction.

Alson Aldcroft, center, in blue, as Donna Sheridan; Alison Maldanado, left, in green, as Rosie Mulligan; and Laura Brucia Hamm, right, in purple, as Tanya; in “Mamma Mia!“

And finally, the DHT stage is filled with scenics, designed by Deanne Kennedy, that fill the space and the eye. The main sets are a pair of tavernas, resembling Mediterranean stucco edifices, augmented by occasional windows dropped from the fly space, to suggest bedroom activities, and a shimmering curtain. The latter effect enables lighting designer Dawn Oshima to add a stunning circular ball of lights to enhance the effects of a nightlife scene and add dangling lights beneath the stage proscenium. And can’t forget the iridescence of the rainbow hues for the entr’acte that kicks off Act 2

Aiko Schick’s hair and makeup design captures disco ‘dos, to complement Emily Lane’s ‘70s costume retro gear, with obvious fun and freedom to dress Donna and the Dynamo’s ABBA-inspired garb of dated scalloped sleeves and platform shoes – a girl band to the max.

Of course, the trio of beaus also have the opportunity to be ABBA-fied in those gawd awful gear from the past.

Kerri Yoneda’s sound design had some issues in Act 2, notably with Donna’s miking, too soft on volume. Surely, the fine-tuning has been completed by now.

The score is not exactly stuff you’d chirp with your paramour; you know ‘em all, don’t ya, complete with repetitious titles like “Honey, Honey,” “Money, Money, Money,” “Gimme, Gimme, Gimme,” and “I Do, I Do, I Do.”

One substantial, endearing and comical number is “Take a Chance on Me,” when Alison Maldanado as Rosie (one of Donna’s BFF) pursues the available Lapililo (Bill), trying to get him to commit (he does, by the finale). It’s a rare instance when the song fuels the action.

The wedding guest list includes Olivia Manayan (Ali) and Marie Chiyo Staples (Lisa), Sophie’s best friends, and their “Honey, Honey” effort was one of those hollow, distancing vocals, despite their physical girly hugs and cheer, at the Saturday performance.

Donna’s buds’ collaborative tunes, with the aforementioned Maldanado (Rosie) and Laura Bruci Hamm (Tanya), include “Chiquitita” and “Dancing Queen.” Logic is not the operative word in this one.

If you know the plot, you know that Sophie’s choice is to call off the wedding, but one is ultimately staged for a happily-ever-after “I Do, I Do” finish.

Cynics should stay home, but if you’re willing to take a chance (if you can secure tickets), you’ll likely sing, or clap, or tap along to the frivolity and fun. And finally admit you’ve been  closeted ABBA admirer for years. …

And that’s Show Biz. …

“Mamma Mia!”

A musical with music and lyrics by Benny Andersson and Bjorn Ulvaeus, with  contributions from Stig Anderson

Where: Diamond Head Theatre

When: 7:30 p.m. Thursdays through Saturdays ; 3 p.m. Saturdays Oct. 1 and 7; 4 p.m. Sundays Oct. 1, 8 and 15; special performance at 7:30 p.m. Oct. 4 to benefit Maui wild fire victims. Note: most performances sold out

Tickets: $37 to $62, at www.diamondheadtheatre.com or (808) 733-0274

Posted on

PINS FOR THE BEWITCHING SEASON

With Halloween about a month away, I’ve been doing new lapel pins for the 2023 bewitching season.

Production started earlier this month, in-between at-home PT sessions, as I continue a rehab process after spending two weeks in the hospital in August. That said, the numbers may be fewer this year though the effort is in earnest.

A handful of pins are one-of-a-kind. The usual images of pumpkins, black cats, ghouls, witches and more returning.

Still in the midst of finishing a few more batches…but everything is “boo-tiful.”

Posted on

A SEDUCTIVE ‘SWEENEY’ AT MVT

Manoa Valley Theatre’s revival of “Sweeney Todd, the Demon Barber of Fleet Street,” is stunning and seductive with a syncopation of elements that give it its specific pulse.

This becomes obvious, in the early moments of the production, when musical director Joe Pacheco’s nine-piece orchestra starts the rhythmic tones from an angular huddle on stage left, quickly joined by the splendid ensemble appearing in synch and unity of movements of James Wright’s expressive choreography on “The Ballad of Sweeney Todd,” a charismatic and expressive intro to theatrics to come.

Director Stephanie Conching has the skills of a maestro, moving her actors like notes in an aria, yielding visual soloists and ensemble choruses that clearly lighten and brighten this dark, sinister work by Stephen Sondheim (music and lyrics) and Hugh Wheeler (book), from an adaptation by Christopher Bond.

I’ve seen perhaps six or seven “Sweeney” productions over the decades, and each has its own  personality and pizzazz.

I recall the original, directed by Harold Prince, with Len Cariou as Todd and Angela Lansbury as Mrs. Lovett, in a mammoth staging with even a catwalk, and the less-is-more version when Patti LuPone sang and played the tuba. And yes, I took in the latest Broadway revival in July directed by  Thomas Kail, with Josh Groban and Annaleigh Ashford (with voices from heaven).

But worry not this one is as good as it gets. This cast is remarkable, rich in depth and definition, creating vivid characterizations.

Sally Swanson is Mrs. Lovett, Kyle Malis is Sweeney Todd.

Kyle Malis, with shiny bald pate, is a Todd with a huge baritone voice and is cut-throat spooky with a blade. Not to worry; no blood splashes since the red stuff are fabric which flows whenever there’s a victim in the barber’s chair.

Sally Swanson, as Mrs. Lovett, has a huge personality and projects power and assurance. But her bakery to peddle her meat pies made from victims of Todd’s barber shop upstairs, is mostly a tray and table with a meat grinder downstairs. She is a co-conspirator in the crimes.

Kenna Shafter is Johanna, Miguel Cadoy III is Anthony.

Miguel Cadoy III, as Anthony, the suitor infatuated with Johanna, possesses the show’s most romantic voice, singing “Johanna,” one of the repeating tunes in the score; Johanna, played by Kenna Shafter, is the daughter of Todd, has a sweet demeanor demonstrated on “Kiss Me,” a duet with Cadoy, as they plan to run away together.

Kimo Kaona, as Judge Turpin, is corrupt  as they come – manipulating and menacing as a dishonest father, lording over Johanna as his prisoner.

Buffy Kahalepuna-Wong, left, as the mysterious Beggar Woman, has threatening entrances and exits, so she brings bold presence to the crowd, an oracle not to be dismissed. And she possesses a secret identity.

Rocco Bechirian, as Tobias, renders an unexpected beaut of a tune, “Not While I’m Around” with Swanson.

Mira Fey’s set design is a two-level wonderment, with three staircases (the ork’s nestled ‘neath one) and barely enough space for Todd’s new barber chair, with the seat dropping corpses to the first floor. At MVT, real estate is limited, and Fey manages to compact doorways and corridors with efficiency, allowing a spacious central dance floor, if you will, for the large ensemble.

Costume designer Amber Lehua Baker showcases vintage styles to suit a range of body types, and Lisa Ponce de Leon’s hair and makeup live up to her usual magic. Willie Sabel’s scenic contributions are eye appealing.

 ——————————————–

MVT Goes Ticket-less

Starting this season, with “Sweeney Todd, the Demon

Barber of Fleet Street,” there’s no longer a physical ticket

anymore.
If you have reservations, just provide your name

and ID like a driver’s license. and attendants will verify

your seat numbers.

 ——————————————-

Janine Myers’ lighting design and Hanale Ka‘anapu’s sound design are fitting for the needs, with two levels of consideration.

“Sweeney” is a box office hit, but here’s a tip: three more performances have just been added Oct. 6, 7 and 8. …

And that’s Show Biz. …

“Sweeney Todd, the Demon Barber of Fleet Street”

A musical by Stephen Sondheim, with book by Hugh Wheeler, from an adaptation by Christopher Bond

Where: Manoa Valley Theatre

When: Remaining shows, 7:30 p.m. Sept. 22 and 29,  3 and 7:30 p.m. Sept. 23 and 30, and  3 p.m. Sept. 24; extension shows at 7:30 p.m. Oct. 6 and 7, and 3 p.m. Oct. 8.

Tickets: $25 to $45, available at www.manoavalleytheatre.com or (808) 988-6131.

Posted on

SYDNEY NEXT DESTINATION FOR ‘NCIS’

Just when you thought that “NCIS: Hawai‘i’” was the last in the tireless franchise on CBS, along comes “NCIS: Sydney,” debuting Nov. 10  in Aussieland and Nov. 13 in the U.S. both on CBS and on Paramount+, the network’s streaming channel.

The Sydney project’s first season will be comprised of eight episodes

Did we really need another spinoff, while the flagship original (21 seasons and counting) and the last newbie, “NCIS: Hawai‘i” (this would be its third season) are sidelined and off-air because of the devastating Hollywood writers-actors strike?

Seems  the labor issues in America don’t affect the first international spinoff of “NCIS,” with Down Under actors and producers involved in the venture, taking advantage of one of the most popular trademark shows in the galaxy of procedurals.

Mavournee Hazel, William McInnes, Tuuli Narkle, Todd Lasance, Olivia Swann, and Sean Sagar on the set of ‘NCIS: Sydney.’

According to online resources, the Sydney “NCIS” cast will star Olivia Swann (DC’s “Legends of Tomorrow”) as NCIS Special Agent Michelle Mackey; Todd Lasance (“Spartacus: War of the Damned” ) as her 2IC AFP counterpart, Sergeant Jim “JD” Dempsey; Sean Sagar (“The Covenant”) as NCIS Special Agent DeShawn Jackson; and Tuuli Narkle (“Mystery Road: Origin”) as AFP liaison officer.

“‘NCIS’” is one of the most popular series in the world and we’re thrilled to expand this franchise with a uniquely Australian twist,” said Amy Reisenbach, president of CBS Entertainment, in a statement to Entertainment Weekly.

“With the addition of  “‘NCIS: Sydney,’” our studio and network footprint continues to grow in this fascinating world that has been a proven winner with viewers on both linear and streaming platforms. Featuring the stunning backdrop of Australia, the new series will incorporate the high-stakes intrigue, humor and camaraderie that have kept fans captivated by the NCIS teams for over two decades.”

Crime has no borders, so the  franchise is going global, launching the fifth “NCIS” team and the first with international roots. The catalogue includes “NCIS,” “NCIS: Los Angeles,” “NCIS: New Orleans” and “NCIS: Hawai‘i” and only the flagship show starring the original Special Agent Mark Harmon (not very visisble in the recent episodes) and the newest, starring Vanessa Lachey (the first woman Special Agent, anchored in Honolulu), still airing in the U.S., though disrupted by the Hollywood strike. …

Broadway grosses, week ending Sept. 10

Let the lion roar again.

“The Lion King” again rules over Broadway, topping the Great White Way’s Top 10 list.

Here are the leaders:

  • “The Lion King,” $1.850 million.
  • “Hamilton,” $1.746 million.
  • “Sweeney Todd, the Demon Barber of Fleet Street,” $1.593 million.”
  • “MJ. the Musical,” $1.515 million.
  • “Wicked,” $1.487 million.
  • “Aladdin.” $1.219 million.
  • “Moulin Rouge,” $1.204 million.
  • “Back to the Future: The Musical,” $1.079 million.
  • “Harry Potter and the Cursed Child,” $1.056 million.
  • “A Beautiful Noise: the Neil Diamond Musical,” $1.008 million.

The full list, courtesy The Broadway League:

And that’s Show Biz. …

Posted on

CHUNG: A PROMOTER EXTRAORDINAIRE

Yemun Chung, a talent manager and entrepreneur extraordinaire, died Monday (Sept. 11) in a Las Vegas hospital. He was 78.

A San Francisco-born talent manager and recording and show producer, Chung was a self-styled promoter who became best known locally as the manager of The Fabulous Krush (later, The Krush), who won Na Hoku Hanohano Awards in 1981 and in 1985.

Chung, celebrating his 78th birthday — his last — with a cake.

Chung died of an apparent heart attack, after complaining of chest pains, at the VA Hospital Emergency Room, according to his wife, Gloria.

Yemun was 78, celebrating in June with a birthday cake.
“Days prior to the heart attack, he was in great spirits, looking forward to seeing Carrie Underwood at the end of this month,” said Gloria. 

“Yemun’s kidneys were functioning at 6 per cent last January 2022 and that’s when he started dialysis knowing that if he did not, his time would be limited,” she said. “He was grateful every day that he was able to live more than a year and a half on borrowed time. He was very positive and knew the Lord could take him anytime and was ready.”

Chung had been having shortness of breath issues and was scheduled to visit a doctor Sept. 22 for a cardiac catheterization and to check for blockages in his heart, said Gloria.”Sadly we never had the chance to perhaps save him.,” she said.

Chung and his wife were former Honolulans who migrated to Las Vegas 13 ½ years ago, to help raise her grandchildren.

Thus, he had to abandon a legacy of celebrity management, recording production, and show production, in an era when managers often had p.r. appeal.

Chung was a reporter and producer in the 1970s at KGO Radio in San Francisco, but ventured to make his mark in Hawaii, rubbing shoulders and elbows with some of Hawaii’s celebrity managers and recording icons beginning in the 1980s and eventually evolved into one of the most active talent-touting managers  himself through the early 2000s.

He held numerous jobs in the emerging entertainment frontier in Waikiki, serving as director of marketing and promotion for the Jim Nabors show at the Hilton Hawaiian Village Dome and, befriended Kimo McVay, whosd prime celebrity client then, included Don Ho who was the main attraction at the Duke Kahanamoku’s nightclub, at the International Market Place.

But it was his managerment of The Krush act, who performed in the 1980s at the Garden Bar of the Hilton Hawaiian Village, that got him noticed. Chung produced the group’s albums that notably won Na Hoku Hanohano Awards in 1981 and in 1985.

The Fabulous Krush copped the Most Promising Artist trophy in 1981 and its “Fabulous Krush” debut was Album of the Year. In ’85, The Krush won the Hoku Contemporary Album prize for its “More and More” disc.

The wins heightened the act’s visibility and popularity, and The Krush became one of the rotating headliners, sharing time slots with the Society of Seven and The Ali‘is, at the Main Showroom of the Outrigger Waikiki resort.

With hits such as “Waialua Sky,” The Krush became nightclub favorites as well as hitmakers on the Hawaii charts, and Chung was the mover-and-shaker behind the raves.

Tom Moffatt, left, one of Chung’s mentors.


In the 1990s, Chung joined the talent team that included George Chun at Tom Moffatt’s Paradise Records and he  consequently worked with a host of local performers.
Among the other entrepreneurs Chung collaborated with was Jack Cione, who staged a couple of Waikiki nightclub attractions, and co-promoted a music club in Aiea as well.

Gloria and Yemun Chung, in white garb, with the Local Divas, from left, Nohelani Cypriano, Carole Kai, Melveen Leed and Loyal Garner.

In the late 1990s and early 2000s, he worked on promotion for the Local Divas, the femme foursome comprising Carole Kai, Melveen Leed, Loyal Garner and Nohelani Cypriano, popular on the concert stage.

Clearly, Chung was a major player in the Waikiki mainstream, where he made his mark rendering managing chores, music-producing skills, and — something he loved — doing hands-on publicity, whether it was writing p.r. releases or posting concert posters around town.

Chung and his wife were residing in Northwest Las Vegas; survivors also include stepchildren Yvette Brink, Beau Brinik, Darrell Kadooka (spouse Jair) and grandchildren Krissy, Ashlee and Atticus. Services are pending.

And that’s Show Biz. …

All photos courtesy Gloria Chung