’60 YEARS’ OF BRIGHT LIGHTS

Two theatrical milestones will be commemorated when the Castle Performance Arts Company (CPAC) and the I’m a Bright Kid foundation (IABK) collaborate to stage “60 Years of Castle Theatre” at 7:30 p.m. Saturday (Sept. 2) at the Ronald E. Bright Performing Arts Center at Castle High School.

Ron Bright, pictured left, has been the eminent resident, inspirational director and educator, who staged musicals at Castle during his tenure beginning in 1963. He has been mentoring a flock of young theater buffs over the decades, many who ultimately made the cut to star in Broadway musicals after graduation from Castle.

The event also coincides in what would have been Mr. Bright’s 90th birthday on Sept. 2. He retired in 1988 and died July 7, 2015, at age 81.

A third historical moment will unfold, too,  when the Michael Bright family – Michael is Mr. B’s second son —  vocalize together for the first time, on “A Million Dreams,” the power ballad from the film, “The Greatest Showman.” Michael will be joined by wife Jade and their children (and Mr. B’s and Mo Bright’s grandchildren) Caitlin,  Drew and Colton, a familial moment that surely will have Poppa beaming and applauding from his heavenly perch.

Mo Bright, joins Ron Bright, at the keyboards.

“It’s such a wonderful feeling, to have them performing and singing for the first time as a family,” said Mo Bright. “I’m so proud of all of them.”

Mo has been part of Mr. B’s life and times from the get-go, with a ringside seat for most of the prime spectacles staged by him. She was always an onlooker, offering comfort and support from the sidelines, and was a valuable assistant to Mr. B, logging notations for the shows.

“It seems like only yesterday,” she said of the passage of time. “Sixty years? The memories are still fresh in my mind.”

She’s been Auntie Mo to all the stage youngsters, for nearly all the times he’d assemble a cast and rehearse in his inimitable style, creating opportunities leading towards opening night. “I may have missed a few shows,” she sighed, referring to the times she was pregnant with sons Michael and Clarke Bright and daughter Jodi Bright Stein.

Ron Bright and son Clarke Bright prep for “West Side Story.”

This joint project between CPAC and IABK means all collaborative hands will be on deck from both theatrical teams, with CPAC’s Karen Meyer rehearsing and staging Castle’s students and IABK’s Ligaya Stice coordinating elements from her camp, the mission being to share the story and history of the theatrical seeds planted and nurtured on the Kaneohe campus.

Curiously, there’s no director per se, and while there will be the noticeable presence of 24-VII, the versatile dance group led by Marcelo Pacleb, there’s no bona fide choreographer credited nor a vocal or musical director.

Emcee chores will be shared by Wally Tavares, Castle ’72, and Devon Nekoba, frequent Bright-directed singer-actor who also is a radio deejay now.

Regulars to Mr. B’s Castle shows, as well as his post-retirement productions at Paliku Theatre at the Windward Community College, will recognize the faces and voices of performers Kimee Balmilero, Jodi Leong, Sarahlea Kekuna, Allan Lau, Miguel Cadoy III, Kalea McLagan  and the aforementioned Nekoba.

The Ron Bright Theatre is home of the Castle Performing Arts Center.

The show will embrace memories from pre-Castle Theatre productions at Castle Gymnatorium and Benjamin Parker School, to more recent IABK endeavors at Paliku, providing an arc of triumph reflecting the spectrum of the Bright learning curve.  The musical fare will run the gamut, from “Climb Ev’ry Mountain” from “The Sound of Music” to “On My Own,” from “Les Miserables,” and from “Anything You Can Do, I Can Do Better” from “Annie Get Your Gun” to “This Is Me” from “The Greatest Showman.”

“Celebrate 60” is the first of two Ron Bright productions this month.

“An Evening of Rodgers & Hammerstein Classics,”  produced by the IABK foundation, will be held at 7:30 p.m. Sept. 29 and 30 and at 4 p.m. Oct. 1 at Paliku Theatre, at Windward Community College. The show will feature such signatures from the R&H vaults including “The King & I,” “South Pacific,” “Oklahoma,” “Carousel” and “The Sound of Music.”

Details:

  • “Celebrate 60”

Tickets: $20 adults 18-64, $10 students 18+, seniors 65+, military. A collaborative production by CPAC and IABK foundation. Tickets: https://www.showtix4u.com/event-details/75807

  • “Rodgers & Hammerstein”

Tickets: $32 premier; $27 adults;  $22 seniors, students and military;  $17 youths 6-13; free, toddlers 2-5; $17, floor seating (ticketing required for all). Produced by IABK. Tickets: https://www.showtix4u.com/event-details/75827 or imabrightkid.org/tickets

Local boy Morales in China tour

Local boy Joseph Morales, who has been one of the touring Hamiltons in the family of “Hamilton” companies, is one of several Broadway leads who are touring in “Next Stop Broadway,” in prestigious multi-cultural gigs in China, arranged by Nederlander Worldwide Entertainment.

Keri Rene Fuller and Joseph Morales, are touring China.

Morales joins Jen Colella (“Come From Away”), Keri Rene Fuller (“Six”), and Zachary Piser (“Dear Evan Hansen”) and they’ll represent America in shows at the Shanghai Grand Theatre, the Beijing Tianqiao Performing Arts Center, the Nanjing Lichi Theater, the Chengdu City Concert Hall and the Shanxi Opera House. Performances began Aug. 23 and run through Sept. 10.

Top Chinese performers also are part of these  presentations, themed “A Star-Studded Night of New Broadway Classics.”

Morales, a Wahiawa native who is a former Bright Kid performer, also starred in Lisa Matsumoto pidgin English musicals before finding his calling in “Hamilton,” in which he played the title role in Chicago and several national tours. …

And that’s Show Biz.. …

SERENITY, AT A TIME OF NEED

Nature always has a way of calming the soul.

So I had these tiny clip-art images of trees, rivers, and the countryside.

Nope, not local stuff, but nonetheless green and keen, though somewhat deliberately muted.

Enough here for me to put together a bunch of cards.

The mood fit my current status, of recovering from an illness.

Serene comes to mind.

Enjoy….

ONE IN, ONE OUT: STREAMING SCRAMBLE

“Magnum P.I.” – the first four seasons of the CBS procedural – has been picked up by Amazon for its free streaming Freevee, beginning Sept. 1, according to TV Insider. This will be the only streaming venue to air the Jay Hernandez-Perdita Weeks show, which has been a ping-pong bouncing everywhere.

“Magnum P.I.” stars Jay Hernandez and Perdita Weeks will be seen on Amazon Prime’s Freevee streaming site, starting Sept. 1.

These original episodes were honed and developed at CBS, which surprisingly dropped the series, at the end of Season 4, which then was picked up by NBC, where previously-filmed shows of the second half of the fifth and final season, will air Oct. 4 on NBC, perhaps giving the filmed-in-Hawaii a possible edge in winding up in prime time again.

Currently, only NBC’s Peacock streaming site will air the earlier shows of the fifth season. …

The “Doogie Kamealoha” ‘ohana — from left, Matt Sato, Kathleen Rose Perkins, Peyton Elizabeth Lee, Jason Scott Lee and Wes Tian — have been denied a third-season renewal on the Disney Channel.

Elsewhere, it’s aloha – meaning goodbye – for  “Doogie Kamealoha, M.D.,” the Disney+ streamer which filmed two seasons in Hawaii, won’t get a third season pickup. The show, starring Peyton Elizabeth Lee as Lahela Kamealoha, aka “Doogie,” was pink-slipped Aug. 25, according to Variety.

“Doogie” is one of two Disney projects shut down because of the unresolved, embattled writers guild strike that has stopped production of nearly all new and ongoing movies and TV shows, in prime time as well as in the widening streaming market, which has been a hot button for actors demanding payment, an issue which has been an under-the-radar till current negotiations.

The other local Disney show also stalled by the strike is “Lilo and Stich,” a live-action film based on the animated film set in Hawaii. It’s still on the agenda, but “Doogie” failed to earn a third-season pickup.

“Doogie Kamealoha, M.D.” was created by Kourtney Kang, who executive produced alongside Melvin Mar, Jake Kasdan, Dayna Bochco, Jesse Bochco, Matt Kuhn and Justin McEwen.

A credible ‘ohana bond included Kathleen Rose Perkins as Dr. Clara Hannon, Lahela’s mother who’s also her supervisor at the hospital; Jason Scott Lee as Benny, Lahela’s father; Matt Sato as Kai, her older brother; Wes Tian as Brian Patrick, her younger brother; Emma Meisel as Steph, her BFF, Alex Aiono as Walter, her first boyfriend; Milo Manheim as Nico, her patient and new love interest. The show also boasted Al Harrington in his final TV role as an uncle, before his death. …

Broadway grosses, for week ending Aug. 20

There’s no newbie in the Lucky 7 $1 million club on Broadway.

Translation: The leaders still lead.

The Top 7 on the Great White Way are:

1– “The Lion King,” $2.226 million.

2–“Hamilton,: $1.904 million.

3 — “”Wicked,”: $1.559 million.

4 — “MJ, the Musical,” $1.451 million.

5–“Aladdin, $1.381 million.

6– “Sweeney Todd, the Demon Barbor of Fleet Street,” $1.325 millon.

7–“Back to the Future, the Musical,” $1.258 million.

Here’s the entire list of the week’s grosses:


And that’s Show Biz. …

QUICK NOTECARDS TO SAY THANKS

A few days ago, I felt a creative urge, so completed two dozen informal thank you cards, to send to friends, colleagues, and family to express mahalo and appreciation for the kind gestures while I was hospitalized at Queen’s Medical Center.

I would have wanted to spend a bit more time on these notecards, but I wanted to send out quick Wild Cards notes to acknowledge the courtesies and niceties.

This works, for now.

Thought I’d share….

DHT’S TAMASHIRO: ‘TIMING IS RIGHT’

As a youth, Trevor Tamashiro had inclinations about becoming an actor in musicals.

“I went to college to major in theater,” he said. “I had plans to pursue studies at the Ailey School (of the prestigious Alvin Ailey American Dance Theatre in New York).”

But after college, he retooled his goals to the administrative side of the performing arts, “because I was hooked on admin,” he said.  “I went to Columbia University, to learn about the admin side, not to major in fundraising.”

In May of this year, Tamashiro – born and raised in Honolulu – was hired to lead Diamond Head Theatre as executive director and the history-making first Asian American to shape the future of Hawaii’s largest theater group.

He succeeds Deena Dray, who resigned before the formal launch of the new $22 million headquarters, which had just opened after 125 years of service in an aging facility a stone’s throw from Diamond Head, the state’s best known landmark.

Over breakfast at Zippy’s Kahala recently, Tamashiro, 42, shared his thoughts and plans about his stewardship of DHT.

Yes, he’s immensely thrilled to be back in the islands, after years of different stints in mostly fund-raising jobs at non-profit entertainment endeavors in The Big Apple.

He is old enough to make a difference with the skills suited for his administrative and funding tasks, yet young enough to have potential longevity to build and grow and soldier on, for the next four of five decades of service, lord willing.

“I think my timing’s great,” he said of his situation. “Not really thinking of making it to the 200th anniversary, however.”

On paper, he boasts nearly two decades of experience in non-profit executive leadership, having served as chief advancement officer of The Diller-Quaile School of Music, deputy director of the Saratoga International Theater Institute, deputy program director for the Drama League of New York and  briefly allied with the Broadway Dance Center. He also is a member of the Association of Fundraising Professionals and is a certified fundraising executive.

Early on, he was ready to set roots in the craft he enjoys: live theater. Live, stage musicals.

“I was in the ensemble of ‘The King and I’ at DHT in 1999,” said Tamashiro, flashing a huge grin indicative of a truly happy memory. But his official stage debut was earlier in 1996, when he was 16 or 17, appearing in Army Community Theatre’s “Damn Yankees.”  “My first show,” he smiled with more good cheer.

A few days after he took on the leadership, he was mingling with locals taking in DHT’s “Beauty and the Beast” production. Eyes and ears wide open, he attends the DHT along with audiences, soaking in the pleasures of folks taking on a show. Staff appears to adore him, because the feeling is mutual, as he brings a passion for performing in his new job, with an affinity for the thousands who take on roles in six productions every year, yet with a mindful focus to entail fundraising and day-to-today operations of a thriving theater group. A singing and dancing leading man aren’t in the cards anymore; the bigger picture will matter more.

“I learn a lot by talking to and listening to people,” Tamashiro  said.

His governance style is to initially keep his eyes and ears open, and create relationships along the way.

“Right now, it’s all about sustainability,” he said. “Keep going, get better, and grow.”

Clearly, he is not rushing to get somewhere quickly. “I think in my first year here, I need to absorb as much as I can,”  said Tamashiro. Even if he was born and raised here, “I fear I’m still somebody new.”

With the pandemic in his rearview mirror,  Tamashiro said theater (including DHT) still has a lot to explore.

He took to the stage, before the curtain went up for “Beauty,” not just to introduce himself but to proclaim that there’s still some barriers before a full recovery is imminent. Thus, the reality is he has to boost and promote, following the examples of the retired Dray and the still-in-service John Rampage, DHT’s longtime artistic director.

“The numbers are not back,” he said of subscription renewals at DHT. “We lost 1,000 subscribers this year, and we hope next year will be better.” That equates to nearly two full houses at the DHT’s new home.

While optimistic that the new facility fulfilled its fundraising goal, DHT still seeks $2 million that would help complete what he calls the TAB – the Theatrical Arts Building – which is the restoration and rebuilding of the wedge of the standing segment of the original facilities to house administrative offices, new rehearsal space and classrooms to maintain the operational needs of the theater apart from the new building.

QUOTE

WE WEN ASK AND
HE WEN ANSWER
 
Where you wen’ school:


“I graduated from Punahou
School. I went to college
 at the University of Miami to
study Theatre Arts, and then
 got a Master of Science degree in
Nonprofit Management
from Columbia University.”

 
 What food you wen’ mis:
 
“Regarding food, I missed
the things I grew up
 eating like Spam musubi
 and shave ice. I also
 missed Zippy’s chili and rice.”
 
 What else you wen’ like:
 
“I think I missed the people
 and the culture most.
 Yes, it is beautiful in
 Hawaii and there’s ono
 food. But the real
beauty of Hawaii is
 the people. The
kindness, the humility,
and the generosity of
 spirit that is inherent
in the culture here
is unmatched. There
are nice people in New
 York, but not like Hawaii.”

UNQUOTE 

Asked if he regrets that the rebuilt facility pretty much has the same seating capacity in the old theater, he said no. “We have a 470 capacity (in the newbie) and that’s ample; if we had more seats, we’d have to have a (larger) ratio of more parking spaces.”

He misses a traditional theater lobby (there’s none now) but advises locals who loved the nostalgic scenic shots from historic shows not to fret;  “they weren’t destroyed; we have them stored and could perhaps use them in rehearsal rooms later.”

The design team  before Tamashiro’s hiring eliminated a central main entrance from the back of the house into the aisle of seats, and while there exists such a modified entry way, it is not in use in favor of the makai-side double-door entry and exit routes.

Tamashiro also is working with the tech crews to train and maximize the use of fly space, which was lacking in the old building, and the purchase of a projection device to display slides and scenic  visuals already is in place during the “Beauty” run, and he’s taking notes on how to improve the sound equipment and other issues that develop.

Admission costs have soared in theaters across the globe, a particular hardship for those who can’t afford the prevailing ticket prices, and Tamashiro hopes to have an amnesty ticket some day for those who can’t afford retail that would be financed by those who can.

Changes take time and effort, he said, so he’s thrilled “to have that chance to make a difference.” …

“Mamma Mia,” the ABBA-loaded jukebox musical playing Sept. 22 through Oct. 15 (extension dates included), will formally launch his first full season at DHT. Wonder if he’ll be chirping and tapping along, “Take a Chance on Me.” …

And that’s Show Biz. …