Diamond Head Theater the Sound of Music Review
Since local theater almost never take understudies for cardinal roles in a musical, what do you do if a cast member becomes ill and cannot brand the weekend shows?
Miquel Cadoy III, a popular and versatile island thespian who also is a Farrington High Schoolhouse educator who directs a student musically annual, helped save the day when Taj Gutierrez, cast as Judas Iscariot in Diamond Caput Theatre, became ill and nonetheless completed last Friday dark'south performance.
By Saturday morning, however, Gutierrez realized he couldn't make that twenty-four hours's matinee and evening shows plus the Easter Sunday matinee, and had to be hospitalized. Managing director-choreographer John Rampage was informed about the medical crisis, and figured that counterfoil of the weekend'due south three shows was imminent, relaying that consideration to musical director Roslyn Catracchia.
"We gotta cancel," Rampage told Catracchia but she had other ideas.
Who you gonna call? Not Ghostbusters, but Mig Cadoy, Roz suggested.
"Aye, I did keep this past weekend equally Judas! Crazy!," said Cadoy, the centrifugal force in saving the day.
"They didn't have an understudy from the cast, so Roslyn called me at 8:30 a.m. on Saturday, to see if I could come in, learn the evidence and go on that evening," said Cadoy.
He had a sketchy rehearsal to acclimate himself to the tunes and work on modified blocking, from 1 to 6 p.m. Sat, to be primed for the 7:30 p.k. curtain on Saturday, a role of show he's never done. He as well had to be fitted for costumes.
"I used an iPad during the bear witness, with the music atomic number 82 sail. Mr. John explained to the audience of the state of affairs and they were very forgiving with me having the tablet in hand. I was supposed to Picket the evidence that evening," Cadoy said with awe.
"It was a alpine task; he had to experience the story and its emotions," said Catracchia, who witnessed the moments of show where Cadoy sings "Jesus Christ Superstar" and a shortened version of "I Don't Know How to Love Him." She said there were tears in his eyes.
Cadoy'southward Judas preparation and functioning had conflicted with his Easter Sunday preaching role at his church, but he managed to find a replacement, likewise.
"Thankfully, the cast was very supportive and helped me through the entire process," he said.
It wasn't the first time Cadoy has subbed for a boyfriend player; he in one case had to sub for Cliffton Hall , who lost his vocalization, in a product of "Les Miserables;" simply this was an off-stage incidence, requiring vocal piece of work only.
Information technology also wasn't the first time for Catracchia had been part of a cast-member result in a "JC Superstar" product, with the Honolulu Symphony Orchestra; a substitute actor performed with a script in hand (pre iPad era) with her belatedly mom, Beebe Freitas, as musical director.
With two performances under his belt, Cadoy remains on standby in instance Gutierrez does non recover from his vox issues, for the final three shows this weekend at DHT.
Cadoy is happy to respond to the emergency summons. "I couldn't say no to Roslyn," he confessed. "Plus I really wanted to audition for the testify, simply I wanted to cease my final inquiry paper for my master's (caste). Funny thing is, I turned in my concluding paper on Th, and and then this coincidently happened! Then thankfully I was able to do the testify."
The canceled Sabbatum operation has been rescheduled for 7:30 p.grand. this Friday (April 22) with terminal performances at three and 7:xxx p.m. Saturday (April 23) and 4 p.m. Sunday (April 24).
Truly, Cadoy is to exist commended to take on this emergency call to fill in for a fellow role player in a time of need. For a musical with Biblical implications, with complications happening on an Easter weekend, one can't help but wonder. The "He Is Risen" annotate perfectly suits what transpired over the weekend, when Cadoy rose to the occasion in a the-show-must-get-on unplanned moment. …
And that's Prove Biz. ….
Planning on attending the 4-show series of Broadway in Hawaii musicals, starting next Tuesday (April 19)?
I've heard a wave of eagerness from many who have signed up for all iv shows, now through adjacent year. A few are baffled at ticket prices
So, let's discuss the situation.
A four-show season for u.s.a. in Hawaii is new, and so perhaps that's where the wariness gene enters. Local theaters like Diamond Head Theatre and Manoa Valley Theatre commonly boast six-show seasons, and that'south the norm for touring shows on the Mainland.
We've never had such an agenda; iv could eventually become vi, but at that place's a lot to do to get to that level. One underlying factor might be the facility; our Blasidell Concert Hall is the go-to space for visiting shows; it'due south showing its age and some day will require renovation crews to amp up the facility, then construction would halt bookings.
And no other facility in the state – the Hawaii Theatre in Chinatown and the Maui Arts and Cultural Middle in Wailuku are too small-scale or perhaps lack backstage and fly infinite to accommodate sets and backdrops. The new DHT facility is strictly for community theater and volition have updated applied science and space when it opens next fall, but will take the same seating capacity like now, still too small for traveling shows. And no one would volume a theatrical production at the Tom Moffatt Waikiki Shell, an outdoor facility.
If you lot're undecided almost the ensuing Broadway attractions at Blaisdell, perhaps some background data might be helpful.
Ticket costs hither are on par with other markets. Those online handling fee are rampant for any kind of due east-ticketing, so it'southward part of the norm, if yous purchase New York Broadway tickets or any mainland musical or sporting result. (Annotation: A special $30 ticket, for balcony seating at the Tuesday April one opening night show, has just been announced. To guild, meet the bottom of this column).
Season purchases offer some disbelieve vs. individual shows, and mostly speaking, subscribers have options to exchange tickets if conflicts occur.
Key considerations:
- This is the first time e'er, that a multi-show-season with legit touring Broadway shows, is happening. We've had isolated productions, or a mere 2, staged months apart.
- Three of the productions are Hawaii premieres: "Beautiful: The Carole Rex Musical," playing April 19-24 2022; "Jersey Boys," running Sept. 13-25 2022; "Hamilton,"getting in its shot for iii weeks, Dec. 7, 2022 through Jan. 29, 2023; and "Cats," launching June xiii-18, 2023.
- In Mainland communities boasting 6-show templates for years, Hawaii needs to take hold of upwardly; our iv shows are a good starting point for season-buyers. The issue is clear: Honolulans need to testify delivery for the package of iv, then build on the six as a goal. Producers volition evangelize only if you exercise your part.
- More than thoughts on the evidence entreatment, if y'all're only selecting one or 2 titles: The No. 1 bear witness is "Hamilton," even if you're seen that first-class Disney+ theatrical gem on Tv set. Even if Lin Manuel Miranda has exited the cast; this is his legacy to the phase; a hip-hop/rap musical based on the Founding Fathers of this country. Your second choice logically would be either "Beautiful" or "Jersey Boys," though you might have seen the latter but not the former. Both bio musicals – one on the life and ascent of Carole King, the other the triumphs and tragedies rarely known most Frankie Valli and the Iv Seasons. The soundtrack of your lives will resonate with the chartbusting tunes past King and her collaborators and the street smart charms of Valli and his harmonic partners.
- "Cats" is the obvious filler in the packet; if you lot loved it, come across information technology again. If your kids have not seen it, introduce and educate them to his curiosity, an Andrew Lloyd Webber creation based on a verse form, where population are cats, not people.
- Some communication: guild tickets from an authorized source; Broadway in Hawaii utilizes Ticketmaster as its official site, or purchases can be made at the Blaisdell Center box office. Prices depend on date, seat site; the website tin provide the range and seating chart. My flavor tickets, ordered earlier, have been mailed to me by choice; however, "Hamilton" tickets will be sent approximately 60 days prior to your scheduled performance engagement. Avoid third party ticketers, who sell tickets with inflated prices; some sits may be fraudulent.
Tickets: online at https://world wide web.broadwayinhawaii.com/bih/seasontickets.html or phone (808) 776-7469. …
$30 special deal
Bruce Granath, Salt Lake Metropolis-based executive of Magic Space Amusement (which is Hawaii'due south link to the Broadway serial), says that a very special $30 ticket (plus fees) will exist available for balustrade seating simply for the opening night (Tuesday Apr 19) show. The intent is to get a full business firm for the launch.
Here'south how to score these seats:
Visit this link: : https://www.ticketmaster.com/beautiful-the-carole-king-musical-touring/event/0A005C53C9F51A0F?refArtist=K8vZ917KhfV
Click on "Unlock," then enter the promo code FRIENDS. This should get you to the $thirty one-dark-deal.
It's OK to share with friends and family, says Granath…
And that's Prove Biz. …
It's ever 'swonderful news when our Hawaii-reared actors on Broadway and beyond accept part in a range of spin-off activities like awards shows and regional theatrical productions.
Nosotros applaud these ex-patriots, who acquit maybe an invisible island flag, when they participate in craft-related activities.
Similar,Marc delaCruz,the Big Isle singer-actor-dancer in the mega-hit "Hamilton" on Broadway, will be one of the performers in the New York Theatre Barn'southward New Works festivities at 7 p.thousand. ET Monday (April 11) at Theaterlab on Westward. 36th St. Because "Hamilton" is nighttime on Mondays, he is able to join other projects.
Excerpts from off-Broadway endeavors "With(out) Her" and "Black-Eyed Susan" will be performed by an array of troupers from the stage, film and ballet whirlpool of talent from shows ranging from "Spider-Man: Plough Off the. Night" to the musical "Moulin Rouge," from the American Ballet Theatre to "Spamilton." …
Then in that location's Keala Settle,formerly of Laie, and best known for her supporting roles in the original "Waitress" Broadyway cast and performer of the global striking, "This Is Me," from the soundtrack and movie of "The Greatest Show," which starredHugh Jackman.
She'll exist a presenter at the Olivier Awards Sunday (April 10) at Royal Albert Hall in London, revived afterwards a two-twelvemonth break due to the COVID-xix pandemic. An assortment of notables from Britain and Europe such asTom Felton, Jonathan Pryce and Kit Haringtonwill likewise exist involved, and surely, her aloha will be i of the pluses.
The Olivier nominees include such shows as "Back to the Future – the Musical," "The Drifters Daughter," "Frozen," "TheBob Marley Musical,' "Moulin Rouge," new to the UK, and revivals like "Anything Goes," "Cabaret" and "Leap Enkindling."…
The aforementioned Settle, by the style, has been tapped to join the cast of the summer London revival of "Sister Act," just is making her London debut in the honour-winning "& Juliet," joining Tom Francisevery bit Romeo andMiriam-Teak Leeas Juliet. Settle plays the nurse, through June xviii at the at the Shaftesbury Theatre, in "& Juliet." The piece of work is described as a jukebox comedy most Shakespeare's star-crossed lover reclaiming control of her fate." …
If you're Broadway leap…
Then Broadway is bouncing back nicely, with Hugh Jackman'southward "The Music Man," raking in more than than $three million a week, making the revival the box function male monarch.
This weekly list of Broadway grosses (for week ending Apr four) might be handy in planning your show plans (Courtesy the Broadway League):
| Week End | Show | Type | Theatre | #Prev | #Perf | Grosses | Grosses Prev Week | Attend | Attend Prev Week | % Cap |
| 04/03/2022 | ALADDIN | Musical | New Amsterdam | 0 | 8 | $1,012,610 | $1,088,069 | 12,438 | 12,832 | 90% |
| 04/03/2022 | AMERICAN BUFFALO 2022 | Play | Circle In The Square | eight | 0 | $592,422 | $683,547 | 5,142 | 5,612 | 86% |
| 04/03/2022 | AMERICAN UTOPIA 2021 | Special | St. James | 0 | 6 | $1,314,017 | $1,166,583 | 10,102 | x,032 | 98% |
| 04/03/2022 | BIRTHDAY CANDLES | Play | American Airlines | 8 | 0 | $303,513 | $296,514 | v,277 | 4,797 | 91% |
| 04/03/2022 | CHICAGO | Musical | Ambassador | 0 | 8 | $456,692 | $513,025 | 5,385 | v,921 | 62% |
| 04/03/2022 | COME FROM AWAY | Musical | Schoenfeld | 0 | 8 | $529,314 | $623,207 | 5,719 | 6,593 | 68% |
| 04/03/2022 | Company 2021 | Musical | Jacobs | 0 | 8 | $757,062 | $887,746 | 6,835 | 7,258 | 82% |
| 04/03/2022 | Dearest EVAN HANSEN | Musical | Music Box | 0 | 8 | $637,474 | $749,175 | 5,686 | half dozen,399 | 72% |
| 04/03/2022 | FOR COLORED GIRLS WHO Accept CONSIDERED SUICIDE / WHEN THE RAINBOW IS ENUF | Play | Berth | 3 | 0 | $101,052 | $ | 1,710 | 74% | |
| 04/03/2022 | FUNNY GIRL 2022 | Musical | August Wilson | 7 | 0 | $1,263,178 | $200,793 | 8,546 | 1,224 | 100% |
| 04/03/2022 | HADESTOWN | Musical | Walter Kerr | 0 | 8 | $ane,050,687 | $1,108,182 | 7,334 | 7,385 | 100% |
| 04/03/2022 | HAMILTON | Musical | Richard Rodgers | 0 | 8 | $2,285,159 | $2,235,879 | ten,595 | 10,559 | 100% |
| 04/03/2022 | HARRY POTTER AND THE CURSED Kid | Play | Lyric | 0 | viii | $1,394,380 | $1,513,894 | 10,937 | 11,191 | 84% |
| 04/03/2022 | HOW I LEARNED TO Bulldoze | Play | Friedman | 6 | 0 | $221,439 | $ | 3,021 | 79% | |
| 04/03/2022 | MACBETH 2022 | Play | Longacre | three | 0 | $527,244 | $ | 3,139 | 100% | |
| 04/03/2022 | MJ THE MUSICAL | Musical | Neil Simon | 0 | viii | $1,185,483 | $1,250,077 | 9,160 | nine,754 | 83% |
| 04/03/2022 | MOULIN ROUGE! THE MUSICAL | Musical | Al Hirschfeld | 0 | 8 | $1,336,959 | $i,406,498 | nine,519 | 9,908 | 92% |
| 04/03/2022 | MR. Sat Nighttime | Musical | Nederlander | 6 | 0 | $805,619 | $ | half-dozen,210 | 87% | |
| 04/03/2022 | PARADISE SQUARE | Musical | Ethel Barrymore | seven | 1 | $296,350 | $346,651 | 7,165 | 7,287 | 91% |
| 04/03/2022 | PLAZA SUITE 2022 | Play | Hudson | 0 | 8 | $one,383,563 | $ane,567,493 | 7,740 | 7,791 | 99% |
| 04/03/2022 | SIX | Musical | Brooks Atkinson | 0 | 8 | $1,288,716 | $1,241,704 | 8,107 | 8,150 | 98% |
| 04/03/2022 | TAKE ME OUT 2022 | Play | Helen Hayes | viii | 0 | $311,997 | $365,140 | 4,064 | 3,830 | 87% |
| 04/03/2022 | THE BOOK OF MORMON | Musical | Eugene O'Neill | 0 | 8 | $996,401 | $1,058,384 | 8,170 | 8,412 | 96% |
| 04/03/2022 | THE LION KING | Musical | Minskoff | 0 | eight | $1,642,666 | $1,709,630 | 12,979 | 13,208 | 96% |
| 04/03/2022 | THE Niggling PRINCE | Musical | Broadway | 6 | 0 | $359,264 | $ | 5,771 | 55% | |
| 04/03/2022 | THE MINUTES | Play | Studio 54 | 2 | 0 | $140,970 | $ | 1,599 | 80% | |
| 04/03/2022 | THE MUSIC Homo 2022 | Musical | Wintertime Garden | 0 | 8 | $3,335,201 | $3,292,951 | 12,133 | 12,092 | 99% |
| 04/03/2022 | THE PHANTOM OF THE OPERA | Musical | Majestic | 0 | viii | $738,574 | $841,426 | 8,027 | viii,966 | 63% |
| 04/03/2022 | THE Peel OF OUR TEETH 2022 | Play | Vivian Beaumont | iii | 0 | $59,908 | $ | 1,456 | 46% | |
| 04/03/2022 | TINA – THE TINA TURNER MUSICAL | Musical | Lunt-Fontanne | 0 | 8 | $751,186 | $812,681 | six,138 | half-dozen,890 | 52% |
| 04/03/2022 | WICKED | Musical | Gershwin | 0 | 8 | $1,739,736 | $ane,855,219 | 13,949 | 14,640 | 96% |
OFFICIAL PARTNERS
And that'south Show Biz. …
Henry Kapono'south "Artist 2 Artist" series, wherein he invites a notable peer from the Waikiki mainstream to partner with him in chit-chat and vocalizing, scored an unexpected bullseye with Jerry Santos.
Kapono, old collaborator with Cecilio Rodriguez (Cecilio and Kapono, remember?), and Santos, leader of the beloved Olomana group, shared a measure out of personal reflection and astounding artistry, in an unforgettable 2:15 concert last night (March 31) at Blue Annotation Hawaii.
The nightclub, at the Waikiki Outrigger resort, has been attracting sellout houses every bit the pandemic protocols are diminishing. For a Thursday night, the gathering was an emphatic indicator that islanders and visitors are weary from mask-wearing and nestling at home. When a marquee show anticipating a roster of signature tunes from both acts is the lure, a sellout was inevitable.
But this outing was somewhat of a new adventure for both Kapono and Jerry. While each have signature tunes in their corresponding credits, the evening was a reaffirming evidence that this pair of seasoned singers-composers, who helped shaped the Hawaiian Renaissance of island music from the 60s to the 80s, needn't accept to rely on the all-time-of-the-best to earn applause. Risky perhaps, just this was an informative exploration of hidden gems in both C&K'south and Olomana's history.
Further, Kapono has been examination-driving this format of sharing tales and tunes for many months now, and has hit paydirt as he seems a lot more confident, assured, relaxed and conversational with his guests. There'south no script, only camaraderie to set the mood and manner, starting time with an exchange of alma matter digs, Kapono existence of Punahou upbringing, Jerry of Kamehameha stock. (On an unrelated comparing, Kapono donned shoes, Jerry was barefooted, for this event For what it'south worth).
The agenda began with Kapono, clad in breezy black top and gray jeans with a backward-worn baseball cap, making the first pitch – a new tune, "Sweetheart of Mine," with a pop/country-western demeanor. He segued into a hip new arrangement of "Home in the Islands" (always fund to tweak an oldie and give it new sass) and revealed that he composed the tune late i nighttime while in San Francisco back in the day.
He assumed the role of a troubadour, with one of his staples, "Friends," telling one and all, "always go along your friends," and yes, the audience knew this classic musical mitt-shaking of sorts. Sing, and they sing-along, too.
Before long thereafter, the evening's format focused on guest Jerry's growing upwardly days, and there was a consensus on who inspired them in composing music; an ensuing duet on Kui Lee's "Days of My Youth" was function of the expedition down memory lane. Turned out that both gents adored and admired the prolific Lee, whose compositions put Don Ho on the map.
We also learned that Kapono once played at the New Borderland and Toppe Ada Shoppe
in Waikiki, Jerry at Gauguin and Black Angus in Waikiki , when they were not nevertheless part of the glittery galaxy of isle stars.
Jerry was asked how he came to create his all-time-known tune, "East Ku'u Abode O Kahaluu," and it also turned out that he wrote this one in San Francisco while he was homesick for his island home.
The song then was performed, with audience members invited to chime in, with trusty back up for Jerry from Kamuela Kimokeo, his longtime partner in gigs exterior of the Olomana umbrella. Not simply has he learned all of the Olomana repertoire, he is a chief of ki ho alu, Hawaiian slack key guitar.
Jerry and Kamuela provided the majority of the evening'southward riches, showcasing titles not commonly dusted off from the Olomana lifespan of the late Robert Beaumont, which included recollections of that song about rainy Hilo and how the sound of pelting made it into the recording, along with a bountiful medley of Olomana treasures including "Seabird" and "E Ku'u Sweet Lei Poina Ole," the limerick by Emma DeFries, which was a must-perform championship during Beaumont's tenure with Olomana, and for many years after his passing – twoscore years ago. Clearly, this also was an homage to the late entertainer.
Indeed, considering Jerry has not been so visible during the pandemic, these oldies dusted off for this gig, provided stirring memories from the grouping'south discography. Jerry seemed to go misty-eyed, too, reviving Henry Mitchell's anthem for Kahoolawe, when Hawaiian activists were pushing for the island to exist returned to the populace here subsequently years of beingness a military target do island.
To break upwardly the solemnity of Kahoolawe, Jerry and Kamuela ventured into the double-entendre vocal "Tewe Tewe, about fishing, with likewise implications of a sexual nature, depending on how much y'all understand most this Hawaiian classic.
Every bit the evidence neared its end, Kapono returned to the phase to render "Teach Your Children Well," as well as a new composition, "Sailors of Fortune," a lovely entry advocating the validity of dreams to make things happen, with Jerry doing counterpoint backup vocals.
What the world needs is not only dreamers, simply lovers, so "Put a Little Honey in Your Heart" was a handy sing-along, as well.
And because the audience hollered "hana hou," Kapono came back to share one more for the road, i of his C&K classics, "Sailing," written for his dad who was not a sailor.
So, yes, there were little nuggets of data throughout the serenades right downwards to the concluding blackout.
Kapono has some other Artist 2 Creative person show featuring the Makaha Sons, set for Apr 28. …
And that'south Show Biz. …
Footstep past step, flinch by blanch, "The 39 Steps" is a romping Hichcockian mystery, laced with vaudevillian mirth, requiring precise timing and awesome versatility … and wholly enacted by a remarkable visitor of iv.
A true ensemble piece, Manoa Valley Theatre's staging of Patrick Barlow's accommodation of John Buchan's novel and Alfred Hitchcock's film, is full of abdomen laughs, loftier energy, quick pacing, incoherent antics and theatrical shenanigans that may make you blanch, groan and cheer. As directed past Rob Duval, the product utilizes a minimalist gear up by Andrew Doan that involves a theatrical proscenium arch with closable curtain and seating boxes at both stage left and correct, slamming doors, and a scrim that enables moments of giddy shadow puppetry. The versatile props by La Tanya Faamausill-Siliato include oversized trunks that serve every bit tables equally well equally train seats. In short: not-stop groans and giggles, with efficient surroundings.
Information technology's a short run, however; "The 39 Steps" opened Thursday (March 17) and closes March 27, and so y'all take today (March xx) and the upcoming weekend to take hold of the laughs.
The characters are Richard Hannay (a steadfast Garrett Hols, nimble and agile, confident and comedic), a somewhat bored London bachelor who meets a shapely Annabella Schmidt (Rachel League, versatile and mobile, whose other roles are Pamela and Margaret, achieved with wigs and costume changes and perhaps some natural language in cheek.. She is killed in his presence in a hilarious demise, simply not before she recites a few clues, and he dispatches himself to Scotland as a potential murderer attempting to prove his innocence. (Kinda like Dr. Richard Kimble, played by David Janssen on the old TV serial, "The Fugitive," dodging his pursuers of a offense he did not commit. But waaaaaay funnier).
A pair of workhorses, Matthew Miller and Andrew Baker, designated as Clown 1 and Clown ii, respectively, enact a barrel full of more roles than imaginable, from constables to London Palladium emcees/comedians, from bad-wigged women to railroad train ticket-takers. Kudos and ovations, dudes, for turning fleck parts into a mammoth tidal moving ridge of guffaws.
The concrete comedy is amazing, notably the sequence where Hannay is aboard a train and in pursuit by Miller and Baker; the gents have a raucous and remarkable imaginary "chase," with hands and bodies supposedly dangling from the outside of the train car whisking on its tracks, and another dangerous venture on a ladder fastened to ii other ladders, requiring strenuous energy (and risks of tumbling down) by the gents, and m imagination from the spectators.
All this, with the actors even employing the Brit accent for credibility amongst the maze of the unexpected.
Tickets: $22 to $40 at www.manoavalleytheatre.com or (808) 988-6131…
And that'southward Show Biz. …
Source: https://www.wayneharada.com/category/stage/
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