{"id":99491,"date":"2024-09-18T09:57:46","date_gmt":"2024-09-18T19:57:46","guid":{"rendered":"https:\/\/hawaii.carpentermediagroup.com\/midweekpro\/?p=99491"},"modified":"2024-09-17T10:07:30","modified_gmt":"2024-09-17T20:07:30","slug":"kevin-mccollum","status":"publish","type":"post","link":"https:\/\/hawaii.carpentermediagroup.com\/midweekpro\/kevin-mccollum\/","title":{"rendered":"Setting the Stage"},"content":{"rendered":"
\"\"<\/a>

Photo courtesy Tricia Baron<\/p><\/div>\n

Tony Award-winning producer and Punahou School alum Kevin McCollum is bringing the SIX \u201cqueendom\u201d to Broadway in Hawai\u2018i.<\/strong><\/p>\n

When you think of the wives of Henry VIII, what comes to mind?<\/p>\n

Probably not a celebration of female empowerment. After all, these women were married to a man who made himself the head of the Church of England \u2014 supplanting the Pope as the supreme religious authority in his kingdom \u2014 just so he could divorce his first wife and marry one of her ladies-in-waiting.<\/p>\n

That second marriage? It ended with the bride\u2019s head on a scaffold, allegedly for adultery and treason, but arguably because she didn\u2019t give Henry a son.<\/p>\n

From there emerges a pattern best captured in a children\u2019s rhyme: Divorced, beheaded, died. Divorced, beheaded, survived.<\/p>\n

But if you\u2019re one of the legions of fans who\u2019ve sung along to the hit Broadway musical SIX, you can probably name all of the queens in chronological order and belt out their anthems \u2014 which are indeed exuberant, emotional and, ultimately, empowering. <\/p>\n

Clocking in at just around 80 minutes, the concert-show hybrid eschews an intermission in favor of a tight, lively spectacle built on the bones of a concept album.<\/p>\n

And the good news is the Tony Award-winning musical that flipped the script on the Tudor dynasty \u2014 reimagining the queens as modern-day pop stars vying to be the lead singer \u2014 is coming to the newly renovated Neal S. Blaisdell Concert Hall for the 2025 season of Broadway in Hawai\u2018i.<\/p>\n

\u201cIt is a complete joyous, fun, shot-out-of-a-rocket experience. There\u2019s so much energy,\u201d says producer Kevin McCollum, who is in town to promote the upcoming show and the soon-to-be-reopened concert hall. \u201cIt\u2019s not medicine, it\u2019s not a documentary. It\u2019s wildly entertaining.<\/p>\n

\u201cBut what\u2019s so great about it is, it surprises you. It looks like it\u2019s just this amazing, high-energy show, but it has a great soul to it.\u201d<\/p>\n

McCollum, who was born in Honolulu and attended Punahou School (he was a year behind Barack Obama), should know.<\/p>\n

For the past 25 years, he\u2019s been one of Broadway\u2019s most successful and prolific producers. He\u2019s won three Tony Awards for Best Musical \u2014 for Rent, Avenue Q and In the Heights. (Rent also won the Pulitzer Prize.) He\u2019s collaborated with Jonathan Larson, Lin-Manuel Miranda and Robert Lopez. He\u2019s founded Alchemation, a theatrical and media producing company committed to finding and fostering new talent.<\/p>\n

So, how did a boy from one of the most isolated land masses in the world become a mover and shaker on Broadway?<\/p>\n

\u201cI learned everything I know about storytelling and musicals from the myths of Hawai\u2018i,\u201d he says. \u201cHawai\u2018i, when I was there, was a place where schools taught you the legends of Hawai\u2018i and encouraged music. There wasn\u2019t anyone my age who didn\u2019t pick up an \u2018ukulele or a guitar during the holidays and dance to Mele Kalikimaka.\u201d<\/p>\n

His mother also loved the performing arts. She moved to the islands from Illinois, worked at a local television station (KGMB) and landed roles in community theater productions. Her son appeared in local TV commercials, found a home at Honolulu Community Theatre (today\u2019s Diamond Head Theatre) and sang in the Honolulu Boy Choir.<\/p>\n

Love of the stage propelled him to an undergrad degree from University of Cincinnati College \u2013 Conservatory of Music and steady work as an actor. But eventually, he decided to pursue a master\u2019s degree from the Peter Stark Producing Program at University of Southern California. The plan was to segue into film production. Instead, he took what he\u2019d learned at USC and parlayed it into the theater arts.<\/p>\n

That\u2019s the straightforward answer to how he ended up on Broadway. The subtext \u2014 and true to his theatrical roots, McCollum loves a good subtext \u2014 is loss, found family, living in the moment and taking nothing for granted.<\/p>\n

You see, McCollum was raised by a single mother who died when he was just 14 years old. After that, he left O\u2018ahu and moved to Illinois to live with his aunt and uncle.<\/p>\n

\u201cMy life was not that convenient,\u201d he says. \u201cBut I always knew where I was, and I knew I couldn\u2019t rely on what was fair. I had to rely on what I did with the time I had while I was here.<\/p>\n

\u201cWhen my mom died, I found the theater to be a place where I could not be afraid of my feelings and I could process my own childhood,\u201d he adds.
\n\u201cMost musicals are about coming home, so even though I didn\u2019t leave Hawai\u2018i on my own volition because I was a 14-year-old child \u2014 and it was the right thing for those adults to decide and I\u2019m very grateful \u2014 I missed my friends tremendously,\u201d he continues. \u201cWhat\u2019s great about SIX, what\u2019s great about musicals, is finding your family against all odds, which is what I found on Broadway.\u201d<\/p>\n

McCollum, now 62, was in his 30s when he saw a workshop reading for the rock opera that would become Rent.<\/p>\n

\u201cI saw (Rent creator) Jonathan Larson and thought he was doing something amazing,\u201d he recalls. \u201cBut no one was paying attention.\u201d<\/p>\n

McCollum was one of the producers to take a chance on the show that would soon have the world singing, \u201cFive hundred twenty-five thousand, six hundred minutes …\u201d<\/p>\n

\u201cI saw myself in the characters of Mark and Roger,\u201d he says. \u201cI used to have a band in college. I was a straight white man (but) in theater school I knew people, lost friends to HIV. Even as a producer, there\u2019s a whole generation on Broadway in the \u201980s who passed away (of AIDS).<\/p>\n

\u201cRent started with, \u2018How am I going to pay the rent?\u2019 And the final lyric is, \u2018No day but today,\u2019 because you realize it\u2019s not about paying rent, it\u2019s about how you\u2019re going to live your life,\u201d he continues. \u201cThat\u2019s what all of these shows are really about. We go from the literal to the inspirational.\u201d<\/p>\n

But Rent was also touched by tragedy. Larson died of an aortic dissection on the eve of his show\u2019s off-Broadway premiere and never got to experience its success.<\/p>\n

\u201cIt is surreal and devastating and hard to process still today, so many years later,\u201d McCollum says. \u201cI will say this, it galvanized my mission to try to help young voices get their shows produced. It\u2019s one of the reasons, I think, I work with so many first-time writers \u2014 and sometimes their shows really capture the public\u2019s imagination.\u201d<\/p>\n

The creators of SIX were still students at Cambridge University in England when they came up with the idea.<\/p>\n

Toby Marlow and Lucy Moss were simultaneously finishing their finals and banging out Tudor-themed earworms on a piano.<\/p>\n

\u201cIt was like, \u2018I\u2019ve got a tragedy paper tomorrow, but I have to finish that bloody Anne of Cleves song,\u2019\u201d Marlow told Musicals Magazine.<\/p>\n

SIX premiered at the Edinburgh Festival Fringe in 2018 before it was picked up for Broadway.<\/p>\n

Moss, at age 26, would go on to become the youngest female to ever direct a Broadway musical.<\/p>\n

\u201cToby and Lucy wrote SIX while they were still in college and they worked with their friends,\u201d McCollum says. \u201cI loved what that represented. As someone who is older than I thought I\u2019d ever be, I think one of the things that is important is to find these new original voices.<\/p>\n

\u201cProbably one of the reasons I went after SIX is because I knew younger people had a new vocabulary that I didn\u2019t know,\u201d he adds. \u201cBut I knew if (the show) touched me, then it might be a good idea.\u201d<\/p>\n

However, like Rent, SIX also had a brush with tragedy. Hours before its Broadway premiere on March 12, 2020, then-Gov. Andrew Cuomo ordered all New York City theaters to close due to the pandemic.<\/p>\n

You probably remember what happened next: Normally bustling streets went empty. The Big Apple became a COVID-19 hot spot. Months of uncertainty followed.<\/p>\n

SIX would have to wait a year and a half \u2014 until October 2021 \u2014 for its Broadway opening. But since then, it\u2019s become a global sensation as much for its catchy songs as for its deeper message about diversity, personhood and individualization.<\/p>\n

And the rest is history, or rather, her-story.<\/p>\n","protected":false},"excerpt":{"rendered":"

Tony Award-winning producer and Punahou School alum Kevin McCollum is bringing the SIX \u201cqueendom\u201d to Broadway in Hawai\u2018i. 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