REVIEWS Direction/ Choreography The King & I (Lyric Theatre of Oklahoma) “..Greg Zane has recreated Jerome Robbins' original choreography with spectacular skill, most notably in “The Small House of Uncle Thomas” ballet.” Rick Rogers, The Oklahoman 2013 “... all skillfully choreographed by Greg Zane.. Most impressive is the brilliant and breathtaking play within the play, “The Small House of Uncle Thomas” in the 2nd Act. Narrated by Tuptim it is her interpretation of Harriet Beecher Stowe’s Uncle Tom’s Cabin, a story that mirrors her own. Choreographer Greg Zane skillfully implements the original choreography created by Jerome Robbins who fused traditional Asian style drama dance, characterized by the hyperextension of the feet and the elongation of the hands, with ballet. Imaginative and visually stunning, with even more bejeweled costumes and elaborate headpieces, the ballet is captivating and gorgeous in detail. The physically challenging role of Eliza, a runaway slave, is expertly danced by Autumn Ogawa.” Pam Gold, ionok 2013 The King & I (Diamond Head Theatre) “... gives “King & I” fresh life with a modern touch. Director Zane pushes the envelope by imprinting the attraction between Anna and the King as nearly a coy flirtation and not the stuff of Victorian England. “... ‘Shall We Dance’ the show’s pivotal moment is charged with sexual tension and interrupts them just as they are about to kiss. The new touches may raise some eyebrows among traditionalists, but clearly assert that ‘The King & I’ exists independently from a memorial to Yul Brynner and Deborah Kerr... There are shadows beneath the glitter, and temple incense and chanting to balance the happy tunes.” Joseph Rozmiarek, Honolulu Advertiser 1999 Carousel “Director Greg Zane and a uniformly talented cast... suggest the subtleties of character and motivation Rodgers & Hammerstein must surely have intended... “The theme of spouse abuse runs through the story but zane wisely avoids turning “Carousel” into a politically correct parable on the subject...” John Berger, Honolulu Star Bulletin 2000 “The ultimate key to unlocking the production is overcoming the battered wife plot line. To a contemporary audience... Julie Jordan’s claim that “someone can hit you and not hurt you at all” must come form an acceptable reality. “Guest director Greg Zane builds that reality before we hear a note of music. And if you thought you might comfortably pass to your heavenly reward without seeing yet another production of “Carousel. “ stick around at least long enough to take in Zane’s staging of the overture... “Carousel is a treat for the eyes and ears, and ZAne’s staging opens up all of the drama in the story without the glossy cover-up.” Joseph Rozmiarek, Honolulu Advertiser 2000 Flower Drum Song “...it falls to director and choreographer Greg Zane to direct traffic and punch up the dances. He does this very well, and the full chorus dance numbers become the strongest visual elements on an essentially black-box stage. The chorus is striking doing tai chi movements in the show’s prologue, flashy and sharp snapping acoustical fans in the night club number, and hilarious wearing outsized take-out food boxes equipped with green headlights... You shouldn’t miss this show.” Joseph Rozmiarek, Honolulu Advertiser 2008 “Diamond Head Theatre’s production of David Henry Hwang’s rewrite of Rodgers & Hammerstein’s ‘Flower Drum Song’ is great musical theater. “...and director/choreographer Greg Zane does an excellent job in developing both the story and the glorious musical numbers...Zane’s expansive eye-catching versions of ‘Fan Tan Fannie’ and I Enjoy Being a Girl.” John Berger, Honolulu Star bulletin 2008 “Greg Zane’s direction and choreography were right on target. moving choruses with flowing charm.” Wayne Harada, Show Biz column, Honolulu Advertiser 2008 Rodgers & Hammerstein’s Cinderella “Updated classic shines at DHT. ‘Cinderella’ is a production where everything just works. .. Lest you fear a sugar overdose, know that director Greg Zane allowed the title character plenty of zip and has punched up the production with moments that balance out the plentiful saccharin... Zane also modulates the sweetness in the supporting roles. He turns the ‘Stepsisters’ lament’ into broad comic one-upmanship by seating (the sisters) at a vanity table in the palace’s ladies lounge. While commiserating... the pair duel with scene-stealing and startling physical comedy...” Joseph Rozmiarek, Honolulu Advertiser 2006 “Zane has added a few surprises to the well-known Rodgers & Hammerstein musical-- and they all work.” John Berger, Honolulu Advertiser 2006 Peter Pan “Zane’s decision to cast a male as Peter Pan is one of the key’s to the show’s success. His effective use of choreographed movement through out the show is another.” John Berger, Honolulu Star Bulletin 2008 “The two main features of the production of “Peter Pan” now at Diamond Head Theatre are that the title role goes to a young man and that the staging fairly bristles with kinetic energy... Emphasizing movement, Zane never lets his cast sit still for a minute. The Lost Boys tumble, the Indian maidens execute routines that are part ballet and part cheerleading maneuvers, and the Pirates-... tango with abandon.” Joseph T. Rozmiarek, Honolulu Advertiser 2008 The Sound of Music “...beautifully staged production of this musical classic... It’s a great treatment of the story as well. Director- Choreographer Zane shows his insight.. . in not making this into a simplistic morality play in which the “right” choice is both simplistic and obvious...” John Berger, Honolulu Star Bulletin 2002

REVIEWS

Direction/ Choreography

The King & I (Lyric Theatre of Oklahoma)

“..Greg Zane has recreated Jerome Robbins' original choreography with spectacular skill, most notably in “The Small House of Uncle Thomas” ballet.”

Rick Rogers, The Oklahoman 2013

“... all skillfully choreographed by Greg Zane.. Most impressive is the brilliant and breathtaking play within the play, “The Small House of Uncle Thomas” in the 2nd Act. Narrated by Tuptim it is her interpretation of Harriet Beecher Stowe’s Uncle Tom’s Cabin, a story that mirrors her own. Choreographer Greg Zane skillfully implements the original choreography created by Jerome Robbins who fused traditional Asian style drama dance, characterized by the hyperextension of the feet and the elongation of the hands, with ballet. Imaginative and visually stunning, with even more bejeweled costumes and elaborate headpieces, the ballet is captivating and gorgeous in detail. The physically challenging role of Eliza, a runaway slave, is expertly danced by Autumn Ogawa.”

Pam Gold, ionok 2013

The King & I (Diamond Head Theatre)

“... gives “King & I” fresh life with a modern touch. Director Zane pushes the envelope by imprinting the attraction between Anna and the King as nearly a coy flirtation and not the stuff of Victorian England.

“... ‘Shall We Dance’ the show’s pivotal moment is charged with sexual tension and interrupts them just as they are about to kiss. The new touches may raise some eyebrows among traditionalists, but clearly assert that ‘The King & I’ exists independently from a memorial to Yul Brynner and Deborah Kerr... There are shadows beneath the glitter, and temple incense and chanting to balance the happy tunes.”

Joseph Rozmiarek, Honolulu Advertiser 1999

Carousel

“Director Greg Zane and a uniformly talented cast... suggest the subtleties of character and motivation Rodgers & Hammerstein must surely have intended...

“The theme of spouse abuse runs through the story but zane wisely avoids turning “Carousel” into a politically correct parable on the subject...”

John Berger, Honolulu Star Bulletin 2000

“The ultimate key to unlocking the production is overcoming the battered wife plot line. To a contemporary audience... Julie Jordan’s claim that “someone can hit you and not hurt you at all” must come form an acceptable reality.

“Guest director Greg Zane builds that reality before we hear a note of music. And if you thought you might comfortably pass to your heavenly reward without seeing yet another production of “Carousel. “ stick around at least long enough to take in Zane’s staging of the overture... “Carousel is a treat for the eyes and ears, and ZAne’s staging opens up all of the drama in the story without the glossy cover-up.”

Joseph Rozmiarek, Honolulu Advertiser 2000

Flower Drum Song

“...it falls to director and choreographer Greg Zane to direct traffic and punch up the dances. He does this very well, and the full chorus dance numbers become the strongest visual elements on an essentially black-box stage.

The chorus is striking doing tai chi movements in the show’s prologue, flashy and sharp snapping acoustical fans in the night club number, and hilarious wearing outsized take-out food boxes equipped with green headlights...

You shouldn’t miss this show.”

Joseph Rozmiarek, Honolulu Advertiser 2008

“Diamond Head Theatre’s production of David Henry Hwang’s rewrite of Rodgers & Hammerstein’s ‘Flower Drum Song’ is great musical theater.

“...and director/choreographer Greg Zane does an excellent job in developing both the story and the glorious musical numbers...Zane’s expansive eye-catching versions of ‘Fan Tan Fannie’ and I Enjoy Being a Girl.”

John Berger, Honolulu Star bulletin 2008

“Greg Zane’s direction and choreography were right on target. moving choruses with flowing charm.”

Wayne Harada, Show Biz column, Honolulu Advertiser 2008

Rodgers & Hammerstein’s Cinderella

“Updated classic shines at DHT. ‘Cinderella’ is a production where everything just works. ..

Lest you fear a sugar overdose, know that director Greg Zane allowed the title character plenty of zip and has punched up the production with moments that balance out the plentiful saccharin... Zane also modulates the sweetness in the supporting roles. He turns the ‘Stepsisters’ lament’ into broad comic one-upmanship by seating (the sisters) at a vanity table in the palace’s ladies lounge. While commiserating... the pair duel with scene-stealing and startling physical comedy...”

Joseph Rozmiarek, Honolulu Advertiser 2006

“Zane has added a few surprises to the well-known Rodgers & Hammerstein musical-- and they all work.”

John Berger, Honolulu Advertiser 2006

Peter Pan

“Zane’s decision to cast a male as Peter Pan is one of the key’s to the show’s success. His effective use of choreographed movement through out the show is another.”

John Berger, Honolulu Star Bulletin 2008

“The two main features of the production of “Peter Pan” now at Diamond Head Theatre are that the title role goes to a young man and that the staging fairly bristles with kinetic energy...

Emphasizing movement, Zane never lets his cast sit still for a minute. The Lost Boys tumble, the Indian maidens execute routines that are part ballet and part cheerleading maneuvers, and the Pirates-... tango with abandon.”

Joseph T. Rozmiarek, Honolulu Advertiser 2008

The Sound of Music

“...beautifully staged production of this musical classic... It’s a great treatment of the story as well. Director- Choreographer Zane shows his insight.. . in not making this into a simplistic morality play in which the “right” choice is both simplistic and obvious...”

John Berger, Honolulu Star Bulletin 2002