Second wave of Easter pins now in the mail; so more deliveries a-coming.
so watch your mailboxes.
MORE EASTER PINS IN THE MAIL NOW
KAL BI AND SUNDAE …JUST HEAVENLY
There’s a reason why they call it Heavenly, with its sofa seating with coffee tables, facing the marina at the Koko Marina center in Hawaii Kai.
It was a heavenly meal, as far as I was concerned, when I ordered the kal bi special which arrived on a sizzling cast-iron plate, the meat-with-the-bone hiding a mound of rice, sharing a cozy bed atop corn. Remove the decorative greens atop the kal bi, and whoa, there’s ample to enjoy.
Because the kal bi is grilled in the kitchen, you don’t really smell like you’ve been in a Korean restaurant. Besides, this is a Japanese-owned eatery, anyway, so gomen (sorry) if I offended anyone. Had munched on half of the entrée, so enjoyed the leftovers for lunch. Only then did I realize that the sauce seemed slightly over-salted, but it was still a joy.
Our party of five sat in one of those roomy, U-shaped booth seating inside the restaurant, a first for me. The booths were reminders from the past, with retro lamps shaped like palms overhead, and glassy art on the walls. Remembered the tiny battery-operated copper candle on the table, from earlier visits, and this zone of tables is a wholly different experience than the sofa and living room sector facing the waterfront. And likely more comfy, for those with aging back aches, Me, included.
Tried, too, for the first time, Heavenly’s sundae dessert, a compilation of custard cream topped with a cherry, a mini scoop of vanilla ice cream on the side, surrounded by a sea of fruits: banana, Mandarin orange slices, a wedge of fresh strawberry, thinly sliced apples…all arranged like ikebana in an old-fashioned fountain sundae dish. Yummy.
A SPIRITED BROTHER NOLAND RETURN
Brother Noland staged a spirited, luminous performance last night (March 6) — his first-ever concert at Blue Note Hawaii at the Outrigger Waikiki resort and a relaunch of his brand,
Noland, 68, has been somewhat nomadic in recent decades, mostly invisible to his fans; but he’s been a responsible, quiet, viable and vigorous musician, storyteller and guitarist on the Hawaii scene. In the 1980s, he was deemed to be the Father of Jawaiian Music, with a rhythmic “Coconut Girl” signature hit.
So the unveiling of the Noland now was awesome, nostalgic and a fascinating catch-up of his musical and cultural intersections he’s crossed over time. He fronted an incredibly powerful ensemble of eight, dubbed the Island Incredibles, sharing a few old tunes, a batch of new ones, and atmospheric acoustic revivals of pure Hawaiian mele, updating his profile of the 1980s or thereabouts, when Noland was a budding and prolific trendsetter.
If you hadn’t seen Noland in eons, you might not have anticipated his snow white hair, his dark glasses motif, and his (and his band’s) flurry of colorful Jam’s World-print garb.
The revelation of “Las Vegas,” an unexpected potion of pop tones, was his blast of cultural expression in the music bin, a goofy and giggly exploration of the exodus of beaucoup Hawaii folks relocating to the Ninth Island because of cost of living is way too expensive here. Since families and clans of friends make frequent jaunts to Las Vegas and staying at California Hotel or Fremont, where they hope and pray to score a major jackpot on the slots, the tune has purpose. Finally, there is an anthem for the mad movement to a new ZIP code.
Noland’s voice is not the best in the industry, but he is skillful in channeling his tones to deliver any kind of music. His vintage Hawaiiana was as charming as they come, with a throaty voice articulating the spirit of the era, on “Ka Ipo Lei Manu,” a Queen Kapiolani mele written for her husband, King David Kalakaua, who had traveled to the mainland where he died. The lamentation is quite evident, in Noland’s moody delivery.
In his Hawaiian sector, Noland also shared a “place song,” or “mele pana,” entitled “Mauna Kea,” the mountain on the Big Island where he resides part of the year. The tune showcases the beauty and vista of the region, and living in the elevated heights means he enjoys the serenity and isolation of being “close to God.”
Thus, his musicianship reflects these life choices, crisscrossing in multiple song styles and residency experiences, like toiling in the Outback of Australia, represented in a tune he wrote called “Walkabout.”
He truly is a keiki o ka ‘aina, or child of the land, born in the Palama region, and perhaps that’s why he favors uncommon passions like authoring books via his Ho‘ea Initiative, experiencing and embracing the tropical jungles, sharks, and wilderness survival. This positioning has produced some revealing postures in his music, too, advocating the appreciation of life and culture. on “Are You Native,” “Harbor Town,” and “Signs.”
With this gig, recurring one more time tonight (March 7), Brother Noland (last name, Conjugacion), showcases a loud, proud band of buddies, featuring some of the town’s best instrumentalists and voices, pictured here, from left to right: Tavana on guitar, Gaylord Holomalia on keyboards, David Garibaldi on drums, Kata Maduli on bass, Michael Ruff on keyboards, Fred Schreuders on guitars, and Lila Chris and Olivia Ruff on vocals.
Noland also strums rock guitar and ki hoalu (slack key) and because he allows numerous solo riffs from all musicians on many numbers, the opening performance was an extended show running nearly two hours, cancelling the originally planned second show. That format will continue for tonight’s (March 7) gig – one lone show at 6:30 p.m.
Rumors surfaced that there would be another two-night stand at Blue Note next week, but that’s not true. Instead, Noland’s team is contemplating Neighbor Island concerts on Maui and the Big Island next week…
And that’s Show Biz…
————————————————
Brother Noland and the Island Incredibles
Who: Brother Noland and the Island Incredibles, first time in Waikiki in eons
Where: Blue Note Hawaii at the Outrigger Waikiki resort
When: Opened last night (March 6); final show at 6:30 p.m. today (March 7); doors open at 5 p.m. for beverage and food service
Tickets: $35 and $45, available at www.bluenotehawaii.com and (808) 777-4890. …
AN EARLY ROLL-OUT OF EASTER PINS
Here’s a first look at the Easter pins I’ve created for 2025. This year, Easter will be on April 20, so there’s a month to prep for the event.
Some Easter pins are in the mail now; doing an early roll-out and distribution, since the pins were finished last month. Mailings will continue for the next few days, so hope recipients will be a bit patient
UH’S ‘RENT’ SEASONED WITH LOVE
“Rent,” Jonathan Larson’s autobiographical rock opera inspired by Puccini’s “La Boheme,” is a perfect vehicle for collegian actors at the University of Hawaii.
With ease and affection, the two-dozen youthful singers and actors comprise a company that has embraced the riches of the Larson score and style, while connecting with an enthusiastic and receptive viewership, if the sellout opening-night crowd last Friday night (Feb. 28) was an indication.
The charmed audience unleashed hoots and howls and hearty applause following favored tunes in the show. The joy culminated in a spontaneous standing ovation at the finale. If “Rent” at its best is all about the seasons of love, the adoration was mutual with the crowd.
“Feel the love,” the company sings late in the show. “Feel the love.”
And the folks did. But such appreciation raises a valid question: why has the Department of Theatre and Dance been neglectful so long, in staging contemporary musical comedy? For decades, Kennedy Theatre was the fountain to quench the thirst for cultural Japanese kabuki and bunraku puppetry, Peking opera productions periodic Shakespearean classics, plus a Great Plays cycle of notable drama.
Such programming is worthy, of course, when aligned to the academic theater cherished in Manoa, because of the plethora of pioneering directorial treasures in yesteryear’s faculty. Think Earle Ernst and James Brandon, for Asian/kabuki, Elizabeth Wichmann-Waltczak for Peking/Beijing opera, and Terence Knapp for Shakespeare.
Enter, “Rent,” repeating this weekend, but held over with one more show tomorrow night (7:30 p.m. Thursday March 6) and playing three sold outs Friday (March 7) through Sunday (March 9).
Credit director Joshua “Baba” Kamoani‘ala Tavares, now a UH professor who portrayed the Angel character in a touring company of the Larson show, that happened to pause in Honolulu.
It’s Kismet. Not certain who steered “Rent” to Tavares, but happily, he lured a splendid crew of singing actors, nurturing the production with his insider experience. At last, a modern show with contemporary themes, songs, lifestyle choices and challenges…clearly packaging an explosive sense of wow in the delivery.
There’s no immediate assurance of a future star in the making here, but “Rent” produced notables. Adam Pascal, Anthony Rapp and Idina Menzel were in the original Broadway company, and they frequently pop up in theatrical roles now. That’s the cycle of life in theatre.
Numerous leads stand out in “Rent,” amid constant camaraderie and connections and you possibly need a cheat-sheet to figure out the clusters. Casey Kekoa Lauti, as Angel Dumott Schunard, the gay cutie in a red Christmas outfit, has caught the eye of Keanu Roe, as Tom Collins, an academic figure; Jack Romans, as Mark Cohen, is a film-making buff never without a camera, and he’s Roger Davis’ best friend, played by Ikaika Mendez, who also is an ex-junkie, who falls in love with Ainsley Shearer as Maureen Johnson, who’s moved on to Daniella Addeo-Cortes as Joanne Jefferson; and Ka‘enaaloha Watson, as Mimi Marquez, is a strip club worker who has AIDS, and is the former girlfriend of Dean So‘oalo, played by “Benny” Coffin III, who’s not interested to commit.
Whew! Lots of motion and commotion abound, and you almost need a love chart to remember who’s who free available, who’s in a relationship, who’s battling AIDS, who’s got a job, who’s making music and movies.
The common ground here is a drab but serviceable two-floor warehouse space owned by the aforementioned “Benny,” whose luckless and broke tenants owe him back payment for rent. Hence, the show’s “Rent” title tune, with the battle cry, “We’re never gonna pay!”
Antonio Hernandez’s set design is a bit spartan, though serviceable, but lacks graffiti or signage that might “place” the East Village location in New York’s Lower Manhattan, where these bohemian artists convene, circa 1980s and ’90s. Caitlin Chavis’ costumes fit the era, and ditto the hair and makeup of Kevin Murata. Sound and audio by Timothy Mahamat works for the gritty tunes to heighten the ensemble moments. Aubrey Lee Staley’s choreography is minimal and natural, notable for the engaging group numbers like “Seasons of Love.” Kelli Finnegan’s lighting design is a skosh too dark but suits the bleak the N.Y. zone. Taisamasama Kaiminaauao-Eteuati’s music direction is expansive work, since there are live vocals and instruments on stage and unseen supplemental melodics off stage.
While Larson’s score doesn’t provide songs you hum as you exit, except for the emotional and harmonic “Seasons of Love” — the show’s key anthem, performed at the opening of Act 2 (and twice more later) — was a moment to savor, with the cast forming a chorus line that felt like that singular sensation moment depicted in another classic Broadway favorite.
Advisory: the show has mature themes, dealing with sexual abuse and sexuality, plus strong language, so parental guidance is suggested.
“RENT”
A musical by Jonathan Larson, playwright, composer, and lyricist
What: An autobiographical rock-opera, based on the Puccini opera, “La Boheme,” which explores life and challenges of bohemian youths, in New York City at the height of the AIDS crisis
When: By popular demand, a performance has been added at 7:30 p.m. tomorrow (March 6). Remaining shows (all sold out) are at 7:30 p.m. Friday (March 7), at 7:30 p.m. Saturday (March 8) and at 2 p.m. Sunday (March 9); pre-show chat at 6:45 p.m. prior to Saturday’ shows
Tickets: $25, adults; $22, UH faculty and staff, military and seniors; $10, other discount groups; $15, non-UH Manoa students, youths; $8, UHM
Reservations: http://manoa.hawaii.edu/liveonstage/rent
Broadway grosses, for week ending March 3
“Othello,” a new Shakespearen tragedy starring Denzel Washington and Jake Gyllenhaal, zoomed up to the No. 1 slot in the weekly grosses ending March 3, denying “Wicked” the throne it’s held for weeks.
The production still is in previews, formally opening March 23, in a limited 15-week run only.
Washington plays the title character, the Moor of Venice, and Jake Gyllenhaal is Iago. With average tickets priced at $361 at the smallish Barrymore Theatre that seats1, 041 — compared to the $153.72 average for “Wicked,” at the larger Gershwin Theatre venue — the grosses will be astronomical. Add high voltage of star power, a key factor attracting audiences.
In the juggling, “Hamilton” also bypassed “The Lion King” in the step ladder of success.
1—”Othello,” $2.637 million
2—”Wicked,” $2.368 million
3—”Hamilton,” $1.554 million
4—“The Lion King,” $1,527 million
5—“The Outsiders,” $1.283 million
6—”Gypsy,” $1.246 million
7—”Aladdin,” $1.073 million
8—”MJ The Musical,” $1,056 mullion.
9—”Cabaret at the Kit Kat Club,” $1.038
10—“Sunset Blvd.,” $1.001 million
The complete list, courtesy the Broadway League:
And that’s Show Biz…