Category: Reviews

Robert Cazimero’s 2023 celebration of the spirit of Christmas – last night (Dec. 9) and this afternoon today (Dec. 20)  at Leeward Community College Theatre–  is the season’s best gift.

Loyalists know that Cazimero, the esteemed artistic director and resident star attraction, will deliver a stupendous production with solemn moments of peaceful joy along with giddy and engaging comedics to touch the soul and bring out the smiles.

So, if you gifted yourself with tickets, it’s money well spent to support Cazimero’s Halau Na Kamalei o Lililehua as well as the host theater, located in a zip code that demands freeway journeys for townies.

The performance, engineered by the singer-kumu hula’s brilliance, includes fresh concepts and content:

— A trio, dubbed Bob’s Boys by Cazimero, provided the music: Richard Heirakuji on bass, Kaipo Hale on ‘ukulele, and Keala Chock on guitar. The gents are seasoned musicians, and Hale is kumu’s best friend, so the support entwines friendship and fellowship as a bonus.

— Kalenaku DeLima Parrish (pictured above, with Cazimero) is the lone guest-star singer, with roots with Kapena, where she was vocalist and keyboardist for the family act led by her dad, Kelly “Boy” DeLima. So, she is a veteran performer who brings freshness and form to a new environment.

—  Standby regulars in a Cazimero show include the Ladies of the Royal Dance Company, known for stylish grace, and the irrepressible lads of Na Kamalei, with a few taking alternating solo stints. And since the dancers are also formidable singers as well, there’s always substance and surprises from the ranks.

Cazimero is accustomed to theme his programs, so this one is no different; the first half is themed Green, the second half White, though the palettes are not restrictive.

The show began with “The Angel Medley,” with the entire cast mingling and chiming together in vocals, fronting a simple set of triangular motif “trees” as the solitary backdrop capable of changing hues.

Merriment prevailed with fun tunes like “Ring, Ring, Ring” and “Doodle Doodle Dee Doo” melding into “We Wish You the Merriest Hawaiian Christmas.” A garland of island holiday ditties followed, including “Mele Kalikimaka Ia Kakou,” “Christmas in Paradise” and “Mele Kalikimaka Ei Nei.”

The halau guys showed their versatility, singing “I’m Dreaming of a White Christmas” (in the Green sector) and also danced “Hawaiian Hospitality.”

Soloist Parrish offered warm vocals in both halves, “Do You Hear What I Hear” in the first act, “Merry Christmas Darling” in the second, and her presence outside of the Kapena circle introduces her to a broader audience.

Unexpected thrills unfolded after intermission:

— The halau bros provided a stunning and inventive moment of blissful talent, building on their acclaimed hula, when each dancer appeared on stage, carrying a chair or a stool, to render “I Love Christmas,” as a hand-clapping dance (pictured above). That is, they sang while clapping hands, doing a variety of motions, and uncorking hidden skills that can be credited to Cazimero’s imaginative choreography.

— There was another joyous moment, when Cazimero sang “Joy to the World,” with halau member Kaipo Dudoit (pictured below,) performing on violin, showcasing breadth and versatility – and triggering a special kind of emotional experience.

— Then there was the whimsy and wackiness, when Cazimero reflected on small-kid-time memories with family and brother Roland, on “My Friend Al,” which segued into “Me and My Dinosaur” (pictured below), engaging the pleasurable vocal and dancing  charms of the halua. And making a guest appearance: a dinosaur figure (identity not known) singing and prancing, like a larger-than-life toy in animation mode.

— And an emotional and spiritual wave, with Cazimero rendering “Go to the Light,” with the entire ensemble joining in, with halau dude Nick Lum also soloing.

Cazimero had several prime moments from his piano, but his artistry and perspective in creating a holiday package is his key talent, his overview tapping elements as diverse as his followers, from the young to the elderly. His “From Our House to Your House” tune reflected his notion of sharing and caring

Finally: this event included a rare “hana hou” by Cazimero, who appeared centerstage after the curtain fell (pictured above), sharing – again, in the spirit of the season – a special treat for the Leeward Theatre gang. He returned to his piano and put his vocal imprint on “The Christmas Song,” the Mel Torme evergreen composition, which clearly is the gift that keeps giving.

Merry Christmas. …

And that’s Show Biz…

Wayne Newton’s debut last night (Dec. 8) at Blue Note Hawaii was largely reflective and revealing, offering more chit-chat than crooning.

He’s headlining two more nights at the Outrigger Waikiki venue, at 6:30 p.m. today (Dec. 9) and tomorrow (Dec.10). The earlier announced 9 p.m. performances have been canceled.

Opening night was a near-sellout.

“Mr. Las Vegas,” as he’s widely known, remains a cordial trouper, but in this stage of his career, he appears to be more conversational than crooner. (Lest you forget, Newton also is known as the Midnight Idol).

He’s still got his chops, but the voice is not as potent and precise as his Vegas era.

Perhaps that’s why he’s utilizing vintage video (two screens, one on each side of the stage) that captures his enterprising early years, often singing along (in the darkened stage) with the filmed versions. It’s like he’s in his living room, showing clips of his accomplishments, with a retinue of dear friends.

The Honolulu audiences don’t seem to mind this format.

Opening with “Viva Las Vegas,” an anthem to Sin City,  Newton was backed by a pianist, a bassist, and a drummer, not the large orchestras he was accustomed to in his heyday as a kingpin of the strip.

He was a namedropper, too, with a purpose: so many show biz veterans have had his back over the decades, principally Jack Benny, who “discovered” him and booked Newton on his TV show, and Jackie Gleason, who saw that show, and gave him a break by enlisting his talent as his opening act.

One particular secret unveiled: he became buddies with Bobby Darin, who produced Newton’s albums for seven years, and the “Mack the Knife” singer “gave” Newton a tune that was supposed to be recorded by Darin, who wanted Newton to have a hit song: “Danke Schoen.”

Strangely, “Danke” was one of four of his biggest hits, but Newton performed it as a sing-along with a taped version, a formula he utilized with three other chartbusters: “Red Roses for a Blue Lady,” “Summer Wind,” and “Daddy, Don’t You Walk So Fast” with LP covers displayed on the video screens.

Of the titles he sang, “Can’t Help Falling in Love With You” and “Help Me Make It Through the Night” were no-fuss highlights.

His vignettes were often fascinating, like how he met Elvis Presley at the Paramount studios, while they were filming separate projects; how he befriended Rat Packers Frank Sinatra, who became a lifetime friend till his passing; his takes on Dean Martin (“he smokes a lot”) and Sammy Davis Jr. (“he comes up to here,” referencing his short height); and  Bob Hope (“he brings happiness to your soul,” for his well-documented tours to the war fronts, namely Vietnam).

Newton plays 13 instruments, a feat he demonstrated in his Vegas shows, but at Blue Note, he only displayed his prowess on guitar, violin and steel guitar. On the latter, he played “Lovely Hula Hands,” in homage to Hawaii.

He didn’t mention earlier island ties, however, that he married, but divorced Elaine Okamura, a Honolulan who was a flight attendant, and he played – well before his Vegas fame – at the Dunes supperclub and the Royal Hawaiian Hotel’s Monarch Room.

His final song, “My Way,” often attributed to Ol’ Blue Eyes since the lyrics, written by Paul Anka for Sinatra, reflected the highs and lows of life, which resonates as an anthem by many entertainers.

So: If you’ve been a Newton fan from the early years, you’ll find the stories he shares fascinating, and you’ll mark him as a survivor of the roller-coaster ride of a seasoned trouper….

And that’s Show Biz…

Wayne Newton

Where: Blue Note Hawaii, Outrigger Waikiki resort

When: 6:30 p.m. today (Dec. 9) and tomorrow (Dec. 10);  doors open at 5 p.m.

Tickets: $125 (premium seats) and $85 (loge and bar zone), at www.bluenotehawaii.com and (808) 777-4890.

At 75, comedian Frank DeLima has common aging issues. Body aches everywhere, loss of memory, unstable legs.

At his brunch show Sunday (Dec. 3) at Blue Note Hawaii at the Outrigger Waikiki resort, he celebrated the upcoming holidays with hilarity and ho-ho-ho revelations about his life. He shared a solution to his tiring legs, explaining his frontside (tummy) is now the same size as his backside (butt), which gives him equilibrium.

Such was the tone, and temperament, of his presentation.

Yes, he donned a Santa’s outfit. Yes, he delivered the expected “Filipino Christmas,” which simultaneously salutes the yuletide and pokes fun at Filipinos. No racism intended – never, in a DeLima show – but the underlying fodder for his success over the past 47 years as a comedian who demonstrates his adoration of local ethnicities (Japanese, Chinese, Korean, Polynesian, Portuguese, and yes, particularly Filipino) because that’s his brand. He generates laughs because he celebrates, not condemns,  the races here.

You’ve heard the jovial jokes, right? He learned, first hand, the idiosyncrasies of island living, in the Pauoa Valley region where he grew up. His gags may be exaggerated, but reflect truths – Japanese listening to Naniwabushi radio programs, with unique vocal tones; Chinese burning firecrackers at gravesites, bringing manapua to share with the deceased; Okinawans, with hairy chests, arms and legs, and so on.

A masterful parody creator, he unveiled his latest “Kona Low,” the term favored by weather forecastors, referring to what used to be called “Kona weather,” singing the newbie to the tune of the oldie “Let It Snow! Let It Snow! Let it Snow!” He relied on what he called his “teleprompter,” a cardboard roll-out with lyrics, with the liner comprised of Clorox boxes. So DeLima.

An earlier parody, to the tune of “Mack the Knife,” described the unfortunate fate of Captain Cook, the presumed discoverer of the Hawaiian Islands, who was eaten by the Hawaiians, as the legend goes.

Other namedropping melodies tapped King Kamehameha and Imelda Marcos.

Audience participation is part of DeLima’s agenda, so not surprisingly, he beckoned audience members to take the stage for his laugh-loaded ritual of rendering the island version of “The 12 Days of Christmas,” from 12 televisions to one mynah bird in one papaya tree. Happily, or perhaps laughingly, the dude tapped to do the mynah/papaya line could not get it right until the bitter end, earning cheers and hurrahs for his achievement.

‘Twas a sweet end to the show.

And that’s Show Biz…