Comedian Frank DeLima now calls Las Vegas home, settling into his new digs, precise location I promised never to reveal.
“Still getting settled,” he said in a recent email, when I asked, “How you doing? On this day, he was hanging pictures on the walls of his senior home, and deciding what goes where, like any other person moving into new quarters.
“Putting stuff in their proper places,” he added.
Frank DeLima
What he learned, when he was ensconced in a Maikiki apartment for decades before his retirement this past year, is get room gear like shelving on wheels, for easier movement.
So, his shelves are on rollers, along with his chest of drawers. With back and hip issues, the easier it is to shuttle and shuffle stuff, the better.
DeLima also engaged in a new regimen – regular exercise – at his new senior facility.
“Every morning, I do two-hour therapy,” he revealed. “Neck, back, leg. Music makes it easier,” so he has his own brand of health-targeted disco.
“The hallways are so long, I walk indoors for exercise, for half an hour,” he said.
DeLima is fortunate to have friends in Vegas, who help him on shopping outings. “But I’m slowly learning about home delivery,” he noted.
Generally speaking, DeLima has no dilemma about his retirement move.
On new turf, he’s also had to secure new health services. “I got a new primary care physician,” he said. “And cardiologist, orthopedist, neurologist, dentist, physical therapist.”
All the vital “ists” in his quest for wellness are in place.
While he doesn’t have much hair to address, he nonetheless also has found a barber.
Health coverage is helping him to curb costs.“My insurance takes care of my transportation, round trip, to my appointments.,” said DeLima.
“I no more car, but my family and friends take me when I need to go shopping. And eating.”
He’s been scheduling lunches at least once a week, a comfortable rhythm and pace for all he’s been doing.
Further, he’s discovered a Catholic church a mile away, for Sunday worship.
“My sister (who has been a Vegas resident for a while) picks me up and we attend (church). Then go eat.”
He’s truly done all the proper homework, to adjust to his new senior life in the desert. He’s located restaurants in all directions of his residence, offering quite a range of choice: Vietnamese, Chinese, Japanese, Korea, Jewish and even “a place called Island Style, with Hawaiian favorites on the menu,,” he said..
DeLima also has figured out the locations of a CVS Pharmacy, Sam’s Club, Wal-Mart, Target and a Smith’s Supermarket perhaps three miles away.
He’s been a Zippy’s advocate in Honolulu, but he hasn’t revealed if he’s visited the first Zippy’s on the Ninth Island or where a second eatery is coming up soon.
Frank DeLima, with a fan, at his last show Dec. 15 at Blue Note Hawaii.
If you recall, DeLima’s final gig in Honolulu before heading for Vegas, was a Dec, 15, 2024, Christmas show at Blue Note Hawaii, complete with his array of comedic vignettes. Because of the holidays he staged his “Filipino Christmas” complete with his tree costume with lights. Diehard fans showed up at the mid-day finale.
Next up, possibly later than sooner, DeLima is eager to test the waters of doing limited shows for the constant Hawaii delegations who convene to Vegas for birthday or wedding receptions and the plethora of high school reunions which adore the climate of seeing old school pals and the lure of trying to win the big jackpot on the slots before catching a flight home …
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.
Noland’s back! …
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.
… and in action
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.
Brother Noland: Crisscrossing in multiple song styles.
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…
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Brother Nolandand 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
“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).
Josh “Baba” Mamoani’ala Tavares
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 Rappand 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.
Ikaika Mendez is Roger Davis, Jack Romans is Mark Cohen are best buddies.
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.
Casey Kokoa Lauti is the Christmas cutie Angel.
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.
The “Rent”ensemble is brimming with love. Photos by Christine Lamborn.
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
“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.
Diamond Head Theatre will launch its 2025-26 stage season this fall, with the Hawaii premiere of the Tony-nominated “Come From Away,” a sentimental show with 9/11 roots, debuting Sept.12, 2025. It brings down the curtain with a popular finale, the Tony-winning “Les Misérables,” the world’s most beloved musical based on Victor Hugo’s iconic novel, bowing July 31, 2026.
Trevor Tamashiro
“Next season, we focus on presenting powerful, inspirational stories with an eclectic lineup of shows that offer entertainment for all ages, from keiki to kupuna,” said Trevor Tamashiro, DHT executive director.
For the first time in recent memory, DHT will host an all-musical season, answering the wishes of most season ticket holders. No dramas, no comedies…just four major melodic treasures and two newbies tucked in between the bookend shows. But the fresh pair of shows will be surprises – one is making its Broadway debut this month, the other will be a fresh, celebratory, fueling a feel-good Christmas! season.
The show lineup is as follows:
Come From Away, Sept. 12, 2025 through Oct. 5, 2025. The production is based on true events of Sept. 11, 2001, when 38 aircrafts transporting thousands of passengers, were diverted to Gander, Newfoundland, because of the tragedy happening in New York City’s Twin Towers, the Pentagon in Washington D.C., and in Pennsylvania. The small town welcomed the thousands of passenters diverted to its community, since plane traffic, landings and departures, were halted. The Newfoundlanders provided food, music, and bunks, opening their hearts and doors overcoming cultural and language barriers, in an extraordinary act of kindness and aloha, demonstrating resilience, hospitality and humanity in a time of dire need. The show’s creators, Irene Sankoff and David Hein, were nominated for a Tony.
“Piney Needlesmith and the Road Less Traveled,” Nov. 21, 2025 to Dec. 7, 2025 — This whimsical production is a heartwarming holiday show – a feel-good Christmas gift! – about a misfit pine tree, an 8-year-old girl named Piney in search of her place in the world. With the help of a charismatic polar bear, Piney embarks on an unforgettable adventure. The score (music and lyrics) is by Hawaii’s Roslyn Catracchia (of Lisa Matsumoto’s “Once Upon One Time” trilogy) and Utah’s Peter Seibert (“Captain Marvel”), her new collaborator. The show reflects the spirit of the holidays and maintains an uplifting tone, capturing the wonders of the holidays and targets all ages, including children of all ages.
“The Last Five Years,” Jan. 23, 2026 through Feb. 8, 2026 — This contemporary musical follows two New Yorkers, rising author Jamie and aspiring actress Cathy, as they fall in and out of love as they navigate the complexities of their relationship over a five-year span. The heralded score, by acclaimed Tony-winning Jason Robert Brown, is a draw, and talk about fresh and new … this show, winner of two Drama Desk Awards, is pegged for a March 18 to May 4 run on Broadway this year.
“West Side Story,” March 20, 2026 through April 5, 2026 — This is the classic that has everything: a love story coupled with gang warfare inspired by Shakespeare’s “Romeo and Juliet,” Leonard Bernstein’s iconic, soaring score, Stephen Sondheim’s memorable, moving lyrics, the stunning choreography of Jerome Robbins. The tunes are indelible, including “Maria” “Tonight,” “America,” “I Feel Pretty,” “Somewhere.”
“Funny Girl,” May 22, 2026 to June 7, 2026.– This beloved evergreen explores the rise and radiance of Fanny Brice, the aspiring girl with can-do determination, from New York’s Lower East Side. She succeeds in becoming one of Broadway’s brightest stars; the role unofficially is “owned” by Barbra Streisand, who originated the part on Broadway and recreated the role in the movie, elevating such signature hits as “I’m the Greatest Star,” “Don’t Rain on My Parade,” and “People.” The songs are by Jule Styne (music) and Bob Merrill (lyrics) with book by Isobel Lennart.
“Les Misérables,” July 31, 2026 through Aug. 9, 2026 – History is on the side of “Les Misérables,” aka “Les Mis,” winner of more than 100 international awards and enjoyed by more than 130 million people globally and fifth in the Top 10 most-viewed Broadway shows. Based on Victor Hugo’s novel and set in 19th century France, this is a powerful tale of passion, redemption and revolution, about Jean Valjean, his unjust imprisonment for 19 years and his enduring life of mistrust and mistreatment. With book by Alain Boublil and Claude-Michel Schonberg, music by Schonberg and lyrics by Herbert Kretzmer, the entire score is loaded with major jewels as “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “Do You Hear the People Sing,” “One Day More,” “Castle on a Cloud,” “In My Life,” “Master of the House” and “Stars.” “Les Mis” was nominated for 12 Tony Awards in 1987, and won eight, including Best Musical.
Season subscriptions start at $174, guaranteeing seats to the entire season of shows. Subscriptions begin this summer; single tickets go on sale later, date to be announced.
Without exaggeration, this year’s Academy Awards season has been a bust. And if you’re an annual fan, making predictions who or what will win, it’s an ugly challenge.
So, watching the Oscarcast today (March 2) on ABC (2 p.m. live Hawaii time, repeating at 6:30 p.m.) will be a nail-biter.
Unlike last year’s top competitors, where there were two front-runners — “Oppenheimer” (which won big) and “Barbie” – who led the pack in guesstimation.
This season has been weird, dominated by foreign entries, with titles only briefly screened in movie theaters and, in certain cases, streaming on cable TV. Methinks if a film is not shown in a regular movie theater, where folks can attend and buy tickets, it ought not to be eligible for contention for an Oscar, the prime movie prize. Showing it on TV is a cop-out.
There now are 10 nominees for Best Picture. To predict which one will win, when access to watch ‘em is highly limited, is a real challenge. Of the 10 in contention, I saw only five this year, four in theaters, one via streaming on TV.
One certainty: “Wicked” has been the biggest box office hit, grossing more than $700 million so far. But aside from technical rewards, don’t expect it to win Best Picture laurels or acting honors. It’s clearly this year’s monetary champ.
So my predictions are shamefully flawed, largely based on what I’ve read, not seen. Hunches shouldn’t count, but what the heck…I’ll take my chances in the key categories.
So stay with me. Please.
Best Picture
Nominees
Anora” “The Brutalist” “A Complete Unknown” “Conclave” “Dune: Part II” “Emilia Pérez” “I’m Still Here” “Nickel Boys” “The Substance” “Wicked”
Prediction: “Conclave.” Sticking with a traditional Hollywood film, a fascinating ritual on how a Pope is selected. This, as a real life Pope’s health is in jeopardy
Favored: “Anora.”
Ralph Fiennes, in “Conclave”
Best Director
Nominees: Sean Baker, “Anora” Brady Corbet, “The Brutalist” James Mangold, “A Complete Unknown” Jacques Audiard, “Emilia Pérez” Coralie Fargeat, “The Substance”
Prediction: Sean Baker, “Anora.” (A certainty, since Edgar Berger, who directed “Conclave,” is absent among the nominees).
Timothee Chalamet, in “A Complete Unknown.”
Best Actor
Nominees: Adrien Brody, “The Brutalist” Timothée Chalamet, “A Complete Unknown” Colman Domingo, “Sing Sing” Ralph Fiennes, “Conclave” Sebastian Stan, “The Apprentice”
Nominees: Cynthia Erivo, “Wicked” Mikey Madison, “Anora” Demi Moore, “The Substance” Karla Sofía Gascón, “Emilia Pérez” Fernanda Torres, “I’m Still Here”
Prediction: Karla Sofía Gascón, “Emilia Pérez” Favored: Demi Moore
Best Supporting Actor
Nominees: Yura Borisov, “Anora” Kieran Culkin, “A Real Pain” Edward Norton, “A Complete Unknown” Guy Pearce, “The Brutalist” Jeremy Strong, “The Apprentice”
Nominees: “El Mal” from “Emilia Pérez” “The Journey” from “The Six Triple Eight” “Like a Bird” from “Sing Sing” “Mi Camino” from “Emilia Pérez” “Never Too Late” from “Elton John: Never Too Late”
