TAG — The Actors Group – has announced its 2025-26 season at the Brad Powell Theatre at Dole Cannery.
TAG will continue its cycle of August Wilson plays – three titles are on the agenda this coming season – with two world premieres plus one Hawaii premiere. The island launch is the first by a work by popular island playwright Lee Cataluna, which makes its world debut next spring.
The slate:
“The Piano Lesson,” a Wilson drama, Sept. 5 to 21 2025, directed by Shervelle Hanna.
‘Higher! Higher!,” a musical by Tom Cooper, Oct. 31 to Nov. 16, 2025, directed by Brad Powell.
“Seven Guitars,” another Wilson entry, Jan. 9 to 25, 2026.
“Fire Pit,” by Cataluna, March 6 to 22, 2026, in a world premiere directed by Betty Burdick.
Lee Cataluna
“Fences,” the final Wilson drama, May 1 to 17, 2026.
“The Lake Effect,” by Rajiv Joseph, June 26 to July 12, 2026, in its Hawaii premiere.
Robert Cazimero will stage a birthday event from 5 p.m. today (March 19) through Sunday (March 23) at Chef Chai’s.
Robert Cazimero
His serenades, from the grand piano, will feature periodic hula from his usual pair of dancers, with other impromptu participation from hula troupers among the diners.
Cazimero’s actual birthday is tomorrow (March 20), when he turns 76. The event is a fundraiser for his Halau Na Kamalei O Lililehua, which is headed to Hilo next month to compete in the Merrie Monarch Festival.
The last time kumu hula Cazimero and his male dancers ventured to the Merrie Monarch competition in April 2015, they copped first place in the kane division, as well as best-overall laurels.
Cazimero participates in the hula competish once a decade, so this year is the timetable for that visit.
Reservations for the birthday celebration is $159, at www.opentable.com/r/chef-chai-honolulu …
Broadway grosses, for week ending March 16
George Clooney
Though “Othello” continues to top the Broadway charts – indeed, “the play’s the thing” – George Clooney’s debut in “Good Night and Good Morning” drama proved to be quite a draw, and clearly means star power works. It’s the No. 3 attraction, on the Great White Way.
Even before it opens tonight (March 14) at Diamond Head Theatre, “Grease” will add three more performances on April 18, 19 and 20 at the tail end of the original run.
“Grease,” the stage musical, is about Rhydell High’s Class of 1959, with all the frills of the era, from hot rods to duck-tailed hair for the dudes and gum-chewing box-soxers doing the hand jive. A period piece, yes, laden with nostalgia
But some cautionary expectations, please, so listen up. The play is not the movie, and vice versa. So get famiiar with the boundaries.
The original stage show, which opened in 1972 on Broadway, should not be confused with the film version which opened during the summer of 1978. The movie surely cemented the popularity of John Travolta as Danny and Olivia Newtown-John as Sandy. And put the show on the map.
The Rydell High teens in the stage musical, “Grease,” opening tonight at DHT>
The now familiar title song was not in the score of the play. It was a priority special insert, by Barry Gibb and performed in the film score by Frankie Valli, and the hit song fueled the catch phrase,“Grease is the word,” still uttered decades later.
Some shared tidbits about three other tunes added to the film – that you won’t hear on stage.
Three other titles, added to the film version, provided those romantic flurries and also a solid sliver of rock, which enriched the songscape of the movie soundtrack. You know ‘em well: “Hopelessly Devoted to You,” “You’re the One that I Want” (both written by John Farrar for the film and “Sandy” by Louis St. Louis and Scott Simon.
So, what’s in the stage score? A few titles you’ll recognize, including “Summer Nights,” “Greased Lightning,” “We Go Together,” “Look at Me, I’m Sandra Dee.” Oh, and that hand-clapper, “Born to Hand Jive.”
DHT’s cast features Cameron Scot as Danny Zuko, Sophia Ysrael as Sandy Dumbrowski, Jody Bill as Betty Rizzo, Alexandria Zinov as Marty, Parker Kilkenny as Frenchy, Lainey Hicks as Jan, Cate Labas as Patty Simcox, JantzenShinmoto as Kenickie, Chad Navarro-Cortes as Doody, Kevin Molina as Roger, Jake Glasser as Sonny Latierri, Pono Lundell as Eugene Florczyk, Ryan Philips as Vince Fontaine, and Gabriel Ryan/Kern as Johny Casino. The ensemble includes Emi Sampson, Jeff Andrews, Brianna Johnston, Victoria Chang, Kirra Baughn, Caris Leong, Jasmine Weldon, Maggie Ryan, Shane Nishimura, Drew Bright, Paul Garcia, Justin Garde and Sammy Houghtailing.
The artistic team includes Michael Ng, director; Dwayne Sakaguchi, choreographer; Darcie Yoshinaga, musical director; DeAnne Kennedy, set designer; Kyle Conner, props designer; Chris Gouveia, as lighting designer; Emily Lane, costume designer; Aiko Schick, hair and make -up designer; Kristen Kenney, set painter; La Tanya Siliato, sound designer; and Trudi Melohn, stage manager.
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“Grease”
What: A musical about teens at Rydell High School, with book and music by Jim Jacobs, and Warren Case, with a title tune by Barry Gibb
Where: Diamond Head Theatre
When: Performances at 7:30 p.m. Thursdays, Fridays and Saturdays; also, at 3 p.m. Saturdaysand 4 p.m. Sundays, from March 14 through Aprill 20.
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.
