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.
“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.
“Moana Jr.,” a Disney’s musical about a seafaring young girl with big dreams, opens Friday (Feb. 28) at the Joseph Rider Farrington Community Auditorium in Kalihi.
The musical, about a young girl named Moana from the mythical Motonui village somewhere in the Pacific, has a wide following, thanks to two animated cartoon features.
Moana hopes to hop in a canoe and explore her heritage. And how far she’ll go is the thrust of “Moana Jr.,” a 60-minute live-action stage based on the original “Moana” animated Disney cartoon.
The “Jr.” in the title alludes to the fact that the show, with a high school student cast, involves an abbreviated script, aimed at students in drama, and has 60-minute running time.
But the spirit and aspirations of Moana are not reduced in the retelling of her dream, to discover her heritage.
“Moana” also has had a sequel film, “Moana 2,” released last year in the theaters, and a movie has been shooting in Hawaii, as a live-action film. Further, the Moana legacy is also being developed into what likely will be expanded into a Broadway stage musical, following the Disney tradition of such hits as “The Lion King,” “Beauty of the Beast,” and “Aladdin.”
The ”Moana Jr.” cast:
Heavenlee Botelho-Sarcedo, as Moana.
Dicen Kaahu-Akina, as Maui.
Saphira Cabacongan-Aana, as Gramma Tala.
Anselm Fautanu, Chief Tui.
Natalie Kovach, as Sina.
Marky Rafael, as Hei Hei.
Julian Sanchez, as Pua.
Jo Salazar, as Tamatoa.
Axle Munoz, as Chief Ancestor.
Kiana Ulep-Lambot, as Young Moana.
The ensemble: Chellcee Acosta, Prince Adena, Alexia Afable, Joel Alonzo, Jacy Brown, Joel Cabrales Jr., Wayne Cadoy, Karefullyn Jack, Leihua Kuhaulua, Kalani Milne, Kyle Rieta, Quincy Sablan, Jemima Titania, Kamakea Wright, Barbara Yano, Rain Young
Kirstyn Trombetta is director, Aubrey Lee Staley is choreographer and Justin Gardem is musical director.
The canoe in “Moana Jr.”
The coming-of-age show explores the riches of Oceania history and taps characters, traditions, and beliefs reflecting the cultures of the South Seas and inserts the dynamics of the aspirations of a heroine.
“Moana” has strong ties with the islands, since Auli‘i Cravalho, then a Kamehameha Schools student, was cast to provide the voice of the titular character in the landmark original feature. She delivered the film’s key tune “How Far I’ll Go,” which quickly became a staple on radio playlists.
“Moana Jr.” features the music of Lin-Manuel Miranda, best known as the creator of “Hamilton” and its score. Miranda, a Tony, Grammy, Emmy and Pulitzer Prize-winning tunesmith, collaborated with Mark Mancina and Opetaia Foa‘i to create a tapestry of original music for this fantasy about hopes, dreams, bravery and selflessness in the spirit of the proverbial “Disney princess.”
Miguel Cadoy III
And a footnote: Miguel Cadoy III, an Academy Director at Farrington and a prolific actor in the community, has been on a leave of absence to prep a mainstage “Moana” production aboard Disney Cruise Line’s new Disney Treasure ship.
His skills as a versatile performing artist and musician have been a plus at sea; the show is likely to evolve as a full-fledged Broadway attraction, timetable not certain…
And that’s Show Biz…
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‘Moana Jr.’
A Disney stage musical, based on a South Seas heroine
What: A tale about Moana, a girl with big dreams, and her aspiration to become a voyager and sail the waters of the Pacific in search of her heritage
Where: Joseph Rider Farrington Community Auditorium, at Farrington High School.
When: Opens at 7:30 p.m. Friday (Feb. 28); repeats at 7:30 p.m. Saturday (March 1) and 2 p.m. Sunday (March 2) and again March 7, 8 and 9.
Tickets:$10, adults 18 and older; $5 students 5 through 17; $3, Farrington students (tickets at box office, with student ID); free, keiki on laps
