Danny “Kaniela” Kaleikini, the beloved “Ambassador of Aloha” known for his constant welcomes of “alooooooha” to audiences and friends, died early today (Jan. 6) at Saint Francis Hospice, where he had been hospitalized. He was 85.
In a career spanning more than five decades, including a 28-year stint at the fabled Kahala Hilton beachfront Hala Terrace, Kaleikini established a wide following, rendering Hawaiian, Tahitian and international melodies, becoming the first island entertainer to stage a Polynesian show outside of the Waikiki 96825 zip code. His five-year Kahala contract, beginning in 1967, was expanded to nearly 30 years until it was terminated on Dec. 31, 1994, when the hotel took on new owners.
Danny Kaleikini
Kaleikini was one of the golden baritones of his generation, who performed on the Hawaiian nose flute in his shows. His audiences were international in scope but he was a particular favorite with Japanese visitors, enabling him to make numerous Japan appearances.
Kaleikini was a proud product of Papakolea, a district where he attended Roosevelt High School, Kawananakoa Intermediate School (where he was student body president), and Royal Elementary school.
Before gaining fame at the Kahala, Kaleikini was mentored by band leader Ray Kinney and comic hula dancer and singer Hilo Hattie; the later encouraged him to always speak standard English, instead of pidgin, a blessing that led him to headline at the Hawaiian Village Hotel (now the Hilton) Tapa Room, succeeding Alfred Apaka following his death.
Kaleikini quickly learned the tricks of his trade, also studying Japanese so he could welcome his Nippon guests, and he was a savvy host, also welcoming his audiences in multiple languages, tagging on his “alooooooha.”
Danny Kaleikini, with grandson Nicholas
Survivors also include his wife, Jacqueline Wong, from whom he was separated; daughter Keikilani, and grandson Nicholas, with whom he Kaleikini often performed during his retirement. His companion in recent times has been Linda Wong.
Kaleikini also had a son, Danjacques, who died at age 29.
The holidays proved to be blessing for the Broadway community – and an unexpected No. 1 emerged with a whopping $4 million gross for the week ending Jan. 1.
“The Lion King,” fresh from its 25th anniversary the past year, logged a stunning $4.31 million from nine performances last week, doing one more show than the usual eight. (I guess the back-to-back holiday slot made most shows do one extra performance that week). Thus, the “Lion” became king of the grosses, between Christmas and New Year’s celebrations.
The $4 million gross was the first-ever posted for Broadway, so it’s a historical moment.
The top ten also was a free-for-all for long-running musicals with unexpected power and glow at the box office, toppling even “Hamilton,” usually in the top two or three in the playbook..
So the rest of the top 10:
No. 2 – “The Music Man,” $3.971 million.
No. 3 – “Wicked,” with $3.215 million.
No. 4 – “Aladdin,” with $2.849 million.
No. 5 – “The Phantom of the Opera,” with $2.786 million.
No. 6 – “Hamilton,” with $2.74 million.
No. 7 – “Beetlejuice,” with $2.462 million.
No. 8 – “Funny Girl,” with “$2.405 million.
No. 9 – “MJ,” with “$2.223 million.
No.10—“Moulin Rouge,” with $1.975 million.
If you’ve been following my reportage of the pulse of the Great White Way, this is quite amazing, ain’t it? The burst of holiday visitors in New York, coupled with the Christmas and New Year’s timing, put the jingle and tingle at the box office.
The figures are courtesy the Broadway League:
Project Shaka seeks funding
The shaka sign needs help, with donations sought to erect a sculpture that would be a popular landmark and destination.
The shaka sign.
You know it, you use it several times a day. It’s a noun that also is a verb, and young and old alike know it.
The shaka sign says a lot without words. Aloha. Hello. Howzit. Hang loose.
You know how to flash the sign. Thumb and pinkie fingers up, the other three down, and deliver with a smile.
You recall, Steve Sue, an entrepreneur, has produced a related film, “Shaka, a Story of Aloha,” that explores the shaka phenom and a project that would also someday legitimize the sign.
To support and donate to get the sculpture completed, go to www.shaka.com …
Manoa Valley’s next is interactive ‘Drood’
Manoa Valley Theatre will present “The Mystery of Edwin Drood,” a musical whodunit by Rupert Holmes based on the unfinished novel of Charles Dickens, opening Jan. 12 and running through Jan. 29.
Audiences will have the chance to become the ultimate detective and help decide who the murderer is.
Cast of Manoa Valley Theatre’s “Edwin Drood” musical whodunit.
The cast features Christopher Denton as The Chairman, Miguel Cadoy III as John Jasper (Mr. Clive Paget), Kim Anderson as Rosa Bud (Miss Deirdre Peregrine), Chelsea Carlisle as Edwin Drood (Miss Alice Nutting), Alexandria Zinov as Helena Landless (Miss Janet Conover), Suzanne Johnson Green as Princess Puffer (Miss Angela Prysock), Alex Bishop as Neville Landless (Mr. Victor Grinstead), Chris Moylan as Reverend Crisparkle (Mr. Cedric Moncrieffe), Don Farmer as Bazzard (Mr. Phillip Bax), Andrew Baker as Durdles (Nick Cricker Sr.), Jace Furuto as Deputy (Nick Cricker Jr.), Emily-Kim Maldonado as Wendy (Isabel Yearsley), Gina Miyazaki as Beatrice (Violet Balfour), Bailey Garton as Sarah (Gwendolen Pynn), Korynn Grenert as Flo (Florence Gill), Natalie Malia Figuracion Borsky as Estella (Montague Pruitt), Sean Kaya as Horace (Nicholas Michael), Issac Liu as Medford Moss and Garrett Hols as James Throttle.
The tech staff includes Miles Phillips, director and co-choreographer with Taylor Gruver; Jenny Shiroma, musical director; Michael Covert, assistant director; Shell Dalzel, technical director; Andrew Doan, scenic director; Willie Sabel, scenic art director; John Cummings, prop designer; Jonah Bobilin, lighting director; Hannah Jitsukawa, costume designer; Amber Lehua Baker, costume supervisor; Lisa Ponce de Leon, hair and makeup designer; Lock Lynch, sound and designer and engineer; and Sarah Velasco, assistant sound designe.r
Performances are on Thursdays, Fridays and Saturdays, with curtain at 7:30 p.m. daily and 3 p.m. Saturdays and Sundays.
Tickets: $42 for adults, $37 for seniors and military, $24 for youths 25 and younger, available by phone at (808) 988-6131 or online at manoavalleytheatre.com. …
Comedian Frank DeLima tackles a common New Year’s resolution dilemma, wondering “What I going to do ‘bout my big opu?”
It’s fun stuff – creating parodies is his passion, when he’s not doing his daytime school tours or doing a rare night club gig – and his newest video (with tongue firmly in cheek) alleges he’s uncertain what to do with his swelling opu.
The observation, clearly, is that overeating at the holiday parties is the lure.
Frank DeLima
Potluck buffet lines, ono grinds, tasty treats ‘neath the Christmas tree.
We’ve all been through this over time, and restraint is not the common rule when snacks and celebrations challenge you to indulge.
“Now I know how fo get rid of my big opu,” he sings, clearly aware that over-indulgence is the villain. The remedy is not exactly exciting, as he continues, “Eat food dat taste like sawdust ad cardboard, too “Drink plenny wadda, keep da tummy full.”
While DeLima’s video reflects growing confidence and comfort in making these parodies, the overweight issue seems to be overplayed every season, and continues to be a steady lament but impossible scheme for most.
No?
You may recognize the melody as “Red Opu,” a composition by R. Alex Anderson, and recorded by Clara Inter, aka Hilo Hattie.
Since posting a video on this site is not possible, visit my Facebook page at facebook.com/wayne.harada.5 to watch the clip. Or go to www.frankdelima.com, where it is posted and where you should make a donation to DeLima’s Student Enrichment program to download and share it …
Cione hospitalized with pneumonia
Jack Cione, veteran show entrepreneur, has been battling pneumonia and is in isolation at a local hospital. An Arcadia resident, Cione was admitted to the hospital a few days after he returned from a cruise around the neighbor islands before Christmas, and he may have picked up the virus on the trip.
Jack Cione
A colleague reports that Cione has difficulty breathing and consequently has been on oxygen.
He has difficulty talking, too, so the swarm of phone calls from concerned friends should be halted.
A perennial active sort, Cione last month secured an electric scooter to assist in his mobility, and he scootered to the cruise ship instead of walking with his cane.
He may have retrieved his iPad so could possibly be stimulated to check emails and keep up with world news, but perhaps it’s best that allies send get-well cards to him at the Arcadia, which would be a welcome gift when he’s released from the hospital. Get well, Jack, we all miss you and send prayers and tidings of cheer. …
For the first time in years, I spent New Year’s Eve in Waikiki, at the Paradise Lounge of the Hilton Hawaiian Village, where my wife Vi and I enjoyed two of three lovely sets of jazz and tunes from the Great American Songbird, dispensed by the incomparable Shari Lynn, accompanied by pianist Jim Howard.
Nothing like spending the fading hours of 2022 and soak up the artistry of this endearing duo.
Shari Lynn
It was a splendid evening, in a living room-like setting where two consummate stylists shared their artistry, in what was a hastily booked gig not widely publicized. The gig turned out to be like a command performance witnessed by a small but appreciative audience, with occasionally random pauses by Waikiki visitors transiting to or from the Bali restaurant, curious about the music.
While it’s not the ideal venue, because of the criss-crossing traffic, but when musicians stick to classic old-school fare, dispensed with style and verve, it’s a joyous thing, particularly with a bit of Cole Porter and a sampling of George and Ira Gershwin and yes, Stephen Sondheim. Legendary folks with lingering melodies.
Jim Howard
I’ve watched and admired Shari for decades now, and she brings a combination of music educator and storyteller traits to the plate. She’s also a seasoned actress who knows how to deliver lines so the feast is in the listening.
Over the two sets, her background and experience created stunning interpretations of familiar favorites, with Shari receiving incredible support from Howard. They’ve been partnering so long, they anticipate each other in a bond that heralds genuine musicianship.
The story-sharing element perhaps was best on her version of Roberta Flack’s “First Time Ever I Saw Your Face,” the ballad that packs profound intimacy and heartfelt honesty, like experiencing a love letter set to music.
Someone requested “Over the Rainbow,” and Shari’s version began with the rarely-performed introductory verse, appropriate for the occasion since the Paradise Lounge is situated in the. Rainbow Tower of the Hilton complex. The delivery was Judy Garland-level powerful, with a postscript – thanks to her instructional background (a retired music teacher at the Hawaii School for Girls at La Pietra) and anecdotal post script comment about the integrity of learning first this classic the way it was perceived – you know, as part of “The Wizard of Oz” legacy — before adopting the globally popular Israel Kamakawiwo‘ole island version with its departure from the original lyrics and Bruddah Iz’s hypnotic “ooooh-oooohs” embellishments. Lovely, but – ahem – with liberties taken.
An evening with Shari includes tunes not commonly heard, like “The Shadow of Your Smile,” from “The Sandpiper” film, or her well-known, seductive “Send in the Clowns,” from “A Little Night Music.” Vintage doesn’t mean it’s out of vogue.
And one tune I’ve heard before, but forgotten how wonderfully inventive her delivery is, brings new perspective to “It Isn’t Easy Being Green,” again with her savvy to make the “Sesame Street” ditty relevant to an adult audience. She has appreciation of lyrics with something to say, and she delivers ‘em and brings full glory to words.
Her journey also includes “Fascinatin’ Rhythm,” “Pure Imagination,” “I’ve Got the World on a String,” “Day In, Day Out,” and lots more fare but not widely shared these days.
Appropriately, she programmed “What Are You Doing New Year’s Eve,” and happily, we spent it with her. Ask, and ye shall get, a belated holiday classic, too, “The Christmas Song,” roasting chestnuts optional.
A fan and supporter of Broadway themes, Shari avoided rousing classics from the stage and chose instead to program “Lullaby of Broadway,” a well known title, and the novelty “I Happen to Like New York,” again with lyrical pizazz.
For his part, keyboardist Howard tickled the ivories – a Roland keyboard, not a grand piano – with a perky, delightful instrumental version of “My Favorite Things.” I kinda whispered the lyrics, since Shari sat this one out.
Vi and Wayne Harada, front, and Michael and Shari Lynn Acebedo
I’m not one for celebrity snapshots or selfies, but I left the club with a memorable phot of Shari and hubby Michael Acebedo with the Haradas, shared here.
Happy 2023, folks, and may this be a ‘swonderful musical year…
