How many streaming channels is too many?Am I the only one who thinks that there should be a limit to signing up for premium streaming channels? For starters, it’s darn expensive to keep adding streaming resources to the monthly fees.
Bundled with my Spectrum subscriptions are a host of longtime cable channels like HBO, Showtime, Cinemax and lesser sources like A&E, TNT, Hallmark, Lifetime and USA.
My pay-extra streaming channels – five –include Amazon Prime, Netflix, Hulu, Disney+ and HBO Max. That’s five on my plate. Would like to add others like Apple TV, but the costs are prohibitive, so I am limiting and restricting further memberships like Paramount and Discovery+. Every few months, new sources pop up….expect CNN+ soon, for instance.How many are you addicted to in your household?
A live-streaming Ukulele Festival now is underway, though 3 p.m. today (July 18).
Hosted by ukulele legends Roy Sakuma, Jake Shimabukuro and Herb Ohta Jr., the virtual event the event is being held on the Ukulele Festival Hawaii YouTube channel.
Many other Hawaii musicians – including Ho’okena, Brittni Paiva, Kalei Gamiao and Correy Fujimoto – are also participating.
A tribute to Willie K. – a versatile over-all musician-singer, who played ukulele and guitar, in a myriad of styles, from Hawaiian to jazz, from opera to blues – will also be among the day’s special events.
The day’s schedule:
Bright Kids event
While most kids still are on summer vacation, many youngsters are participating in the I’m a Bright Kid Foundation summer workshops, which began on July 6 at several sites:
–Two classrooms and the cafeteria at St. Ann’s School in Kaneohe are home base for dance and other sessions, with Marcelo Pacleb’s 24-VII studio at nearby Windward Mall also headquartering for some sessions.
— High school students are participating in a “Bright and Early” pilot project at Windward Community College, where they will receive college credits for their summertime academics.
According to Ligaya Stice, executive director of IABK, negotiations and planning are underway for the organization to stage a holiday special in December, with a partnership with 24/VII, a mall tennant. Details will be announced. …
More Van Gogh
Due to public response, “Beyond Van Gogh: The Immersive Experience” has been extended through Sept. 26 at the Hawaii Convention Center.
The walk-through exhibit, featuring a myriad of Van Gogh art, has been an eye-thrilling, moving attraction where viewers become part of a constantly changing art experience.
If you’re seeking seats to Diamond Head Theatre’s “A Chorus Line,” a final performance at 7:30 p.m. Thursday Aug. 5 has just been added. Act quickly; will be sold out in hours.
Tickets: $25. Visit www.diamondheadtheatre.com for tickets.
“A Chorus Line,” the backstage musical beloved throughout four decades of theatrical relevance, is back and buoyant in its second revival at the Diamond Head Theatre.
It’s aglow with a young new cast, strutting like peacocks for a new generation of fans, with fabled director-choreographer Greg Zane, putting his imprint on the musical that launched his career three decades ago.
Zane played Paul San Marco on the same stage, where he was mentored by the late Tommy Aguilar, so there’s an unstated passing-of-the-torch tradition, with Dwayne Sakaguchi in his career-charismatic turn as the same emotional and conflicted wannabe Paul. Oh, this version must be blessed from heaven.
At age 46 (“A Chorus Line” — which originally ran for 6,137 performances from April 16, 1975 to April 28, 1990 at the Shubert Theatre on Broadway — may seem dated but it joyously captures the angst of line dancers aching to land a role, in Michael Bennett’s incredulous homage to stage gypsies. “ACL” had a first revival Broadway reboot in 2006 and again in 2008. So in stage annals, she’s sort of a senior citizen, earning Tonys and even a Pulitzer Prize for Drama, and in its time frame, was the longest running American musical.
Ageism doesn’t exist in this show, which still has legs and heart and emotions and regrets – stuff from real life – and it’s only “dated” because it has a proud history and a spirit that doesn’t quit. First time or fifth time, “A Chorus Line” offers a genuine flavor of what it feels like trying out for a show.
The chorus line in “A Chorus Line,” now playing at Diamond Head Theatre. NOTE: 7:30p.m. performance Aug.5 just added — only show with available tickets. Book ASAP before all sold.
The production boasts resources unseen (creator Bennett’s genius, music by Marvin Hamlisch, and a book by James Kirkwood and Nicholas Dante, with lyrics by Edward Kleban) and rituals perpetuated because of the Aguilar/Zane/Sakaguchi connections.
Aguilar, who died of AIDS, has endured as an unofficial local because of his love and the imprint he left on Hawaii actors and dancers. His aura clearly exists in this mounting, though he doesn’t have credit in the online playbill for “inspiration,” which matters very much.
With musical direction by Melina Lillios, encircling the rigorous process of actors auditioning for a show, “ACL” is rich and pure – a metaphor for life – yet simple and satisfying with notions and niceties about their lives and aspiration.
A director Zach (Norm Dabalos, commanding but sometimes threatening, presumably inspired by Bennett’s ways and means) is seeking four guys and four gals from a field of gypsies, who roam from one tryout to another, no matter what.
The process is everything here. Well, prowess, too.
Cassie (Kira Mahealani Stone) becomes a focus of friction; she has had a relationship with Zach, who thinks she can do better than becoming a chorus girl, but, well, she needs a job, something, anything, because role-hunting is in her DNA, and with certainty, she is one of the community of ensemble actors seeking parts in a show we won’t see. She might be exceptional (Stone is riveting, transforming and persuasive in her big solo, “The Music and the Mirror,” but is struggling to be equal and ordinary, like her peers). For the record, no one has dared to do a sequel – “Two”? – because the one-ness is at the core of this show, punctuated by the show-closing “One,” the singularly sensational finale formation that is the trademark of “ACL”.
When Diana (Emily North, supposedly Puerto Rican and brutally honest) sings “Nothing” and feels nothing; she is reacting to moments foreign in her life, like swooshing through snow in her improv moment. Her truths bloom later when she belts out a heart-wrenching “What I Did for Love,” the anthem of theater folks who truly spend a lot of time for the love of the job, with very little regret.
The tapestry of hopefuls and dreamers include hilarious morsels, punctuated with authenticity in numbers like “I Hope I Get It,” “I Can Do That,” with singularly sensuous confessions from the sexy and aggressive Sheila (Lauren Teruya, gorgeous and effusive), the Hollywood wannabe Bobby (Marcus Stanger, hilariously confident), the tormented Val (Jody Bill, whose T&A lament is a showstopper), and the supportive couple Kristine and Al (Alexandra Zinov and Jared Paakaula, proud and bound by obvious love).
Imperfect bodies, broken relationships, perseverance and personal revelations are part of the chemistry here. The expressions are pieces of this theatrical puzzle, collected by creator Bennett when he interviewed and taped actual actors spewing out their inner feelings about life and auditions.
Costume designer Karen G. Wolfe has cherry-picked audition garb with a keen eye, and reflection works wonderfully – she includes a tkts T-shirt for Al, a multi-hued top for Diana, and that red hoodie for Paul, signatures from the original show.
Sakaguchi’s monologue, recapping his sexuality and his relationship with his parents, is the exclamation point of the evening, rich in detail, honest in delivery, and fueled with passionate emotions. If you don’t get watery eyes, you must be dead.
And yes, the “One” finale, where all the dancers line up in glittering gold-and-white costumes capped with the iconic top hats, is deliverance with dedication — with riveting precision, visible professionalism and sums up the essence of the show. They can do it; chorus liners are stars, too.
In the tradition of “A Chorus Line,” there is no intermission and no curtain call. Thus, no opportunity for spectators to render that standing ovation.
When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, 4 p.m. Sundays, extended through Aug. 8 Sold out. Note: 7:30 p.m. performance Thursday Aug. 5 just added; only show with ticket availability, but buy ASAP, or will be sold out, too.
When the 73rd annual Primetime Emmy Awards are staged Sept. 19 on CBS, the competition will feel like a Tony Awards evening because of a range Broadway stars dominating the list of nominees. A few already have claimed a Tony.
“Hamilton,” the mega-hit musical on the Great White Way, nabbed 12 nominations for the widely applauded televised reboot of a filmed performance streamed on Disney+ earlier this year.
Notable previous Tony winners are among the top nominees, as the taped movie of a stage production has been deemed worthy of consideration in the limited or anthology series or movies.
Thus, key “Hamilton” talent, most of them original cast members of the Broadway hit, are vying for Emmys:
Lin-Manuel Miranda, creator of “Hamilton,” was the titular star on Broadway and on film.
Outstanding Lead Actor in a Limited or Anthology Series or Movie: Lin-Manuel Miranda and Leslie Odom.
Outstanding Supporting Actress in Anthology or Movie: Renee Elise Goldsberry and Phillipa Soo.
Outstanding Supporting Actor in Anthology or Movie: Daveed Diggs,Jonathan Groff and Anthony Ramos.
Outstanding Variety Special (Pre-recorded): “Hamilton” and “David Byrne’s American Utopia” (released on HBO/HBO Max
Among other Broadway troupers in contention:
Outstanding Lead Actor in a Drama Series: Billy Porter in “Pose.”
Outstanding Lead Actress in a Drama: Mj Rodriguez in “Pose.” (The first trans woman nominated).
Outstanding Drama Series: “Pose.”
Guest Appearance in a Series: Bernadette Peters, on “Zoey’s Extraordinary Playlist.”
Outstanding Lead Actress in a Limited or Anthology: Cynthia Erivo, for “Genius,” portraying Aretha Franklin.
Uzo Abuda, “In Treatment.”
Allison Janney, in “Mom.”
John Lithgow, in “Perry Mason.”
William H. Macy, in “Shame.”
Ewan McGreggor, in “Halston.”
Phyllicia Rashad, in “This Is Us.”
Josh O’Conner, in “The Crown.”
Ashley Park, in “Emily in Paris.”
“Tina,” HBO’s documentary, with clips from the Broadway musical on Tina Turner’s life, for Outstanding Documentary or Non-Fiction Special.
Robert Lopez and Kristen Anderson-Lopez, for Original Music and Lyrics for “WandaVision.”
David Rockwell, for Outstanding Production for a Variety Special, for his work on the televised 2020 Academy Awards.
Numerous Broadway talent also performed on “Dolly Parton’s Christmas on the Square,” vying for Outstanding Television Movie. And Marc Shaiman provided an original song in “Soundtrack of Our Lives.” …
To reiterate, this is not a full compilation of nominees; the focus here is on the community of Broadway troupers in contention for Emmys; if some or many win, Tony wins, too. …
Make your own ‘A Chorus Line’ playbill
If you’re attending the opening performance of “A Chorus Line,” or any of the shows through Aug. 8 at Diamond Head Theatre, I suggest you make your own playbill and bring it with you.
Download and make your own playbill.
The pandemic has eliminated hand-out playbills that list songs, production credits, and cast list with photos to help identify the performers and backstage artists.
I know, DHT should have published the usual program as a salute to its cast and an amenity to its playgoers, but throughout this coronavirus cloud, we’ve all have had to do what we need to do to enjoy the disruptions and challenges of getting through this malady.
How to create your own playbill? Go to the DHT website; if you ordered tickets, you should have received a note about downloading the credits. Do so; print out the pages, then assemble in the sequence required. I stapled the pages and cut off unwanted borders, and covered the stapled edge with washi tape (Scotch tape will do), mostly to avoid knicks from the pointy metallic staples on the spine, Voila, you’ll have a playbill to peruse.
You’ll likely have the urge to peek to see who’s who and when; you’ll sure to be curious about an actor, singer, or dancer.
Additional advice: “A Chorus Line” runs 2 hours, without an intermission (the show is programmed that way) so do your bathroom before curtain or afterwards. Social distancing protocols are in place, mandating seats and empty spaces. But for all practical purposes, each show will be “sold out.”
To director-choreographer Greg Zane and his cast, “break a leg!”…
It took several weeks, and a concerted effort to score a table, to sample the menu and ambiance at Chef Chai Chaowasari’s newest Waikliki eatery, KALO Hawaiian Food.
KALO Hawaiian Food entry door is located on the Kuhio Avenue side of the Courtyard by Marriott Hotel.
In the heart of Waikiki, on the ground floor of the Courtyard by Marriott Waikiki Beach, it’s located at a busy intersection at Royal Hawaiian and Kuhio Avenues.
The restaurant has a casual vibe and projects similarities with Chai’s Bistro, the signature eatery on Kapiolani Boulevard, across nearby Blaisdell Center.
Hawaiian sampler: front, kalua pig; chicken long rice, pipikaula; rear, lomi salmon, poi, ahi poke and a bowl of rice.
There’s indoor and outdoor dining space. The menu is extensive but confusing, because our waiter said the best way to order is to select your entrée first (lau lau is the centerpiece of of the fare), then do the add-ons.
Since KALO is the Hawaiian word for taro, the staple starch in Hawaiian culture, and the focus of the restaurant, one might be somewhat puzzled that there are a couple of non-Hawaiian signature dishes – primarily the excellent steamed sea bass, from the Bistro’s menu, along with island style BBQ chicken, lobster curry and oxtail soup.
And it becomes understandable why.
Lau lau: flavorful with pork, cuddled by taro leaves.
While a Hawaiian menu might seem like a surefire hit in visitor central, there were perhaps three tables of visitors who might have wanted to sample a Hawaiian menu who perused the choices…then decided to leave. Confused by choices? Prices? Not adventurous to try Hawaiian food?
Understandably, luau kau kau should entice more visitors but the hesitancy seems odd. A primer might be handy; this is not the kau kau served at luau shows here because no matter what, poi should be a gotta-try but winds up not particularly likeable (though small) element of the visitor dining experience here. The fish and the BBQ chicken might be the go-to items, since these are stand-along entrees that do not need starters.
Uncertainty is a possible villain here, since the menu seems still a work in progress.
What’s good: the lau lau entrée (moist and chockful of pork flavor) and the haupia dessert (a sweet climax).
But you get neither in a $45 sampler that includes small portions of kalua pig (too dry), lomi salmon (too much lomi, not enough salmon), ahi poke (familiar flavors and a satisfactory portion for newbies), chicken long rice (pleasant taste, but the rice noodles are almost as large as udon, not the usual thin variety), pipikaula (looks better than it tastes, sinewy and tough to chew), poi (very tiny portion) and rice (too flaky, like Chinese restaurant fare, when it should be the customary rice you get two scoops of at nearly every other joint).
I adore and applaud Chai’s endeavors of the past, from his original Thai menu up to his Bistro selections, but KALO shouts for his immediate and inevitable adjustments.
It seems sensible to bump the marginal kalua pig and even the rice, and substitute with a very mini lau lau like the one Willows used to serve in its buffet; large enough to enjoy the flavors and texture of taro leaf cuddling pork. That would add value to the $45 pricetag.
The sampler is enough to share with a partner; I ordered the lau lau while my wife opted for the succulent steamed bass. The sampler provided her “sides.” (Two other couples in our party did the same thing, selecting the mixed mini-plates). Because haupia is something most folks seldom make at home, I ordered a larger portion, enough to share; the dessert was sweet and moist, with the precise creamy texture.
And who doesn’t like pipikaula? A better grade of meat would ramp up its appeal and be a worthy sider/starter at $22.
What’s worrisome: if locals don’t give a stamp of approval of the fare here, they won’t make a trek to Waikiki to give it a try; visitors are already in Waikiki, and by ramping up flavors or elevating some of the fare, they’ll help spread the word that KALO is the real deal.
The interior dining space is airy and modern with views of both avenues and visitors wandering; there is splendid old-fashioned Hawaiian music, which transforms you to another era in a simpler Hawaii, if you close your eyes. The walls have images of island folks and places.
The $52 steak and lobster curry choices on a Hawaiian menu seem out of place but serve as life savers in case of an emergency; surely Chai knows his way around his exotic flavors and plating, and these options appear to cater to those who dodge the traditional Hawaiian dishes. Chai also sneaks in his delectable flan and familiar heart-shaped chocolate/gelato truffle desserts, for brownie points. But the question is: why visit a Hawaiian food restaurant if you order alternatives
*. *. * *. *. *. *
KALO HAWAIIAN FOOD
Hours:4:30 to 10 p.m. daily
Location: 400 Royal Hawaiian Avenue,
at Kuhio Avenue, on the ground floor of the Courtyard by Marriott Waikiki Beach
Valet parking: $6 with validation, access via Royal Hawaiian Avenue
