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Call this an airport do’s-and-don’t’s primer. Because I will be traveling shortly, I did a quick check on matters travelers should know and do when flying this summer, and sharing here.

Airlines and airports are not created equally, so travelers must be aware about certain rules and regs.

All kinds of deadlines and policies exist:

• It’s safer and saner to arrive early than late. For domestic flights, arriving two hours early is the norm, three hours for international flights. Know your carrier’s rules, so you don’t miss your flight. If It’s a notably busy airport, add an hour to your plans.

• There’s a cut-off time for checked bags, and also when a plane is anticipating departure, gate staff closes its door generally 15 to 20 minutes before flight time. If you’re tardy, you won’t be able to board.
• Arriving too early ahead of your flight time could prevent you from checking in luggage or checking in at the ticket counter for a flight; the rule for check-in is four hours before your departure flight.
• To get your boarding pass and to avoid potential long lines at the ticket counter, check in online 24 hours before your flight (for most airlines). You can transfer your boarding pass onto your phone or print it at home before you leave for the airport.

• If you have checked luggage, you will need to take it to the luggage drop-off area by the ticket counter. If you have your boarding pass but have not yet checked your bags, seek a sky cap for assistance.
• If you have special needs or travel issues, such as handicapped assistance, seek an agent for help.
• Remember, curbside check-in no longer is available but if you have your boarding pass, or your ticketing reference code number, an available agent, at a check-in kiosk, can provide valuable aid that dodges the ticket counter lines.
• Download your airline’s mobile app to simplify check-in procedures; this also will assure you receipt of updates on departure times, gate changes, and other relevant data.

• Remain close to your departure gate, to hear flight delays or gate changes. Don’t wander far away from the gate, or you may miss valuable announcements. You don’t want to return from the magazine concessionaire only to find no one at your gate, then have to scoot eight gates away to board your plane.
• Regularly check airport monitors for your gate and flight; when passengers are boarding, there normally will be a flashing light. Run, don’t walk, if you’re not nearby your gate.

• If you’re traveling alone, never leave your roll-aboard unattended. Find a friendly soul to watch your bag, or an airport official could confiscate bag as a security risk. Further, carry your boarding pass on your body, not hidden in a zippered pocket of your carry-on, for obvious reasons.

• The water bottle issue is simple: if you buy a bottle of water, wait till you clear TSA. If you have water, TSA will make you pour it out. Better to carry an empty bottle to fill with water from dispenser faucets throughout the gate areas.
• I’ve heard of food stuff, like bottles jelly or jam, being confiscated from your roll-aboard, at  the TSA checkpoint because they may appear as water in the X-ray process; better to have bottles securely packed and stowed in your checked-in luggage.

Bon voyage!

Confession: I am a biased home towner, and a fan of Ruthie Ann Miles, a Kaimuki High grad who’s made her mark on Broadway. On a national note, she shared her powerful and luminous presence in last Sunday’s (May 26) Memorial Day Concert televised on PBS.

You can take the girl out of Hawaii, but you can’t take Hawaii out of the girl, for sure.

Mile’s poignant and melancholic version of “Aloha Oe,” the indelible composition by Queen Lililiuokalani, triggered wet eyes and pumping hearts to listeners at the nation’s capital as well as home TV viewers. I declare it’s the best-ever delivery of the 1878 creation by Liliu, Hawaii’s most prolific politico and composer of her time.

Lord, if only the queen could have heard this exquisite version,

Miles’s honest, engaging delivery, with the customary Hawaiian and English lyrics, was unexpectedly interrupted by her struggle to cope with the emotion of the moment, which briefly choked her, making her miss a word of two, but honestly, this made her performance even more genuine.  “Aloha Oe,” originally intended as a political tune, has emerged over the decades as a melancholic song of farewell, but in the real time of her performance, it was a suitable, tearful and eloquent song of parting in memory of American lives lost in battle, and dedicated to Gold Star Families.

Miles, 41, has become a popular and prolific Broadway singer-actress, who rightfully earned a Tony Award as Featured Actress in a Musical, in 2019’s “The King and I,” portraying Madame Thiang. Saw her in that splendid performance, and she was stunning last summer as The Beggar Woman (she was a Tony nominee) in the Tony-winning “Sweeney Todd: :the Demon Barber of Fleet Street.”

She earned her stripes and earned a Theatre World Award and a Lucille Lortel Award when she starred as Imelda Marcos in the 2013 “Here Lies Love” at The Public Theatre. That performance put her on the map.

Miles now is a much-in-demand actress in New York; producers of the revival of “Here Lies Love” at the Broadway Theatre last summer wanted her to recreate the Imelda role, but she was already committed to “Sweeney Todd.”  Her participation might’ve kept the show running instead of a premature shuttering.

She recreated the Thiang role when “The King and I” moved to the Palladium Theatre in London’s West End. Back in New York, Miles also had brief runs in “The Light in the Piazza” in 2023 and “A Little Night Music” in 2024, in New York.

If you missed Miles and the Memorial Day Concert, PBS plans to have it available for belated viewing through June 9, before saying Aloha Oe. Tune in, and you’ll applaud the mighty Miles…

Kapena group marking 40^th anniversary

Kelly Boy  DeLima will mark his 40^th anniversary with a concert at 6 p.m. Aug. 31 at the Tom  Moffatt Waikiki Shell.

His original bandmates, Tiva Tatofi and Timo Tatofi, will reunite with DeLima. The Tongan brothers were succeeded by DeLima’s three children, who expanded the family group’s repertoire to include everything from pop, Hawaiian, reggae and rock.

2024 ticket prices are $164 for pool area seats, $117 for front terrace, $89 for back terrace and $61 for lawn seats.

Tickets are available at www.ticketmaster.clm or www.hifinest.com/kapena …

The numbers game…

OK, plain and simple: 34 is the new 45.

I imagine an entrepreneur already is printing a new tee shirt…

And that’s Show Biz…

“Death of a Salesman,” Arthur Miller’s riveting drama about a hardworking salesman who believes in the elusive and  evasive American dream, who ultimately becomes engulfed in a harrowing nightmare instead.

Willy Loman’s devotion and dedication to work hard … doesn’t pan out.

Dwight Martin plays Loman in Manoa Valley Theatre’s latest revival of the work, and Martin is splendid and credible and hits all the right notes. He makes you feel his passion and his agony. His quest to achieve is commendable, but his  American dream lacks a streak of reality; desire is only part of the equation. 

The script reflects a dysfunctional and contentious family on the brink of losing everything Willy lives for and dreams of. Thus, it’s a tragedy.

Wife Linda Loman (Amy K. Sullivan, very effusive) is a supporter and cheerleader of Willy, who brings home the bacon. She nudges sons Biff Loman (Matthew Miller, who tries hard but fails to achieve), a high school dropout and uncertain of a job yet,  and Happy Loman (Thomas T.C. Smith), who lives up to his character’s name, a bit more settled with a gig in a business venture to try to do good.

The fact that the lads are in their 30s and living at home after being away is an indication of another family issue, of finances and space. It’s a familiar situation in real life, so there are  truthful pangs and pathos in some of the laments in the Loman household.

The Lomans, from left: Matthew Miller as Biff, Dwight Martin as Willy, Amy K. Sullivan as Linda, and Thomas T.C. Smith as Happy.

The Lomans are residing in Boston, as the play unfolds in the 1940s,  and Willy – getting on his years, loyal to the core to his job but tired of the lonely and dangerous commutes –pleads to his boss Howard (Dan Connell, unsympathetic)  for a more stable work environment in the main office in New York. Instead, Willy is fired, dashing his hope and diminishing his worth.

He confesses to his wife that he often drives his car off the road, an accident waiting to happen. It’s not a spoiler, when “death” is in the title of the play.

Willy’s deterioration is painful to watch. He loses confidence, and his sanity is a slippery slope, since his mind is going, too, and the  meagre money he makes is gobbled up by bills he can’t afford to pay, and worst of all, he loses his dignity.

Tolerant and supportive early on, Linda eventually becomes part of the family bickering and shout-outs because Willy is off the charts himself. Depression becomes his middle name.

It’s hurtful to witness and accept his obsolescence, knowing his shining luster in early days has turned into unconscionable rust. Domestically, he feuds with his wife and kids, and a family at war is destined to implode. And Biff, who boasts he can handily land a job, doesn’t, which means Willy isn’t the sole failure.

Director Linda Johnson projects familial bonding with warmth and spirit, but as the friction and fall-outs mount, the pace is somewhat choreographic, moving around Michelle A. Bisbee’s functional, minimalist set (downstairs kitchen, with simple sets of tables and chairs). The home has upstairs bedrooms, but this is a home without a comfy sofa

Lighting by Janine Myers and sound by Sarah Velasco are conservative, suiting the unfancy setting; costumes by Kanani Sato and hair and makeup by Lisa Ponce de Leon maintain simplicity with no hints of the ‘40s.

A disclosure: The themes of mental health and suicide depicted in the play may be tough to experience, so be forewarned; however, due to the era, neither dementia nor Alzheimer’s are mentioned in the script…

‘Death of a Salesman’

A drama by Arthur Miller, which can be described as a tragedy, about a luckless salesman getting on in his years, who dreams the American dream, which eludes him.

Where: Manoa Valley Theatre.

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays and Sundays, extended through June 9; add-on performances are at 7:30 p.m. June 8 and 3 p.m. June 9.

Tickets: $25 to $46, at (808) 988-6131.

Broadway grosses, week ending May 26

Two long-running musicals perched at the top of the weekly compilation of Broadway musicals, three recent arrivals have found their places as future contenders.,

The Top 10:

1—”The Lion King,” $2,220 million.

2—“Wicked,” $2,003 million.

3—“Hamilton,” $1,801 million.

4—“Cabaret at the Kit Kat Club,” $1,721 million.

5—“Merrily We Roll Along,” $1,612 million.

6—“Hell’s Kitchen,” $1,554 million.

7—“MJ, the Musical,” $1,500 million.

8—“The Wiz,” $1,475 million.

9—“Aladdin,” $1,356 million.

10—“Harry Potter and the Cursed Child,” $1,222 million.

The complete list, courtesy the Broadway Guild:

And that’s Show Biz…

A goal helps the medicine go down

Sometimes you need to set a goal in the road to wellness.

I’ve gone through two rough months recently; March and April were tough and challenging, with an insistent flu bug and/or cold virus that wouldn’t stop and brought me recurring fever, headaches, coughs, a runny nose and, yes, duress and perhaps distress.

On a day that I felt I was in the gutters,  I remembered  what one of my doctors at Queen’s Medical Center told me last summer: the road to wellness requires a goal, which serves as an incentive to go-for-broke and embrace it, because if you have a destination, it’s beneficial in your struggle to get well.

So, on a day I felt lousy, I checked with my wife Vi, about suitable travel dates, and that was enough of a nudge I needed. A fever and sore throat didn’t matter; I went to my computer, searched for, and booked, a roundtrip flight to New York, and quickly secured a hotel room. I felt my temperature going down when the confirmations trickled in.  

I haven’t felt better since. Sorry, chicken soup, but that doc was right:  the best medicine for feeling better was a positive goal. The mission is not yet accomplished, but booking the trip and finalizing the itinerary were booster shots I needed.

Further, my primary physician kindly did two Face Time chats and he also prescribed antibiotics and meds to help ease and address my struggles with mucus that came up when I coughed, and he followed up with a wellness telephonic check.

The fever has subsided, the coughs minimized, so I finally added to my goals regular at-home exercises I learned at OrthoSport earlier; the exercise regimen helps strengthen my legs and address my lower back pain; the benefit here is that some of the workouts can be done horizontally, while lying in bed.

I continue to have mobility issues –  still not stable on my legs – so Mr. Walker (my walker)  will make his first New York trip, joining Mr. Wheelchair (a power chair I’m renting) and Mr. Cane (my trusty standby).

Truly, I need all the help I can get to navigate the uneven sidewalks and streets in the Theater District. The excitement is mounting.

When I’m on Broadway, as my friends know, I see as many shows I can attend on the limited timetable there. That said, I booked eight shows, with a pal of mine joining us for three productions (one matinee, two evenings) over two days. So, it will be a tad frantic. But fun!

As my doc said,  you gotta have a plan. Goals  matter…

And that’s Show Biz…

Vinyl records will likely be the center of attraction at Hungry Ear Records’ Hawaii Record Fair 2024 from 9 a.m. to 3 p.m. Saturday (June 1) at The Barn at SALT at Our Kakaako, 327 Keawe St.

And it’s the first time, since 2019, that Hungry Ear is scheduling its Record Fair, clearly one of the best events to acquire collectible music from all platforms.

Admission depends on time: $5 from 10 a.m. to 1 p.m. (children under 12 free), and $25 for early birds, from 9 to 10 a.m. It’s free, from 1 to 3 p.m.

Vendors and music fans will convene to buy, sell, and trade at the island’s largest assembly of music media, old and new, including vinyl records, compact discs, cassettes, stereo equipment, and music memorabilia.

“With the resurgence of physical media, primarily vinyl records, The Hawaii Record Fair is the perfect way for record collectors young and old to meet up with other like-minded music enthusiasts and have a chance to buy, sell or trade both classic and new vinyl records, from The Beatles to Taylor Swift all under one roof,” said Jim Williams, manager-buyer for Hungry Ear’s record fair.

He said the event will draw more than 30 sellers, with wares to sell in all physical music formats, including classic vinyl records now enjoying new appeal among collectors, compact discs, even  outdated cassette tapes, reel-to-reel tapes, eight-track tapes, plus stereo equipment, and music memorabilia.

Like book sales, someone’s trash will be another one’s treasure, and with musical tastes ranging from rock to classical, from country to Hawaiian, the sky’s the limit.

Door Prizes donated by both local and national companies will be drawn throughout the day.

Ward Yamashita still is proprietor of Hungry Ear Records.

Information: www.hungryear.com, (808) 262-2175, email at www.hawaiirecordfair@gmail.com

‘NCIS: Hawaii’ is pau, no reboot planned

Since the cancellation of “NCIS: Hawaii”  — which completed filming three seasons in the islands here – there’s been a myriad of disappointment, desperate hopes  of a relaunch, dismay about unfairness and even conspiracy theories.

The latest is a fruitless notion of snubbing “NCIS: Origins,” the prequel of the Mark Harmon  character Leroy Jethro Gibbs in his youthful and formative years, because it will occupy a slot on the “NCIS” season this fall.

The reality is nothing is forever in prime-time TV, but the dismissal of “Hawaii” was somewhat unexpected. The then-newest spinoff of the “NCIS” franchise seemed to be in the driver’s seat, when two CBS procedurals were not yet tapped for a return this hall.
“Hawaii” was one; the other was “S.W.A.T.,” which was canceled for maybe a week but strangely uncancelled, which became an indicator that our Pearl Harbor-based crimefighting team was not going to be around too much longer.

CBS authorities suggested production costs are high, and that’s true, when you shoot in Honolulu. Yet these budget watchers proceed to relaunch the popular duo from the original “NCIS” team, Tony DiNozzo and Ziva David (Michael Weatherly and Cote de Pablo), to star in their new, untested series, “NCIS: Tony and Ziva,” set to film in Europe, where production tariffs surely will costlier than Hawaii. The new show won’t be part of primetime but will screen on Paramount+ instead. Go figure.

Loyal “Hawaii” fans thought perhaps their beloved procedural could jump networks and move to NBC, like CBS’ “Magnum P.I.”  which was rescued for half-a-season. A similar path would have been impossible, since “Magnum” had six episodes in the can to fill a slot that NBC had. No such vacancy existed now, to try to do the same network jump, not without a back-up of shows in the can.

For Vanessa Lachey and cast, the cruelty is that the actors could not do a proper farewell show, simply because the final episode already was complete.

The ethical solution is for a new team of writers to create a new brand to film in the paradise we call Hawaii. OK, Lachey might be the cheerleader for something like this, but I’m certain her aloha is long gone for now…

Broadway grosses, for the week ending May 19

A host of new Broadway shows are joining the Top10.

Consider:

1–“The Lion King,” $2,030 million.

 2–“Cabaret at the Kit Kat Club,” $1,965 million.

 3–“Hamilton,” $1,858 million.

 4–“Wicked,” $1,847 million.

5–“Merrily We Roll Along,” $1,582 million,

 6–“Hell’s Kitchen,” $1,557 million.

7–“MJ the Musical,” $1,523 million.

 8–“The Wiz,” $1,497 million.

 9–“The Great Gatsby,” $1,279 million.

10—”Aladdin,” $1,273 million.

The entire list, courtesy the Broadway Guild:

And that’s Show Biz…