There aren’t a lot of breakfast sites in East Oahu, since the Kahala Zippy’s closed a month ago for a renovation project that hopefully will be completed in June later this year.
The likes of McDonald’s or Jack in the Box won’t do, when you want to gather with friends and/or colleagues to discuss business or simply catch up with idle talk.
Scratch in Hawaii Kai near Roy’s might have been an ideal destination, with ample space to park and chit-chat. However, few liked the restaurant’s menu, and worse, the mid-morning start was a major negative. And Koa Pancake House has a conventional menu, but it’s more of a take-out joint than a sit-down-and-chat-and-dine place.
Yes, Jack’s in Aina Haina, a decades-long favorite with a decent family menu (yes, and the grilled biscuit with honey butter is a trademark) has been a reliable and popular place, but it’s often filled to the max especially on weekends and some holidays.
bEASTside Kitchen at Niu Valley,
I even tried breakfast with a friend, then with a group of four, at Heavenly, which has a divine new menu, too, notably a pineapple pancake selection and kal bi with fried egg option. A little upscale, but divinity has a price.
But I finally discovered the “new” breakfast regime at bEASTside Kitchen, next to Gyotaku in the Niu Valley Shopping Center. This place opened a while back, tried breakfast and abandoned it, and it’s known for its comfort food and weeknight entertainment and parties. A renovation included a spanky new bar and a section with high tables and stools I imagine the concert crowd would adore. TV screens are tuned to local news, during early morning breakfast.
bEASTside’s $10 breakfast is a loss-leader…with Arabiki sausage!
At breakfast time – from 7:30 a.m. to 2 p.m. – there’s room to stretch and explore a dandy menu for early risers and diners. I’ve been there twice in the past three weeks, once with a friend and the other instance with my wife. We liked the “quiet” of the place and the ample menu that matches Zippy’s any day. OK, no fried chicken or Zip-min or chili like the Z-brand, but bEASTside (the peculiar spelling with upper case letters is deliberate, because it is an East-side eatery).
The ample menu boasts that $10 (regular, $14) but options like avocado toast, bagel and kal-bi.
The morning secret is a loss-leader of sorts. The Island-Style Breakfast offers the customary two eggs, any style, and a choice of meat ranging from bacon, Spam, link sausage and Portuguese sausage, and a rarity – Arabiki sausage. You know, the one that pops when you bite it. The regular price is $14, but it’s been $10 the times I visited. That’s an $8 saving!
And a huge cup of coffee is included,
And guess what, a huge cup of coffee – don’t recall the cost – is included in the $10 meal. If you’re ono for a pork adobo hash patty, add $3 more.
Further, if you sip coffee quickly, you get a fill-up. Twice, if you’re a huge cuppa-Joe fan.
Robert Cazimero’s “A Ko‘olau Au,” his two-show spectacle Sunday (March 22) at Paliku Theatre at the Windward Community College, was a luminous, ambitious endeavor saluting the Ko‘olaus and the Windward side.
On a rainy, wet day, this was a sunny diversion, jam-packed with Hawaiian artistry and mele.
Robert Cazimero, at the keyboard, in Paliku Theatre show.
Cazimero, kumu hula of hālau Nā Kamalei O Lililehua, assembled his dancing and singing gents performing hula kahiko and ‘auana. The afternoon resembled his pair of shows last October at the Leeward Community College Theatre, when Cazimero performed a matinee and evening concerts in a fund-raiser that celebrated the hula hālau’s victory in last year’s Merrie Monarch Festival.
Because I didn’t request a playlist of performance numbers at Paliku, this reflection won’t provide specific titles of oli or mele in the impressive and innovative program with a cache of superb guest artists.
The m.o. (modus operandi) seemed to be, if kumu asks, you come without hesitation. How else could he assemble such first-class guests with repertoire to share?
Kumu hula Vicky Holt Takamine
Then again, Cazimero’s degree of excellence is well known and his peers share that kind of allure, so they participate as honorable guests. Take the four guest kumu hula: Vicky Holt Takamine of Hālau Pua Ali‘i (aka Pa‘i Foundation), Mapuna di Silva of Hālau Mohala ‘Ilima, Kuana Torres Kahele of Hālau Māluakiʻiwailehua (and allied with four other groups), and Michael Lanakila Casupang of Mid Pacific Institute’s student hālau Pupukahi I Ke Alo Na Pua.
Mid-Pacific Institute dancers, in modern hula moment.,
Casupang’s MPI dancers are unique, comprised of students in grades 9 through 12, and rendering a stunning style, combining kahiko with modern style often with balletic moves.
Jerry Santos with papale.
The show’s most popular guest had to be Jerry Santos of Olomana, performing with his usual ally, Kamuela Kimokeo. And the most popular tune clearly had to be Santos’s “E Kuu Home O Kahalu‘u,” with its taunting, prolong slack key guitar intro. The twosome also shared another Olomana classic, “E Kuu Sweet Lei Po‘ina Ole” with finesse. Note to Uncle Jerry, who’s been donning a papale in shows: Better to take off, bro, ‘cuz cannot see your face ‘neath the shadow.
As a hana hou or sorts, veteran hula soloist Kanoe Kaumeheiwa Miller – who performed in Cazimero’s October Leeward shows – returned for a quick dance. And this factoid will follow her through life: she is the only wahine who is officially one of the “boys” of Nā Kamalei, because of a long-time friendship with kumu. Besides, she’s great – she used to be the solo hula artist at the Halekulani Hotel, after all.
Na Kamalei gents, in hula ‘auana,.
And the Royal Hawaiian Dancers, hula soloists back in the day when the Brothers Cazimero made appearances at the hotel, so they’re part of the Cazimero history, and Sky Perkins Gora still hulas regularly with RC at his Chef Chai’s performances. And if you’re a Chai’s patron, you’d recognize Keola “Bully” Makaiau, too, in all the ensemble numbers. And if you’ve noticed, a few new, young lads are in the Nā Kamalei line-up and the elder dancer participation are fewer and fewer in these rigorous outings.
Na Kamalei gents, in hula kahiko..
Nā Kamalei troupers continue to impress, with stunning group hula, and always clad in terrific costumes, from aloha shirts to malos. For a kahiko dance, the gents had unique all-black shirts and pants, with black (or very dark brown) kukui nut lei. And some of the guys also performed on ipu, which they mastered while studying hula. Kudos for the fashion show, gents.
The house band was Bob’s Boys, hand-picked musician allies of Cazimero, featuring his Kamehameha Schools best-buddy, Kaipo Hale, plus Richard and Keola. Sorry guys, I still don’t know your last names. But all provide solid support and it’s likely you’re gonna be Cazimero’s regular band.
The Wāhea Foundation sponsored these shows, as they did for the Leeward outings…
“West Side Story,” the seminal and timeless Broadway musical, has been undergoing an unprecidented challenge in its current run.
I saw the splendid Diamond Head Theatre performance Saturday night (March 21), battling a pre-curtain downpour, and the Sunday matinee (March 22) unfolded without incident.
The Jerome Robbins classic on stage and on film hasn’t experienced this kind of bumps in the road that have challenged the DHT company. First, opening night hasn’t happened yet due to the Kona-low weather; it’s set in April, if you have tickets.
Two shows – scheduled as before-opening-extensions of the run – had to be canceled. The earlier Sunday matinee was able to play to an audience, but the theater discovered its roof leaked, providing potential danger for the cast.
But like the industry mantra goes, “the show must go on,” and it’s been operating with caution and fueled by determination. Most ticketed theater-goers have been showing up, rain or not.
“West Side Story” needs no introduction; it’s a love story with gang fights, based on Shakespeare’s “Romeo and Juliet,” with an iconic score by Leonard Bernstein (music) and Stephen Sondheim (lyrics), with book by Arthur Laurents. The vision – and choreography – are by the fabled Jerome Robbins, and theater actors know it takes a whole lot of kicks and leaps, since the production is known for its signature dance fights.
This is the show that introduced “rumble” to the litany of musical comedy.
Damian Chambers is Tony, Relle Reavis is Maria, in “West Side Story.” Photos by Brandon Miyagi, courtesy Diamond Head Theaatre.
Andrew Sakaguchi, director and choreographer, has emerged as a seasoned player on the dark side of the footlights, ably shuffling the enormous task of moving and shaping a company of 27 actors, singers and dancers. He doesn’t fumble the rumble; he maintains confidence and creativity, from the darkly-lit opening fugue among the Jets and the Sharks, to the tearful “Somewhere” moment of tragedy that brings down the curtain.
As Tony, Damian Chambers (with Jonah Guerrero as alternate) brings national creds to the stage, and defines his character with a warm voice and awesome physical stamina. His balcony scene with Maria, played by Relle Reavis (sweetly romantic), proves he’s a gallant beau. They share and project young love on “Tonight,” leading to Maria’s acknowledgement, “J’adore.”
Other roles are well cast, too. Anita (Emi Sampson, great dancer, rich emotion) delivers “America,” with her agile corps of supportive Sharks women. The feuding gang leaders, Riff (Mike Braud) and Bernardo (Dwayne Sakaguchi), are robust and rigorous, in their dance and fight moves.
The Sharks gang, ready to rumble. Photo by Brandon Miyagi, courtesy DHT.
In smaller roles, standouts include Doc (Joe Martyak), the drugstore owner; Officer Krupke (Ioane Camacho), the cop; and Chino (Justin Garde), Bernardo’s friend.
The tech crew’s contributions are noteworthy. DeAnne Kennedy, set designer, utilizes a functional and principal silhouette of a cityscape to “set” the show; and Stephen Clear’s lighting design illuminates the “place.” Michael Minor and La Fa‘amausili-Siliato’s sign design was clicking, until the moment of “squawking” late in the show I saw, undoubtedly corrected by now. Kyle Connor’s props design tapped everything from the grocery to the balcony, from bridal shop to bedroom; Aiko Schick’s hair and make-up design, always faultless, are up to snuff; and Jason Nomura’s musical direction is joyously and jubilantly seductive, flowing and soaring throughout the rich and rousing Bernstein-Sondheim score.
Most theater-goers – director-choreographer Sakaguchi included, as he admits in his director’s notes – are introduced to “West Side Story” via the vintage cinema version. I did, too. “Oklahoma,” too, is another classic musical that lured fans. These shows are challenges for theaters to stage, because of the huge casts, demanding technical challenges, and mostly require the right vision and energy, along with a huge budget to make all the buttons to click. Diamond Head Theatre should be proud to create a production of this caliber. The company persevered, amid the Kona-low rains and winds, and though I joking called this the “Wet Side Story” in a previous column, we in Hawaii always believe that rain brings good luck. But OK, akua, enough already We’ve had all the rain we need for a while. “West Side Story” has survived the storm…
‘West Side Story’
What: a musical by Arthur Lauwents (book), Leonard Bernstein (music), and Stephen Sondheim (lyrics), originally directed and choreographed by visionary Jerome Robbins.
Where: Diamond Head Theatre.
When: Remaining performances at 7 p.m. March 26, 7 :30 p.m. March 27, 3 and 7:30 p.m. March 28, 3 p.m and 7:30 p.m. March 29, 7 p.m. April 2, 7:30 p.m. April 3, 3 and 7:30 p.m. April 4, 3 p.m. April 5, 7 p.m. April 9, 7:30 p.m. April 10, 3 and 7:30 p.m. April 11, 3 p.m. April 12 and 7 p.m. April 16.
Tickets: $43 to $70, at the box office at (808) 733-0274, or online at www.diamondheadtheatre.com
Broadway fans are still wild about ‘Harry’
“Harry Potter and the Cursed Children” continues to sit atop the Broadway charts. It is one of three shows currently in the elite $2 Million Club.
The Top10:
1—”Harry Potter and the Cursed Child,” $2.640 million
2—“Hamilton,” $2.403 million
3—“The Lion King,” 2.001 million
4—“Wicked,” $1.949 million
5—“Just in Time,” $1.871 million
6— “Stranger Things: The First Shadow,” $1.518 million
7—“Every Brilliant Thing,” $1.355 million
8—“MJ the Musical,” $1..333 million
9—“Aladdin,” $1.287 million
10—“The Great Gatsby,” $1.219 million
Here’s the complete list of play grosses for the week ending March 22, courtesy the Broadway League:
Robert Cazimero, the accomplished do-all island entertainer, turns 77 today (March 20). Happy da kine.
He celebrated his birthday last night (March 19), in one of his usual gigs at Chef Chai’s. But he’s been celebrating throughout the month of March, which is the timetable he advocates.
It’s been a banner month for him, and he works (hard) for his money, like the Donna Summer mantra song from yesteryear Consider:
Robert Cazimeero and his “water.”
He’s been rehearsing like crazy, for a two-show gig at 2 and 6 p.m. Sunday (March 22) at Paliku Theatre at Windward Community Theatre. It’s a fund-raiser for his Na Kamalei O Lililehua hula halau. The first show is sold out, and the finale likely will follow suit.
He’s had a bit of a setback last week, followed by a good luck streak last week. He dined at the Kam Bowl Restaurant in Kalihi, and his wallet – with driver’s license, credit cards, and cash – slipped out of his rain jacket and unknowingly fell under a table. He discovered the loss only when he was at a Safeway, unable to pay for his purchase, so headed home, when he noticed his phone was a-buzz with messages. His friends saw a Facebook post by the restaurant, and they were trying to alert him. He ultimately secured his belongings, with contents intact, but he was a bit concerned that his driver’s license was exposed on Facebook. However, he was able to retrieve all his stuff, without the need to replace all the valuable cards in his wallet. Honesty was on his side, for which he was thankful. Perhaps his birthday angel was monitoring his fate.
Kuana Torres Kahalem , on electric bass.
His birthday show at Chai’s was afloat, so to speak, thanks to the continuous flow of “water,” in actuality his favorite champagne. The performance ran nearly two hours, underscored by the vast support of entertainment pals and hula colleagues. Kuana Torres Kahale, his Hawaiiana buddy, flew in from Hilo, to join Cazimero in concert, playing electric bass, singing harmony and frequently lead, in a stunning demonstration of developing brotherhood, in a sense replacing the void and loss of bro Roland Cazimero.
Kumu Vicky Holt Takamine, doing a hula.
Hula dancers Sky PerkinsGora and Keola “Buddy” Makaiau did perhaps two solo dances, because of the volley of peer stylists tapped to share periodic hula in the aisles. These included impressive halau dancers, male and female, including legendary kumu Vicky Holt Takamine who rendered several lead dances. Singer Marlene Sai was a notable spectator. The bottom line: there was much love and loyalty and artistry in the ranks…
Manoa Valley’s ‘Spring Awakening’ opens
Mānoa Valley Theatre “Spring Awakening” opened last night (March 19) for a run through April 5..
The gritty rock musical, set in late 19th century Germany, explores the turbulent journey of adolescent sexuality and self-discovery. The adult themes suggest this is not for young audiences,
A group of teenagers navigate their inherent desires amid strict social pressures and a lack of adult guidance, resulting in powerful, often dark, coming-of-age themes. Mature subject matter prevails, including depictions of suicide, sexual assault, domestic violence, abortion, and sexuality.
A contemporary rock score features music by Duncan Sheik, and the show is based on the play by Frank Wedekind, with book and lyrics by Steven Sater.
The MVT cast features isaiah Gunderman Graham(Melchior), Amy K. Sullivan (Adult Woman), Mathias Maas (Adult Man), Ainsley Shearer (Wendla), Nikki Bagaw (Martha), Marie Chiyo Staples (Thea), Gina Miyazaki (Anna), Myla Pellegrini (Ilse), Casey Lauti (Ernst), Maya Joyce (Georg,) Chad Navarro (Otto/Rupert) Andrew Cheng (ensemble/Bobby/Reinhold), Kevin Molina (ensemble/Ulbrecht), Victoria Chang (ensemble/Marianna), Juliette Moody (ensemble/Frieda), and Cayden Park (ensemble/Liesel). I
The production team includes Lurana Donnels O’Malley (director),Jenny Shiroma (music director), Jonathan Clarke Sypert (choregrapher/inimacy coordinator), Stacey Pulmano (assistant director), ErichSableinwandt-Gudoy ( stage manager), Aly Sutton (assistant stage manager), Teia O’Malley (set designer), Willie Sabel (technical director/scenic artist), Janine Myers (lighting designer/master electrician), Tim Manamtam and Sarah Velasco (sound designers), Ka‘iukapu Baker (costume designer), Lisa Ponce de Leon (hair and makeup designer)r (Kelley Belle (props designer), Rehearsal Assistant – Denise-Aiko Chinen (rehearsal assistant), and– Amber Lehua Baker (costume shop supervisor).
Performances are at 7:30 p.m. Thursdays, Fridays and Saturdays, at 3 p.m. Sundays, with a special 3 p.m. matinee on March 28.
Tickets are $25 to $47, available via phone at (808) 988-6131, or online at manoavalleytheatre.com.
Diamond Head Theatre’s 2026-27 season will be an all-musical affair, featuring four favorite classics and two Hawaii premieres of recent titles.
Thus, the shows will provide a spectrum of astonishing and satisfying theatrical experiences, which should pique the interest of the old and the young alike, beginning with the compelling soul-tugging “Fiddler on the Roof” and winding up with the outrageously funny “Hairspray.”
The season also will be a stellar opportunity for skilled singers and dancers to strut their stuff by auditioning for the varied roles.
The rundown:
“Fiddler on the Roof,” Sept. 25 to Oct. 11 2026 – One of the most beloved classics of the Broadway repertoire, this is the treasured tale of Tevye, a poor milkman and his wife and five daughters, who reside in the Russian village of Anateva. The opening number, “Tradition,” says and shows it all – a cornerstone of musical comedy theater, with book by Jerry Bock, music by Joseph Stein, and lyrics by Sheldon Harvey. Tevye and his wife, the sharp-tongued Golde, lead lives that are as precarious as the perch of a fiddler on a roof, which give the show its title. The score boasts a wealth of hit songs that reflect the love, faith and life challenges of the family: “Tradition,” “If I Were a Rich Man,” “Matchmaker, Matchmaker,” “To Life,” “Sunrise, Sunset,” and “Do You Love Me.”
“How the Grinch Stole Christmas: The Musical,” Nov. 20 to Dec. 6 2026 – This holiday classic, from the stories of Dr. Seuss, was a children’s book and animated movie before segueing into a stage favorite for the Christmas season. The mean and green Grinch is the keen figure in an outing for both children, teens and adult audiences, and features its celebratory hit song, “You’re a Mean One, Mr. Grinch,” and a world full of the Whos. The playwright is Timothy Mason.
“Into the Woods,” Jan. 22 to Feb. 7 2027 – This Tony-winning musical, with storybook characters, is timeless and tuneful, with wishes galore: Cinderella wishes to go to the ball, Prince Charming wishes to find the maiden who lost her shoe at the ball, the Baker and his Wife wish for a baby, Little Red Riding Hood wishes to visit her grandma, and Jack of the beanstalk fame wishes to return home. The show was written by James Lapine with words and lyrics composed byStephen Sondheim. The audience might wish for one singular sensation of a song in the score, but there’s a bonanza of choices: “No One Is Alone,” “Stay With Me,” “Children Will Listen,” and “Last Midnight.” In the forested woods, however, happily ever after isn’t always so.
“Suffs,” March 12 to 28 2027 – “Suffs,” short for “suffragists,” is an award-winning show by Shaina Taub, who wrote the book, music and lyrics, and even starred in the original Broadway production. It Is a tale of the struggle for equality, the power of protest, and the relevance of the fight today. The original production featured an all-female cast, with women playing all roles, including the male characters, providing a unique and compelling perspective to the story; there’s no indication that DHT will go down this avenue.
“Pirates! The Penzance Musical,” May 21 to June 6 2027 – This reimagining of Gilbert and Sullivan’s classic operetta, was a 2025 hit on Broadway. The razzle-dazzle of G&S’s Penzance have been transported to New Orleans’s French Quarters, and the operetta flavor has been seasoned with Caribbean rhythms and jazz. The book and lyrics are by Rupert Holmes. The plot follows Frederic, who is mistakenly apprenticed to a band of tender-hearted pirates until his 21st birthday. But due to a leap year technicality, his apprenticeship is extended, complicating his love for Mabel. The Pirate King and the tongue-twisting Major-General are aboard ship, along with new young lovers, fleet-footed police, and footloose pirates.
“Hairspray,” July 23 to Aug. 8 2027 – First there was a movie by John Waters, then a Broadway show, and “Hairspray” thus became an iconic legend of 1960s Baltimore. Plus-size teenager Tracy Tumblad has one mission in life – to gain fame on the “Corny Collins Show,” the “American Bandstand”/Dick Clark sound-alike. Edna Tumblad, Tracy’s mom, is part of the legendary folks here – cuz she’s portrayed by a dude, who’ll become a notable sort in the process. The book is by Mark O’Donnell and Thomas McKeehan, based on the Waters film, with music byMarcShaman and Scott Wittman. Themes include racial prejudice and integration, and size-hate and social change. The anthem, “You Can’t Stop the Beat” rules here, but other danceable and singable hits include “Good Morning Baltimore” and “I Can Hear the Bells.”
DHT advisories:
Season ticket sales are now underway and current subscribers must sign up by May 8. By phone: box office at (808) 733-0274. By mail: DHT, 520 Makapuu Ave., Honolulu HI 96826. Box office hours: 10 a.m. to 4 p.m. weekdays.
To change current subscriptions, call or visit the box office.
Important operational changes:
All Thursday performances will begin at 7 p.m.
All Sunday shows will start at 3 p.m.
A new Thursday subscription show will be added; thus, the first Thursday option will become a second Thursday choice, the second Thursday will become the third.
The current first Saturday matinee will become the second.
The current second Saturday matinee will become the third.
The Friday opening night will not be changed, so the planned new Thursday performance will precede the usual opening night.
Shows prior to the opening night week could be added; they constitute extensions before the openings. (This option already has happened; the current show, “West Side Story,” had been slated prior to its March 20 debut, though at least two shows last week had to be canceled due to last week’s Kona low storms).
‘Harry Potter’ spell rules on Broadway
“Harry Potter” continues to have box office magic on Broadway, grossing $2.5 million for the week ending March 15. Only one other show – “Hamilton”—is in the $2 million club.
The Top 10:
1—”Harry Potter and the Cursed Child,” $2.507 million
2—“Hamilton,” $2.117 million
3—“Wicked,” $1.723 million
4—“The Lion King,” $1.718 milion
5—“Just in Time,” $1.680 million
6—“Stranger Things: The First Shadow,” $1.430 million
