wayneharada.com

LL Cool J and Scott Caan, familiar crime-fighters on earlier CBS cop procedurals, will co-star in the new “NCIS: New York” on CBS this fall.

CBS is expanding the “NCIS” franchise in The Big Apple, the city that never sleeps and the new team from two canceled series will launch the Mark Harmon brand in yet another destination.

LL Cool J, formerly of “NCIS: Los Angeles,” will revive his character  — Sam Hanna — in The Big Apple adventure. LL Cool J appeared as Hanna for 14 seasons.

There’s no indication what Caan’s character will be named; he was Danny “Danno” Williams in CBS’s reboot of “Hawaii Five-0” for 10 seasons.

The network green-lighted the newest spinoff, which will challenge the team to defend one of the most vital and vibrant cities and ports in the world.

CBS announced the NYC “NCIS” in the Eye Network’s revelation of new shows in the 2026-27 this fall.

The show will premiere at 8 p.m. on Tuesdays along with the original “NCIS” and and the“NCIS: Origins” spinoff.  “NCIS: Sydney” will return midseason and is the only other “NCIS” still airing.

Byron Balasco will serve as showrunner of “NCIS: New York.”

The “NCIS” galaxy previously included “NCIS: Los Angeles,”  “NCIS: New Orleans,” and “NCIS: Hawaii”…

‘Rent’ revival marks 30th anniversary

“Rent,” the landmark rock musical by the late Jonathan Larson, will be staged June 4 to 14 at the A.R.T./New York Theatre.

The Epic Players production will mark the show’s 30th anniversary and honor the memory of Larson, who died before he was able to see his award-winning show, inspired by the opera, “La Boheme.:

The venue, at 53rd Street and 10th Avenue in Manhattan, is a shared performance space. Eric Feagan will play Mark, Conor Tague will portray Roger, in the production that earned a Pulitzer Price and four Tony Awards in 1996: Best Musical, Best Book of a Musical (Larson), Best Original Score (Larson) and Best Featured Actor in a Musical (Wilson Jermaine Herediria, performing the role of Angel)…

They’re still wild about ‘Harry’

“Harry Potter and the Cursed Child” regained the No. 1 slot on the Broadway play grosses. It is one of two “2 Million Club” winners this week; the other is “Hamilton,” No. 2 on the charts.

The Top 10:

1—”Harry Potter and the Cursed Child,” $2.707 million

2—”Hamilton,”  $2.347 million

4—“Wicked,” $1.911 million

5—“Moulin Rouge,” $1.708 million

 6—“Every Brilliant Thing,” $1.543 million

7–“Chicago,” $1.488 million

8—“Dog Day Afternoon,” $1.224 million

9—”Giant,” $1.218 million

10—“Death of a Salesman,” $1.148 million

The complete rundown, for the week ending April 12, courtesy the Broadway League:

And that’s Show Biz…

Two Hawaiian music superstars – Keali‘i Reichel and Robert Cazimero –will headline this year’s Hawaiian Airlines Lei Day concert on May 1 at the Great Lawn of the Bishop Museum.

It will be the first May Day teaming of Reichel and Cazimero, who are known for their respective decades of island recordings comprising original music they have written and shared in concerts.

Keauhou also will be featured, but other specifics have not been disclosed but it’s likely that both Reichel and Cazimero will enlist their hula halau dancers. Reichel is kumu hula of the Maui-based Halau Ke‘alaokamaile, comprising wahine dancers and Cazimero is kumu hula of Honolulu-base of Na Kamalei O Lililehua comprising kane dancers.

Pre-concert music will be staged from 5 to 7 p.m., followed by the main show from 7 to. 9 p.m.

General admission lawn seating is $39.19; food vendors will be selling food and drink refreshments. Table seating is $60.54, and a Hawaiian plate will be available. Reservations: www.mele.com …

At the Moffatt Waikiki Shell

“Beneath Our Hawaiian Skies: May Day Is Lei Day in Hawaii” will be presented from 7 to 10 p.m. on May 1 at the Tom Moffatt Waikiki Shell.

Doors open at 5:30 p.m.

Kumu hula Karl Veto Baker and Michael Lanakila Casupang and their Halau I Ka Wekiu are show presenters. Participants include Ikaika Blackburn, Natalie and Iolani Kamauu and Maile Lyman.

Tickets $41 to $63, available at www.ticketmaster.com and the Blaisdell Center box office.

At the Hawaii Theatre

Kalani Pea will stage his May Day concert at 4:30 p.m. May 3 at the Hawaii Theatre. Doors open at 3:30 p.m.

An all-star slate of guest talent includes Makana, Horace Dudoit, Chris Kamaka, Glen Smith, Louis “Moon” Kauakahi, Eric Lee, kumu hula Nani Dudoit and  Hālau Kaleilehuaikealoonālani, kumu hula Kunewa Mook and  Kau’ionālani Kamana’o and hālau ‘O Kamuela, kumu hula Chinky Māhoe and Kawailiʻūla, Greg Juan, Kapua Kalua, Malie Lyman and Miss Aloha Hula 2025 Jaedyn Pavao. Mele Apana will host. Tickets are $60.50 to $165.50, available at the box office at www.hawaiitheatre.com …

And that’s Show Biz…

“Spring Awakening,” now at the Manoa Valley Theatre, is storytelling at its very best — seductive, soul-shaking, stunning but occasionally shocking.

(Advisory: Remaining performances are on April 4, 5, 11 and 12; best seats are for the extension dates, April 11 and 12).

It’s a 19^th century exploration, with 21^th century sensibility, with extraordinary, vigorous choreography unifying the powerful laments in the text, punctuated with non-stop expressions of sex, love,  and yep, rock ‘n’ roll. The ensemble seem to be in a whirling world of dance-centric movement.

The story deals with  Germanic youths struggling with mental health, sexual drive, gay love;  the constant uncertainty and obsession with s-e-x plays out meaningfully, meaning this is material for mature audiences. Not porn.

The issue of gay love lacks parental support and understanding, but consider the timetable.

 Director Lurana Donnels O’Malley connects the dots in Frank Wede Kind’s play, with book by Steven Sater and music by Duncan Sheik and Sater. As she states in her director’s notes, “At its core, this musical is about the need for all kinds of genuine connects. Between parents and children. Between lovers. Between friends.”

 And sensibly, the cast of 19 render expression of connectivity, in voice and in dance, which occasionally seem like now. Jonathan Clarke Sypert’s immersive choreography requires constant twists and twirls, physically and vocally, to bring life and a modern spirit to the music.

And the titles tell the tale: “The Bitch of Living,”  “Touch Me,” “The Word of Your Body,” “My Junk,” “Totally Fucked.” Surely, adolescence is not easy.

The principal roles are  Melchior (Isaiah Guendermann Graham, sweet voice, tears in his eyes, gentle romantic leading-man presence), Wendla (Ainsley Shearer, delicate personality, delicate singer, sensitive, projects innocence) and Moritz (Kyle Conner, energetic, emotional, unsteady, often like fireworks ready to explode). They portray normal students, filled with valid questions, seeking answers and satisfaction.

The lads are clad in private-school uniforms including snappy Bermuda-length pants with sock clips; the ladies don colorful dresses and frocks evocative of an era past;  all designed by costumer Ka‘iulapu Baker with a flair.

Teia O’Malley’s stark and simple set design – two bare mini-stages of different sizes, on which the action unwinds – enabling closeness in everything. The connection theory thrives: Hand-to-hand, body-to-body, head-to-head, all in syncopation.

I vaguely remember the original Broadway version in 2006 – with Jonathon Groff as Melchior, Lea Michele as Wendla, and John Gallagher Jr. as Moritz – and some of the audience sat in low bleachers on the stage, possibly to simulate a school classroom. MVT’s in-the-round seating, much like New York’s Circle in the Square, provides intimacy and beaucoup traffic, as actors enter and exit from up to six locations. It’s the configuration utilized in MVT’s recent “Dial M for Murder” production, but this show brings the actors very close to the spectators.

There’s the cunning and welcoming element of including old-fashioned hand mikes in one scene, which makes the cast appear to be current rockstars in a concert. And the use of black eye masks worn by the Adult Woman and Adult Man projected a sense of  cynicism, and they make recurring peeks through effective glass-less window frames held by an actor.

The techies – Janine Myers (lights), Sarah Velasco and Timothy Manamtam (sound), Lesa Ponce De Leon (hair and makeup) – are spot-on with their crafts, answering the “Awakening” call, and adding much to the viewing experience.

And bravo to Jenny Shiroma, the music director, who does an awesome job as maestro and keyboardist as part of a seven-member ork featuring violin, viola and cello, tucked in a wee upper corner of the house. It’s joyous, then, that the musicians come down to take a curtain bow centerstage, amid the acting ensemble. It’s the essence of the final connection in a show with many linkages…

And that’s Show Biz…

‘Spring Awakening’

What: A historical work, about Germanic youths with sexual concerns, with origins in the 19^th century, with 21^st century sensitivity, plus a rock score.

Where: Manoa Valley Theatre

When: Final shows on April 4 and 5; extension shows at 7:30 p.m. April 11 and 3 p.m. April 12 offer better seats

Tickets: $25 to $52 at (808) 988-6131 or ovationtix.com

..

“Spring Awakening,” now at the Manoa Valley Theatre, is storytelling at its very best — seductive, soul-shaking, stunning but occasionally shocking.

(Advisory: Remaining performances are on April 4, 5, 11 and 12; best seats are for the extension dates, April 11 and 12).

It’s a 19^th century exploration, with 21^th century sensibility, with extraordinary, vigorous choreography unifying the powerful laments in the text, punctuated with non-stop expressions of sex, love,  and yep, rock ‘n’ roll. The ensemble seem to be in a whirling world of dance-centric movement.

The story deals with  Germanic youths struggling with mental health, sexual drive, gay love;  the constant uncertainty and obsession with s-e-x plays out meaningfully, meaning this is material for mature audiences. Not porn.

The issue of gay love lacks parental support and understanding, but consider the timetable.

 Director Lurana Donnels O’Malley connects the dots in Frank Wede Kind’s play, with book by Steven Sater and music by Duncan Sheik and Sater. As she states in her director’s notes, “At its core, this musical is about the need for all kinds of genuine connects. Between parents and children. Between lovers. Between friends.”

 And sensibly, the cast of 19 render expression of connectivity, in voice and in dance, which occasionally seem like now. Jonathan Clarke Sypert’s immersive choreography requires constant twists and twirls, physically and vocally, to bring life and a modern spirit to the music.

And the titles tell the tale: “The Bitch of Living,”  “Touch Me,” “The Word of Your Body,” “My Junk,” “Totally Fucked.” Surely, adolescence is not easy.

The principal roles are  Melchior (Isaiah Guendermann Graham, sweet voice, tears in his eyes, gentle romantic leading-man presence), Wendla (Ainsley Shearer, delicate personality, delicate singer, sensitive, projects innocence) and Moritz (Kyle Conner, energetic, emotional, unsteady, often like fireworks ready to explode). They portray normal students, filled with valid questions, seeking answers and satisfaction.

The lads are clad in private-school uniforms including snappy Bermuda-length pants with sock clips; the ladies don colorful dresses and frocks evocative of an era past;  all designed by costumer Ka‘iulapu Baker with a flair.

Teia O’Malley’s stark and simple set design – two bare mini-stages of different sizes, on which the action unwinds – enabling closeness in everything. The connection theory thrives: Hand-to-hand, body-to-body, head-to-head, all in syncopation.

I vaguely remember the original Broadway version in 2006 – with Jonathon Groff as Melchior, Lea Michele as Wendla, and John Gallagher Jr. as Moritz – and some of the audience sat in low bleachers on the stage, possibly to simulate a school classroom. MVT’s in-the-round seating, much like New York’s Circle in the Square, provides intimacy and beaucoup traffic, as actors enter and exit from up to six locations. It’s the configuration utilized in MVT’s recent “Dial M for Murder” production, but this show brings the actors very close to the spectators.

There’s the cunning and welcoming element of including old-fashioned hand mikes in one scene, which makes the cast appear to be current rockstars in a concert. And the use of black eye masks worn by the Adult Woman and Adult Man projected a sense of  cynicism, and they make recurring peeks through effective glass-less window frames held by an actor.

The techies – Janine Myers (lights), Sarah Velasco and Timothy Manamtam (sound), Lesa Ponce De Leon (hair and makeup) – are spot-on with their crafts, answering the “Awakening” call, and adding much to the viewing experience.

And bravo to Jenny Shiroma, the music director, who does an awesome job as maestro and keyboardist as part of a seven-member ork featring violin, viola and cello, tucked in a wee upper corner of the house. It’s joyous, then, that the musicians come down to take a curtain bow centerstage, amid the acting ensemble. It’s the essence of the final connection in a show with many linkages…

And that’s Show Biz…

‘Spring Awakening’

What: A historical work, about Germanic youths with sexual concerns, with origins in the 19^th century, with 21^st century sensitivity, plus a rock score.

Where: Manoa Valley Theatre

When: Final shows on April 4 and 5; extension shows at 7:30 p.m. April 11 and 3 p.m. April 12 offer better seats

Tickets: $25 to $52 at (808) 988-6131 or ovationtix.com

..