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May 21, 2026May 21, 2026

DHT’s ‘Funny Girl’ opens Friday

“Funny Girl,” opening Friday (May 22) at Diamond Head Theatre, is a classic show biz musical, about the aspirations of and eventual conquest by a Lower East Side singer with stardom in her heart and soul.

It boasts a score by Jule Styne (music) and Bob Merrill (lyrics) with a book by Isobel Lennart, based on Lennart’s story.

It’s a challenge not to link Barbra Streisand, singer-actor-diva whose fingerprints are all over the Fanny Brice role, which she originated in the 1964 Broadway stage version and later the 1968 film version, which also earned her a 1968 Best Actress trophy.

DHT’s cast boasts young and veteran talents in the leading roles. Becca Brake will perform the Fanny Brice role, hungry for fame, with Mark Sanders as gambler Nick Arnstein. Shari Lynn will enact Mrs. Brice and David Weaver will be Eddie Ryan, Joe Maryak will appear as Florenz Ziefeld Jr.

The score of riches include “I’m the Greatest Star,” “Don’t Rain on My Parade,” and “People,” all familiar titles originated by Streisand which you’ll likely be singing as you exit the theater.

John Rampage, veteran DHT artistic director, is director-choreographer , with Jenny Shiroma handling musical direction.

Playdates originally were through June 7, with performances at 7:30 p.m. Fridays and Saturdays, 7 p.m. Thursdays, 3 p.m. Saturdays and 3 pm. Sundays. Extension dates have been announced for Saturday June 13 and Sunday June 14.
Tickets are $43 to $70, at www.diamondheadtheatre.com or 808-733-0274..

‘Harry Potter’ cursed, Radcliffe ‘brilliant’

“Harry Potter and the Cursed Child” was swept away from the weekly Broadway pinnacle, somewhat of a surprise since it had been dominating the survey for weeks. But Daniel Radcliffe prevailed, to top the charts.

The Top 10:

1— “Every Brilliant Thing,” the popular show starring Daniel Radcliffe, made a historic leap to No.1, with a gross of $1.98 million, just shy of a short jump into the $2 million club.

2— “Hamilton” with nearly a 100 per cent capacity attendance surged to $1.89 million.

3—“The Lion King” skidded a bit, but still earned $1.71 million

4–“Death of a Salesman” was full of life, with $1.71 million.

5—“Oh! Mary” grossed $1.57 million.

6—“MJ the Musical” remained a chart regular, with $1.43 million.

7—“Ragtime” logged an enviable $1.25 million.

8—“Maybe Happy Ending” remained a reliable hit with $1.16 million.

9—“Lost Boys” found its way to the Top 10, with $1.16 million.

10—“Harry Potter and the Cursed Child” fell through the ceiling, landing with a thud and a low gross of $942K.

The complete list for the week ending May 17, courtesy the Broadway Guild:

And that’s Show Biz….

May 17, 2026May 17, 2026

‘Yellow Face:’ A volley of vitriol

I’m old enough to remember the casting controversy of the Engineer role in “Miss Saigon,” a Cameron Macintosh hit in the 1990s. And this theatrical friction recurs in the current theatrical satire, “Yellow Face,” now at Manoa Valley Theatre.

Jonathon Pryce, a Welsh actor, was cast to play the Engineer in the Broadway launch of “Saigon,” which was an affront to the Asian community. Playwright David Henry Hwang, best known for scripting “M. Butterfly,” rightfully cast an Asian, B.D. Wong, to play the leading role. But Hwang was not silent about the “Miss Saigon” development.

Pryce, Wong and Hwang are smack dab in the middle of the casting conversation and its implications, in Hwang’s bold and “Yellow Face” production, which plays like a mockumentary with a volley of vitriol.

Reyn Afaga is DHH (as Hwang is called) and he leads a small army of Asian and part=Asian performers, who argue, agree, yell, shout and spew out opinions like bullets in this theatrical drama en route to becoming a social and satirical comedy. The players form a vigorous and vital animated ensemble, directed by Reiko Ho, herself a seasoned and savvy director of numerous Asian-content works in her career. “Yellow Face” easily could be the most explosive and controversial entry in her list of credits.

**Reyn Afaga, in yellow shirt, plays David Henry Hwang in “Yellow Face.”**

“Yellow Face” is easy to watch as it dismantles real-life drama and repurposes it into onstage comedy, examining and exploring the elements of farce, racial discrimination, cultural identity.

Nicholas Gianforti plays Marcus Gee, an actor cast as “The King” in “The King and I,” and mocked as a fraud, since he is not Asian but trying to legitimize the role popularized by Yul Brynner (who was part Asian).

Other players are Brandon Caban, who is the constant announcer in a wave of informational bursts of headlines and quips from newspapers like the New York Times and the Post; Sam Bui is Henry Yuah Hwang (NYH), the father of DHH who idolizes Frank Sinatra and “My Way;” Elizabeth Ung is Leah Ann Cho; Anastacia Narrajos is Jane Krakowski; Angeline Roselani Han is Carla Chang; and David Tang is Stuart Ostrow. All cast members take on numerous smaller roles and also actively move or remove furniture and set pieces as needed.

MTV’s recent series of in-the-round staging is over, as “Yellow Face” is staged in the more conventional proscenium format, though there’s no proscenium. Before there’s any stage action, the performance space is kind of blank canvas; Willie Sabel’s stage is all black but takes on different hues thanks to lighting; the open space enables romping by the entire cast, with selected props, and Janine Myers’ lighting and Sarah Velasco’s sound direction work their magic. Amber Lehua Baker’s costumes are suitable and functional and Kelly Belle’s props are comprised mostly of tables, chairs, and stools.

Performances are at 7:30 p.m. Thursdays through Saturdays and 3 p.m. Sundays; a matinee has been added at 3 p.m. May 23; and two performances also have been added at 7:30 p.m. May 30 and 3 p.m.. May 31.

Tickets: $25 to $47, at (808) 988-6131 or www.manoavalleytheatre.com

Around town

Hoku Zuttermeister has been performing at Roy’s in Hawaii Kai, doing informal sets on the lawn outside of Roy’s downstairs bar. According to Robbyn Shim, who does p.r. for Roy’s, the entertainment community has been stopping by the catch him in action. Among Zuttermeister’s pals tuning in: Nina Kealiiwahamana, Robert Cazimero, and Manu Boyd. Nothing like attracting celeb listeners…

With the extension of the “Ke Kilo Lani: Robert Uluwehionāpuaikawēkiuokalani Cazimero” exhibit till May 30, another panel discussion has been added to the series at Gallery ‘Iolani at Windward Community College, adjoining Paliku Theatre.

**Roland and Robert Cazimero, back in the day…**

Zachary Lum, a member of Keauhou and a Gent from Halau Na Kamalei, will moderate.

The final panel discussion will be from 6 to 7 p.m. May 21, and the panelists will be members of Cazimero’s halau, the Gentlemen of Hālau Nā Kamalei o Lililehua, who will discuss their learnings and perspectives of the exhibition.

For tickets, register at https://www.waheafoundation.org/

Gail Mack, Lance Luke, Keith Hiraoka and Bobby Nishida will perform from 5 to 8 p.m. today (May 17) at Mango Street Grilll in Wahiawa. For reservations, call Daryl at (808) 627-5451. Same number, to preorder a prime rib dinner…

The musicians also perform from 6 to 8 p.m. May 29, at The Edge, at 31 N. Pauahi St. Reservations: (808) 888-3228; $5 cover prevails.

And that’s Show Biz…

May 8, 2026May 9, 2026

Film tax bill will fuel industry

The Hawaiʻi Film Alliance announced today (May 8) that the state’s landmark film tax incentive legislation has passed the legislature and awaits the Governor’s signature.

SB 2580 is the measure that the film and television communities have been awaiting, since the latest legislation – a tax incentive infrastructure which will enable movie and TV creators to once again aim their cameras to end the drought here – so actors, directors, cinematographers and all the allied craft industries, can soon start shooting again after a decade without prominent filmic action throughout the state.

Gov. Josh Green is expected to sign the legislation, which will green-light future projects and once again stabilize a new generation of feature films and episodic television fare to fuel the island’s entertainment industry.

“This bill positions Hawaiʻi to become the premier Pacific hub for global film and streaming production,” said Irish Barber, president of the Hawaiʻi Film Alliance. “More importantly, it creates sustainable local careers so Hawaiʻi’s creative workforce no longer has to leave home to build a future in this industry. This is about investing in our people, our stories, and the long-term future of Hawaiʻi’s creative economy.

The bill passed the full floor vote in both chambers of the Hawaiʻi State Legislature .

The legislation strengthens Hawaiʻi’s ability to compete for major film, television, and streaming productions while prioritizing local workforce development, expanding opportunities for Hawaiʻi businesses, and creating long-term stability for the state’s creative economy.

“This bill positions Hawaiʻi to become the premier Pacific hub for global film and streaming production,” said Irish Barber, President of the Hawaiʻi Film Alliance. “More importantly, it creates sustainable local careers so Hawaiʻi’s creative workforce no longer has to leave home to build a future in this industry. This is about investing in our people, our stories, and the long-term future of Hawaiʻi’s creative economy.”

Among the major provisions included in SB 2580:

Base tax credit rates of 22 per cent on Oʻahu and 27 per cent on Neighbor Islands.
A 5 per cent local hire uplift for productions meeting the 80 per cent of local hire threshold, bringing effective rates to 27 per cent on Oʻahu and 32 per cent on Neighbor Islands.
Inclusion of streaming productions under the incentive program.
An increase in the per-production cap to $20 million, with exemptions for productions exceeding $60 million in qualified spending.
Expansion of the overall annual program cap to $60 million.
Extension of the program sunset to January 1, 2038.
Retroactive implementation effective December 31, 2025
Reinstatement of third-party CPA audits for accountability and transparency
Updates to General Excise Tax treatment for film industry payroll companies to better align with comparable payroll service structures

The inclusion of local hire language in statute represents a milestone achievement for Hawaiʻi’s production workforce and reflects years of advocacy from local crew members, producers, and industry professionals seeking to build a more sustainable in-state industry.

“For years, Hawaiʻi has watched productions come here to begin projects and then leave for other jurisdictions because our incentive structure could not compete with the realities of modern production — especially in the streaming era,” Barber said. “That meant lost jobs, lost opportunities, and local workers being forced to leave Hawaiʻi to continue their careers. SB 2580 changes that trajectory.”

Among the recent projects filmed here: Jason Momoa’s “Wrecking Crew,” Disney’s live-action “Moana,” and Momoa’s “Chief of War” limited shooting here. In the heyday of a tax benefits, episodic CBS procedurals like “Hawaii Five-0” and “Magnum P.I.” were anchored in Hawai‘i” and another CBS legacy series, “NCIS: Hawai‘i,” was launched but could not sustain life in Pearl Harbor and Honolulu, before being pink-slipped.

Hawai’i also hosted such major movie blockbusters, for limited shooting but grand reaction upon release. Remember the likes of “Indiana Jones” and “Jurassic Park”? Perhaps a new generation of these mammoth attractions will beginning shooting here, with the latest tax incentive legislation.

“When audiences around the world see Hawaiʻi on screen, they want to experience these islands for themselves,” said Brian Keaulana, founding member of HFA and the International Cultural Arts Network. “Film and television showcase Hawaiʻi’s beauty, culture, and aloha spirit to a global audience, inspiring visitors to travel here and supporting hotels, restaurants, transportation companies, small businesses, and local communities throughout the state. The impact of this industry reaches far beyond the set.”

May 5, 2026May 5, 2026

Theater fire shuts down ‘Mormon’

A three-alarm fire on the roof of the Eugene O’Neill Theatre Monday (May 4) night will force the Tony-winning Broadway hit, “The Book of Mormon,” to shut down indefinitely, beginning tonight (May 5) and tomorrow night (May 6).

Apparently, the building’s fourth floor received substantial damage including a room that is home to lighting equipment and hanging chandeliers.

The blaze, whtich began in an electrical room, caused “substantial damage” to the Eugene O’Neill Theatre, according to David Simms, New York fire department assistant chief. The cause of the fire remains under investigation.

There were a lot of catwalks and rigging in the theater, making access difficult, but no one was injured. The cause of the blaze still is under investigation and it’s too soon to set a reopening date.

**The marquee of the Eugene O’Neill Theatre, home of “The Book of Mormon**.”

The Eugene O’Neill Theatre seats 1,108 patrons and “’The Book of Mormon” has been a popular production since its opening in 2011. It has logged more than 5,000 performances so far.

The show had announced a “Magical Mormon Mystery Week,” marking its 15^th anniversary with a myriad of returning cast members the week of June 9 to 14.

**Promotional marquee, heralding the 15th anniversary of “Mormon.”**

There was no immediate word if the celebration will go on as planned, if theater repairs can be done, or whether the special will be canceled.

The theater, at 230 W. 49^th St. in Manhattan, opened in 1925 under a different name, and has had a storied past, with such popular shows as “Sweeney Todd,” “Cat on a Hot Tin Roof,” “Sound of Music,” “Grease,” and “Spring Awakening.” At one point, Neil Simon was the theater owner and staged such hits as “The Odd Couple” and “California Suite.”

Ticket holders will be notified by point of purchase, for refunds or exchanges.

May 2, 2026May 2, 2026

Fleeting memories, with isle icons

Two icons of Hawaii mele and ‘olelo – Robert Cazimero of Oahu and Keali‘i Reichel of Maui – convened in a rare Lei Day concert last night (May 1) ‘neath the huge white tent erected on the Great Lawn of Bishop Museum.

The gathering was more than a routine May Day spectacle, however, since Cazimero and Reichel shared illuminating chit-chat in pre-recorded video shown on screens. The commentary included fleeting memories from the past that will likely define and shape the future destination of Hawaiian music and dance.

Reichel opined that Cazimero was a visionary model in a trail of stardom. “Thanks for getting me out of the bushes to catch up,” said Reichel, who summed up his trailblazing buddy in a single word: “Gratitude.” Cazimero noted that there were instances where the roles were reversed. “I became a follower, too,” he said.

It was the first time that both kumu hula and their dancers and singers assembled in a lavish presentation yielding unexpected exchanges. Though the overall mission of both halau is to perpetuate island music, Cazimero’s two-time Merrie Monarch-winning Halau Na Kamalei O Lililehua (earlier known as Halau Na Kamalei O Likolehua) is comprised of gentlemen who elevated kane hula; the guys sing, dance, and play cultural instruments, committed to hula kahiko and hula auana, and expanding its horizons with Christmas productions that appeal to a wide base of fans. With hula as its foundation, Reichel’s Halau Ke‘alaokamaile perpetuates the Hawaiian culture and heritage through the arts, language and dance, with a connection to the ‘aina in its hula experience. He admitted hula was primary, before singing.

**Standing, from left: Zachary Lum, Jonah Solatario, and Nicolas Lum. At piano, Cazimero; in front of Solatario, Reichel.**

The first-time status also included the participation — again — of Keauhou, the Na Hoku Hanohano Award-winning trio comprised of Zachary Alakaʻi Lum, his brother Nicholas Kealiʻi Lum and Jonah Kahanuola Solatorio. Their roots in Hawaiian run deep, with Kamehameha Schools vintage. They support the three p’s of show biz, performance, preservation and perpetuation. Nick earned a PhD several months ago, Zack is a doctoral candidate, and has emerged as the game-changing producer of the May Day specials like last night’s. Zack and Cazimero were the ones who urged Reichel to join Lei Day.

**The gents of** Halau Na Kamalei O Lililehua share a kahiko hula.

This was a challenging production to review; I was situated in a midway table which made photographing the artists extremely difficult; in many shots, I captured wee images of Cazimero at his yellow plumeria-draped white piano, but mostly the camera focused on Kuana Torres Kahele’s head, beautifully displaying his beautiful hand-made lei po‘o.

There were notables all over the house; Kumu hula Vicky Holt Takamine, singer and Cazimero’s best friend, Kaipo Hale, longtime Cazimero manager and recording producer Jon de Mello, entertainment lawyer Mark Bernstein, restaurateur and chef Kelvin Ro. Sitting next to me: Fred Krause, Reichel’s manager and partner; and so on.

The music seemed to be hand-picked by both kumu stars and Keauhou, nicely paced but with somewhat abrupt and awkward TV commercial breaks (Hawaiian Airlines was title sponsor of the production, Hawaii News Now televised the show live). The concert will be aired on Mele.com this month.

Reichel’s best treats were “Kawaiokalani” and “Ode to a House” (but no “Kawaipunahele”). Cazimero was effectively reflective on “Downtown Honolulu” (his favored composition) and “Lei Onaona.” Keauhou’s “Ka Uluwehi O Ke Kai” was an op for hula dancers to strut their thing between the rows of diners. And a grand slam-dunk finale choice, “Hanohano Ka Lei Pikake” included rotating verses by Reichel, Cazimero and Keauhou.

‘Twas precisely the kind of robust, energetic and soul-touching moment – fleeting memories attendees could savor, cherish and take home to enjoy till the reflections fade.

P.S.: Reichel created an unintended memory, slipping in the mud (it rained earlier in the day) en route to the stage, and a brown smudge on his white pants at his left knee was prominent. He couldn’t change clothes because his spare clothing was back at the hotel. “It’s like a pimple on your face,” he surmised…

And that’s Show Biz…