KEVIN RECORDS 1ST YULE SINGLE

Singer Kevin I. has recorded his first-ever Christmas tune, “Christmas in Our Hearts.” It will be available for purchase and enjoyment in November. So yuletiders – patience is the buzz word now.

Kevin was in town last week, to complete the vocal works on the tune, at David Kauahikaua’s home studio in Kailua.

“It was so great to see and catch up with David,” said Kevin, about the savvy engineer who is notable as the magician behind a cluster of island singers  over the decades.

Kevin I., recording his Christmas single at David Kauahikaua’s home studio.

It was Kevin’s first time working with Kauahikaua, but as he said, “I’ve always respected and admired his work especially with Loyal Garner. We reminisced about Loyal and shared some mutual memories. As you know she had a big influence on me.”

Kauahikaua  has been the marvelous and notable force behind Frank DeLima’s parodies over the past decades.  As a member of Na Kolohe, Kauahikaua was DeLima’s keyboarder (Bobby Nishida was the guitarist)  who toiled on the comedian’s parodies, like the recent “Gridlock” tune.

Kevin, of course, is the balladeer from the 1980s. He shelved his music career and opted to take on — successfully — a career in the business community. So he has been like a dormant volcano, idle and quiet over 30+ years.

But his vintage music, mostly available on vinyl in his prime as an island singer, has become a global sensation, triggering his return to the studios with a few new tunes aimed at younger fans tuning in to his romantic ballads. These fans fueled the popularity of his songs on the Spotify charts.

He retired from his fulltime business career and clearly, there were enough sparks to revisit his stint in music.

So stay tuned; I’ve heard the new tracks that will comprise his five-song EP release, dubbed “My Continuum.” which will be available in October.

Cover of Kevin Il’s forthcoming EP release.

He hopes the fresh ballads will make him radio-active again, not just in Hawaii, but with his international followers on social media.

But “My Continuum” is not a comeback entity; it’s more like a continuation of Kevin I.’s ]musical journey,

Restaurants are becoming familiar with him, too, since he’s been back and forth for numeral times for meet-and-eat sessions.

“Food was a big part of the adventure—I made sure to get my misoyaki butterfish fix at multiple spots,” said Kevin.

He made multiple treks to Kailua for reunion sessions, including a gathering with his fellow University of Hawaii TIM Alumni Assn. board members including Clyde Min and his wife Hilda. They dined at Faria, a Portuguese eatery.

He met friends and family members for breakfast at Tanaka Saimin, the Iwilei eatery, where he tried the Japanese breakfast, once suggested by Ledward Kaapana.

He also shared a meal with Mimi Sugane, his singing partner when they performed at La Mancha, and they had a phone chat with their group leader, Ron Miyashiro, who no longer is able of meal outings.

The parade of longtime pals included Sandy Tsukiyama, Rachel Gonzales, and his producer-singer-composer Lance Jyo and his wife. Jyo is supervising Kevin’s forthcoming releases, including the new yuletide tune.

I also met Kevin at Zippy’s Kahala, and he has frequented Zippy’s too, along with restaurants like Mililani Korean BBQ, Yagura the Japanese restaurant in Liliha, Koa Pancake House in Kaimuki, Mr. Ojisan Neo in McCully,  and Liliha Bakery at Ala Moana Center.

Of course, no trip is complete without malasadas from Leonard’s,” he said…

And that’s Show Biz…

BELATED ‘GRIDLOCK’ FROM DELIMA

So Frank DeLima is  now ensconced in a Las Vegas senior facility.

But being away and afar doesn’t mean that comedian is idle and silent.

He just shared his latest parody, “Gridlock,” about the jammed highways and byways during the tsunami alert in Hawaii.

Frank D

He heard about the gridlock on our roads. He smartly sorted out the possible melodies and selected The Drifters’ “Under the Boardwalk” to shape his parody with the recurring lyric, “Stuck in the gridlock.”

And proceeded to describe the situation, where roadways became a parking stall, like all the way to Kahala Mall. And working in the human humor element, “I have to go the bathroom…”

OK, he was a few weeks tardy in delivering the tune. Never mind; it’s still a comedic flashback to the few hours of agony while Hawaii waited for the waves that never came.

And happily, DeLima’s video savior is David Kauahikaua, former Na Kolohe backup musician. “ I record (his video) on my phone and email to him.  He does the magic.”

To view the video, go to my Facebook page at https://www.facebook.com/wayne.harada.5

So how is DeLima faring, as a Las Vegan? Some notes::.

  • He’s doing well. “Since I been here, I have been trying to fix my body; six  different doctors are working to make me better;   I go on the average once a week to doctor appointments; ”
  • His regimen is working. “I am walking 40 minutes a day, up and down the long hallways of this senior housing; there’s climate control.  Perfect all year round.; I got a shot in my lower back and it worked. Now I get up in the morning and no sore. Yeh!!!!!”
  • He’s open to part-time work. “Now that I’m living in Vegas, I can perform for class reunions;  anyone interested should email me (frankdelima@hotmail.com)  and I can take it from there.” He’s contemplating possible banquet shows bookings for islanders at the California Hotel Ohana Room…
  • And that’s Show Biz…

ABUNDANCY OF CREATIVITY IN ‘GYPSY’

“Gypsy” opens with a sumptuous overture of tunes, with melodic highlights from the score by Jule Styne (music) and Stephen Sondhein (lyrics), orchestrated by the incomparable Clarke Bright. He conducts a large (by Hawaii standards) 14-piece orchestra, which results in a rich, robust sound experience.

The show ends with a stunning, emotional “Rose’s Turn,” the climactic finale rendered by the leading lady, Mama Rose, enacted by Jacquelyn Holland- Wright. Rose is a stage mom who seeks the best for her two daughters while silently seeking elusive success herself. Jac, as the visiting singer-actress is  known, turns in a career-best performance. She belts and trots to all sectors of the stage, claiming the space and conquering the pace in a finale that’s wow!

Yes, there’s an abundant number of creative talents in the I’m A Bright Kid Foundation’s revival of “Gypsy,” the evergreen musical about the dysfunctional family, playing two more weekends through Aug.  24 at Paliku Theatre, Windward Community College.

Jacquelyn Holland-Wright is Mama Rose. Photo courtesy of Bob Burchess/Foto Bob Las Vegas.

The show, with book by Arthur Laurents, offers extravagant elements not commonly featured in stage musicals in Hawaii these days.

Let’s start with the leading lady, a grown-up Bright Kid who portrayed Mama Rose in 1987 while at Castle High School when she was directed by Ron Bright. She’s on leave from her lead role in “Menopause” a hit on the Las Vegas scene, and here,  she is a firecracker with a lit fuse, delivering an explosive, indelible performance as the indefatigable stage mother. If there’s an acting awards trophy here, she’d snap it up, pronto.

Ahnya Chang

Ahnya Chang, doubling as director and choreographer, demonstrates she has the chops and depth to ignite this legacy show which seems dated because of the story, set in the early 20th century when vaudeville and burlesque were mainstream entertainment.

Maestro Bright, conductor of all IABK shows, waltzes through 13 numbers in Act 1 and seven in Act 2 and radiates energy and substance. That opening overture is dy-no-mite.

DeAnne Kennedy’s eye-filling, soul-embracing set design suits the era of the 1920s – four red ceiling-to-floor curtains  for starters –with sundry other sites ranging from dressing rooms to a Chinese restaurant, from train stations to vaudeville stages. I’m uncertain if it’s her creation,too, but a mini marquee over the expanse of the stage is effective, announcing all the sites in the storytelling.

This craft of perpetuating tales and emotions and memories through songs and dance, has been the lasting mantra of Mr. B., who utilized the stage as a mecca for his simple mantra: believe in yourself.

And the parade of characters in “Gypsy,” from Mama Rose down to her daughters June and Louise who are forced to  try out for show after show even with minimal talent, reflect the cycle of life in the theater. The connective links to life are the songs of hope and love, of happiness and pain.

The show was perceived to be a vehicle for Ethel Merman, who played Mama Rose on Broadway, and her spirit and sheen were surely the inspiration in Jac Holland-Wright, who has the pipes to deliver her songs with purity and punch. Her “Rose’s Turn” finale is a hallmark of belting.

There must be 60 to 70 cast members – kids and adults alike, some newbies, some veterans – and they are the army that give the show its grit, its gist, its gravitas.

Tani Siu is Louise.

Tani Siu, who portrays the grown-up Louise, is initially a timid stripper, but learns how to tease to maintain her dignity. Siu brings beauty and coyness to her Louise.

The “You Gotta Get a Gimmick” is the height of comedics, in voice and in gyration, with Tessie Tura (portrayed by Ligaya Stice), Mazeppa (played by Faith Kawai) and Electra (enacted by Camille Michel) demonstrating their idiosyncratic gifts:  ballet with wings, trumpet-tooting, and lighted costumes, respectrively.

Swaine Kaui is Herbie.

There are a couple of other standouts in the show. Swaine Kaui (as Herbie) is patient and dedicated, as the would-be hubby of Mama Rose.

(Local actor photos courtesy of Tracy Larrua of Poi Planet)

Drew Bright (as Tulsa) is emerging as a virile song-and-dance trouper, on his “All I Need Is The Girl” solo.

Drew Bright is Tulsa.

Scores of youngsters appear as dancing newsboys, farm boys, and toreadorables. Their unified spirit in song and dance is superb.

And Omnia Nova, as costume designer, had to clothe ‘em all (though some garb were rented); Kevin Murata and Mia Yoshimoto’s hair and make-up design was a task fulfilled, considering the scope of the cast and variety of styles. And Annie Yoshida’s props design included news boys’ canvas bags, a flashback to last season’s IABK “Newsies” show.

Further, lighting design by Janine Myers and sound design by Steven Nelson worked in unison, tackling some tricky elements, like flashing strobe lights and some vocal gymnastics.

“Gypsy” is one of the fabled shows of Broadway’s golden era of legacy productions with a rich score with singable tunes like “Let Me Entertain You,” “Everything’s Coming Up Roses,” “Some People” and “If Momma Was Married.”

And that’s Show Biz…

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“Gypsy”

A Broadway musical with book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheimproduced by the I’m a Bright Kid Foundation

What: A fable about an ambitious, determined stage mother, Rose, and her two daughters, June and Louise, who seek fame and fortune in the world of burlesque and vaudeville, in the early 20th Century

Where: Paliku Theatre, Windward Community College

When: At 7:30 p.m. Fridays and Saturdays and 4 p.m. Sundays, Aug.8 through Aug. 24

Tickets: $34 to $44 for adults, $29 for students 12-18,  military and seniors and $24 for children, plus fees; visit https://cur8.com/projects/24380 or www.iabk.org

AN EARLY BIRTHDAY DINNER AT ROY’S

Though my birthday is not till Wednesday, Aug. 13,  I celebrated with an early dinner last night (Aug. 10) at Roy’s Hawaii Kai. Wife Vi and our grandnephew John partied with me.

My entrée of choice was Roy Yamaguchi’s misoyaki butterfish but I opted for a white rice musubi. As is the restaurant’s tradition, I donned a party hat and had a yummy ube panna cotta dessert…yep, a purple treat.

And if you must know, I’ll be 84 on Wednesday.