Ins Choi’s “Kim’s Convenience,” now at the Manoa Valley Theatre, is a sit-com about an immigrant Korean family operating a corner store in modern-day Toronto, Canada.
It arrives in the aftermath of a series of popular episodic chapters screened on Netflix, peeking in on a family involved in the daily biz of selling goods in a cornerstone store visited by a walk-in crowd. But you don’t see the usual foot traffic like on the TV show.
The Kim Family amid the shelves: from left, Miki Yamamoto as Janet, Brandon Hagio as Appa, and Sun Min Chun-Dayondon as Umma.
But clearly, the streaming has widened viewership and thus casts an immense shadow on the play. I fear some show-goers who are diehard fans will expect a lot but receive just a little. Abbreviation is the special here.
Brandon Hagio
I loved the giddy pace and vibes of the TV program, and stage designer Willie Sabel has created a perfect setting dominated by shelves chockful of everyday needs, from breakfast cereal to snack-time chips, from chilled drinks to boxes of pancake mixes. And yes, instant saimin, too. Sara Ward, as prop designer, must have had a cheerful shopping mission to shop for the array of goodies to stock the shelves.
Appa (Brandon Hagio), the patriarch of the family, is an Archie Bunker sort with his own cache of racial slurs. He’s a worry wart, the sergeant of cars illegally parked in a no-parking zone we never see, and Appa also is conflicted, about his ranking now and his eminence in the future.
Miki Yamamoto
In comedies like this one, the verbal no-no’s trigger the loudest laughter, and Hagio is a master of put-downs. As viewers, we yearn for a volley of hisses and howls, but the show requires a bit more time than the allotted 1:45, including intermission.
The other key family member is Janet (Miki Yamamoto), a photographer at heart, whose beau is Alex (Jonathan Beck, in multiple roles), and she constantly dodges rockets from Appa about boyfriends and marriage. But she survives.
Sssun Min Chun-Dayondon
Director Reiko Ho has a way with characters, with a rhythm of cycles, but the production minimizes a couple of family regulars, including Kim’s wife, Umma (Sun Min Chun-Dayondon), and son Jung (David Tang). They share a key scene, staged on a bench, where they belt out a song of faith. Umma doesn’t have the usual confrontations as in the TV series, but Jung has a special photo to share as well as a pre-final curtain revelation of sort, comprising sentimental lore with familial love; he accepts to carry out Appa’s dream to tell his story by taking over the convenience store, not selling out to strangers or looming developers nearby. Nothing like fulfilling his dad’s wishes.
David Tang
Amber Lehua Baker’s costumes are functional, every-day wear; Janine Myers’ lighting design includes a minimal but a nice high-and-low mood surprise midway in the show; and Timothy Manatam’s sound is, well, sound.
It’s a blessing to showcase the work of a Korean, to share a modest but endearing comedy about successful immigrants writing their own chapter of establishing a viable mom-and-pop enterprise….
And that’s Show Biz…
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“Kim’s Convenience
What: A comedy by Ins Choi, about an immigrant Korean family and the convenience store they own in Toronto, Canada
Where: Manoa Valley Theatre
When: 7:30 p.m. Wednesdays, Thursdays, Fridays and Saturdays; 3 p.m. Saturdays; 3 p.m. Sundays; through June 8; extended shows at 7:30 p.m. May 21, 7:30 p.m. June 4, and 3 p.m. June 7.
Billed as the Hawaiian Airlines May Day Concert, last night’s Lei Day extravaganza at Bishop Museum was sort of an after-party for core performers at the recent Merrie Monarch Festival in Hilo.
Indeed, Robert Cazimero and his hui of kane dancers in his Halau Na Kamalei O Lililehua swept the ‘auana and kahiko categories in the prestigious hula competition last weekend. A few numbers were repackaged for the Lei Day audience to examine and experience HNKOL’s signature choreography.
Robert Cazimero, at his white grand piano, festooned with yellow plumeria.
Clearly, some of the memorable Merrie moments still were swirling in the audience and it was Zachary Lum, Keauhou member, who wisely opined that Lei Day felt more like an “after -party” following Na Kamalei’s victories in Hilo.
Halau Na Kamalei O Lililehua, doing hula kahiko at Lei Day “after party.”
For kumu hula Cazimero, this year marks the 50th anniversary of his leadership in training hula gents, and nostalgia was part of an unstated ingredient of Lei Day. Thus, appreciation and gratitude of his own kumu way back in the day — Maiki Aiu Lake— still resonated, even if he has potential to become his generation’s Maiki in theory and in practice.
Cazimero, on pahu.
At 76, Cazimero’s leadership and integrity have shaped his mission in life – he lives and breathes hula to the max, teaching men to tell stories of life through song and dance—for more than half his life. Na Kamalei always has been a rarity, boasting men who not only dance, but sing mele and chants in Hawaiian.
But a new breeze of teamwork has been evolving in recent years.
Keauhou, the trio comprising brothers Zachary Alaka‘i Lum, his brother Nicholas Keali‘i Lum, and their Kamehameha Schools classmate Jonah Kahanuola Solatorio, have become Cazimero’s “house band,” providing splendid vocals and instrumentals. In select instances, the Lum bros dance, too – they are Na Kamalei regulars and versatility is in their DNA. Keauhou’s excellence in traditional Hawaiian mele is admirable. And Zach’s leadership and performance traits could make him a kumu over the coming years.
Zach Lum and Nick Lum: Keauhou members who also do hula.
Kuana Torres Kahele
The death of Roland Cazimero, Robert’s inventive brother whose guitar skills and harmonics were key to the duo’s sound, left a void for several years. But for several months now, Kuana Torres Kahele — himself a prolific trouper, who sings, composes songs, and plays ukulele and guitar, and fashions lei in-between — has enriched the Caz sound. Kahele, a guest artist, soared in his segment with Keauhou, rendering beautiful mele like “Ke Anu O Waimea” and “’Ohu ‘ohu O ‘ahu,” two place songs, plus “E Ku‘u Lei,” with Cazimero joining in to fortify and punctuate the duet format.
Kaipo Hale
For special events like Lei Day, Cazimero tapped his lifetime best-buddy Kaipo Hale, to continue to join the Caz brand, as he previously has done. He brings the riches of a robust baritone voice and composing vibrancy to the party. Hale shared “Pauoa Hula,” about his home community; his “Pua Melia ‘Ala Onaona” brought the Royal Dance Company to the limelight; and his “Huapala Maka Onaona” featured Na Kamalei. Natch, Keauhou, Cazimero and Kahele provided support.
Alin “Gunny” Hanzawa
Two halau gents had solo dance moments. Alvin “Gunny” Hanzawa, no longer a regular but still savvy of the skills he learned, flew in from California to participate, a rare Japanese hula dancer. And veteran Keola “Bully” Makaiau, clad in the silver-grey hinahina, had a solo moment with power and grace, unlike his often comedic participation in the monthly Full Moon concert gig with his kumu at Chef Chai’s.
Keola “Bully” MakaiU
Other guest dancers were Kina and Kalani, so there was no shortage of kane hula, and four veteran kumu including Vicky Holt Takamine, showed the audience how the old-timers swished and sashayed with traditional decorum to share their artistry.
On a tune entitled “Ka Lehua I Milia,” Cazimero reached upper-register notes to provide his, and the evening’s, most melodic and trusty tones, belting lyrics while at his grand piano. It was the peak — the high point — of the evening’s cadence between ‘auana and kahiko gymnastics.
The finale, “Lei Puakenikeni,” tapped everyone in the cast, combining singers and dancers and musicians in uniformed bonding, like threading puakenikeni blossoms to create an immense, fragrant lei.
“Grease is the word, is the word that you heard “It’s got a groove, it’s got a meaning “Grease is the time, is the place, is the motion “Now, grease is the way we are feeling.”
— From the title tune of “Grease,” the musical
Your first encounter of the show “Grease,” now at Diamond Head Theatre, is an oversized cut-out of a red car frame hanging over the proscenium of the venue, created by set designer Deanne Kennedy.
It is formidable, dominating, and reflecting a precise groove, of the time (circa 1959), the place (Rydell High School), the emotion (nostalgic teen-age angst) of an indefatigable serving of pop culture.
The show’s two centerpiece figures, Danny Zucko (played by Cameron Scot) and Sandy Dumbrowski (portrayed by Sophia Ysrael), initially lack chemistry and spark, like two lost souls from different sides of the railroad tracks. Summer’s over, and they’re back in school, with uncertainties of direction.
They are eventually united in song, dance and romance, in a powerful story tenderly directed by Michael Ng, in collaboration with the agile and imaginative choreography by Dwayne Sakaguchi. They both connect the dots in this familiar journey.
Such teamwork throughout the creative ranks eventually makes “Grease” a well-oiled wonderment, though the ghosts of John Travolta and Olivia Newton-John unintentionally linger from a hit film that obstructs the Danny/Sandy relationship.in the stage version. It’s not till Sandy, like the Newton-John’s late-in-the-show remake in a body-clinging leather outfit, that she starts percolating.
Sophia Ysrael is Sandy Dumbrowski in “Grease.” Photo by Brandon Miyagi.
Homecomings can be a snoozer, after all. The point is, unless you’re hip to the relatability of being greased, your presence has ceased.
Two things help bring the magic of “Grease” to life:
— The rich well of rock/pop classics. Happily, DHT has invested in paying extra royalties fees, to enable the cast to sing tracks from the movie, like “Grease,” “Hopelessly Devoted to You,” “Sandy” and “You’re the One That I Want.” These titles are solid gold, so the inclusion is a triumph for the audience.
The ensemble offers rigorous dancing in the show’s megamixes. Photo by Brandon Miyagi.
— The use of group vocals and dances by the company of troupers, in moments that might be termed “megamixes” of specific tunes, is part of the process toward satisfaction.. The title song “Grease,” is the essence of time and place and even pace, but melodies like,“Shakin’ at the High School Hop,” “Born to Hand Jive,” and the finale version of “You’re the One That I Want” are hallmark. Karaoke meets disco, resulting in rousing vocals and choreographic explosions.
Secondary characters steal some of the thunder in the show. For instance, Jody Bill as Betty Rizzo, has a leading lady moment, on “Look at Me, I’m Sandra Dee;” Jantzen Shinmoto as Kenickie puts sizzle into “Greased Lightning;” Kiakahi Kekoa as Roger and Lainey Hicks as Jan shine on “Mooning;” Gabriel Ryan-Kern as Johnny makes “Born to Hand Jive” come alive; and Jeff Andrews as Teen Angel and Parker Kilkenny as Frenchy team up wonderfully on “Beauty School Dropout.”
The hand jive number is one of the megamixes of songs. — Photo by Brandon Miyagi.
A production of this magnitude – with a cast of nearly 30 — requires a vigorous and versatile ensemble: Kirra Baughn, Drew Bright, Victoria Chang, Paul Garcia, Justin Garde, Sammy Houghtailing, Caris Leong, Shane Nishimura, Maggie Ryan, Gabriel Ryan-Kern, Emi Sampson, and Jasmine Weldon provide dependable and exquisite support.
Designer Kennedy’s bag of set tricks work well; besides the car motif at the proscenium, she constructs smaller pieces (like sofa chairs, easier to move) and aerial groupings of signs and ribbons (not a task to fly up and down, and quiet) and scaled-down towers for Rydell High signage (moveable with barely a squeak). Oh, a smart move, too, to position a six-piece orchestra in an elevated stage; nice to see and applaud maestro Darcie Yoshinaga and her seven-piece ork here instead of the invisible pit.
Not certain who gets credit for creating Kenickie’s red car, seemingly a full-sized sedan; is it Kennedy’s vision, or part of the wizardry of Kyle Conner’s props design?
Chris Gouveia’s light design and La Tanya Siliao’s sound design are right on target.
Other background heroes include Emily Lane (costumes) and Aiko Schick (hair and make-up), whose tasks involve scores of color-coordinated gears for men and women, with seemingly unending costume changes, and beaucoup wig creations for the myriad of required looks.
It all adds up to a satisfying funfest…
And that’s Show Biz…
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“Grease”
What: A musical about homecoming teens at Rydell High School, with book and music by Jim Jacobs and Warren Case, with a title tune by Barry Gibb
Where: Diamond Head Theatre
When: Performances at 7:30 p.m. Thursdays, Fridays and Saturdays; also, at 3 p.m. Saturdays and 4 p.m. Sundays, through April 20.
Brother Noland staged a spirited, luminous performance last night (March 6) — his first-ever concert at Blue Note Hawaii at the Outrigger Waikiki resort and a relaunch of his brand,
Noland, 68, has been somewhat nomadic in recent decades, mostly invisible to his fans; but he’s been a responsible, quiet, viable and vigorous musician, storyteller and guitarist on the Hawaii scene. In the 1980s, he was deemed to be the Father of Jawaiian Music, with a rhythmic “Coconut Girl” signature hit.
Noland’s back! …
So the unveiling of the Noland now was awesome, nostalgic and a fascinating catch-up of his musical and cultural intersections he’s crossed over time. He fronted an incredibly powerful ensemble of eight, dubbed the Island Incredibles, sharing a few old tunes, a batch of new ones, and atmospheric acoustic revivals of pure Hawaiian mele, updating his profile of the 1980s or thereabouts, when Noland was a budding and prolific trendsetter.
… and in action
If you hadn’t seen Noland in eons, you might not have anticipated his snow white hair, his dark glasses motif, and his (and his band’s) flurry of colorful Jam’s World-print garb.
The revelation of “Las Vegas,” an unexpected potion of pop tones, was his blast of cultural expression in the music bin, a goofy and giggly exploration of the exodus of beaucoup Hawaii folks relocating to the Ninth Island because of cost of living is way too expensive here. Since families and clans of friends make frequent jaunts to Las Vegas and staying at California Hotel or Fremont, where they hope and pray to score a major jackpot on the slots, the tune has purpose. Finally, there is an anthem for the mad movement to a new ZIP code.
Noland’s voice is not the best in the industry, but he is skillful in channeling his tones to deliver any kind of music. His vintage Hawaiiana was as charming as they come, with a throaty voice articulating the spirit of the era, on “Ka Ipo Lei Manu,” a Queen Kapiolani mele written for her husband, King David Kalakaua, who had traveled to the mainland where he died. The lamentation is quite evident, in Noland’s moody delivery.
Brother Noland: Crisscrossing in multiple song styles.
In his Hawaiian sector, Noland also shared a “place song,” or “mele pana,” entitled “Mauna Kea,” the mountain on the Big Island where he resides part of the year. The tune showcases the beauty and vista of the region, and living in the elevated heights means he enjoys the serenity and isolation of being “close to God.”
Thus, his musicianship reflects these life choices, crisscrossing in multiple song styles and residency experiences, like toiling in the Outback of Australia, represented in a tune he wrote called “Walkabout.”
He truly is a keiki o ka ‘aina, or child of the land, born in the Palama region, and perhaps that’s why he favors uncommon passions like authoring books via his Ho‘ea Initiative, experiencing and embracing the tropical jungles, sharks, and wilderness survival. This positioning has produced some revealing postures in his music, too, advocating the appreciation of life and culture. on “Are You Native,” “Harbor Town,” and “Signs.”
With this gig, recurring one more time tonight (March 7), Brother Noland (last name, Conjugacion), showcases a loud, proud band of buddies, featuring some of the town’s best instrumentalists and voices, pictured here, from left to right: Tavana on guitar, Gaylord Holomalia on keyboards, David Garibaldi on drums, Kata Maduli on bass, Michael Ruff on keyboards, Fred Schreuders on guitars, and Lila Chris and Olivia Ruff on vocals.
Noland also strums rock guitar and ki hoalu (slack key) and because he allows numerous solo riffs from all musicians on many numbers, the opening performance was an extended show running nearly two hours, cancelling the originally planned second show. That format will continue for tonight’s (March 7) gig – one lone show at 6:30 p.m.
Rumors surfaced that there would be another two-night stand at Blue Note next week, but that’s not true. Instead, Noland’s team is contemplating Neighbor Island concerts on Maui and the Big Island next week…
And that’s Show Biz…
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Brother Nolandand the Island Incredibles
Who: Brother Noland and the Island Incredibles, first time in Waikiki in eons
Where: Blue Note Hawaii at the Outrigger Waikiki resort
When: Opened last night (March 6); final show at 6:30 p.m. today (March 7); doors open at 5 p.m. for beverage and food service
“Rent,” Jonathan Larson’s autobiographical rock opera inspired by Puccini’s “La Boheme,” is a perfect vehicle for collegian actors at the University of Hawaii.
With ease and affection, the two-dozen youthful singers and actors comprise a company that has embraced the riches of the Larson score and style, while connecting with an enthusiastic and receptive viewership, if the sellout opening-night crowd last Friday night (Feb. 28) was an indication.
The charmed audience unleashed hoots and howls and hearty applause following favored tunes in the show. The joy culminated in a spontaneous standing ovation at the finale. If “Rent” at its best is all about the seasons of love, the adoration was mutual with the crowd.
“Feel the love,” the company sings late in the show. “Feel the love.”
And the folks did. But such appreciation raises a valid question: why has the Department of Theatre and Dance been neglectful so long, in staging contemporary musical comedy? For decades, Kennedy Theatre was the fountain to quench the thirst for cultural Japanese kabuki and bunraku puppetry, Peking opera productions periodic Shakespearean classics, plus a Great Plays cycle of notable drama.
Such programming is worthy, of course, when aligned to the academic theater cherished in Manoa, because of the plethora of pioneering directorial treasures in yesteryear’s faculty. Think Earle Ernst and James Brandon, for Asian/kabuki, Elizabeth Wichmann-Waltczak for Peking/Beijing opera, and Terence Knapp for Shakespeare.
Enter, “Rent,” repeating this weekend, but held over with one more show tomorrow night (7:30 p.m. Thursday March 6) and playing three sold outs Friday (March 7) through Sunday (March 9).
Josh “Baba” Mamoani’ala Tavares
Credit director Joshua “Baba” Kamoani‘ala Tavares, now a UH professor who portrayed the Angel character in a touring company of the Larson show, that happened to pause in Honolulu.
It’s Kismet. Not certain who steered “Rent” to Tavares, but happily, he lured a splendid crew of singing actors, nurturing the production with his insider experience. At last, a modern show with contemporary themes, songs, lifestyle choices and challenges…clearly packaging an explosive sense of wow in the delivery.
There’s no immediate assurance of a future star in the making here, but “Rent” produced notables. Adam Pascal, Anthony Rappand Idina Menzel were in the original Broadway company, and they frequently pop up in theatrical roles now. That’s the cycle of life in theatre.
Ikaika Mendez is Roger Davis, Jack Romans is Mark Cohen are best buddies.
Numerous leads stand out in “Rent,” amid constant camaraderie and connections and you possibly need a cheat-sheet to figure out the clusters. Casey Kekoa Lauti, as Angel Dumott Schunard, the gay cutie in a red Christmas outfit, has caught the eye of Keanu Roe, as Tom Collins, an academic figure; Jack Romans, as Mark Cohen, is a film-making buff never without a camera, and he’s Roger Davis’ best friend, played by Ikaika Mendez, who also is an ex-junkie, who falls in love with Ainsley Shearer as Maureen Johnson, who’s moved on to Daniella Addeo-Cortes as Joanne Jefferson; and Ka‘enaaloha Watson, as Mimi Marquez, is a strip club worker who has AIDS, and is the former girlfriend of Dean So‘oalo, played by “Benny” Coffin III, who’s not interested to commit.
Casey Kokoa Lauti is the Christmas cutie Angel.
Whew! Lots of motion and commotion abound, and you almost need a love chart to remember who’s who free available, who’s in a relationship, who’s battling AIDS, who’s got a job, who’s making music and movies.
The common ground here is a drab but serviceable two-floor warehouse space owned by the aforementioned “Benny,” whose luckless and broke tenants owe him back payment for rent. Hence, the show’s “Rent” title tune, with the battle cry, “We’re never gonna pay!”
Antonio Hernandez’s set design is a bit spartan, though serviceable, but lacks graffiti or signage that might “place” the East Village location in New York’s Lower Manhattan, where these bohemian artists convene, circa 1980s and ’90s. Caitlin Chavis’ costumes fit the era, and ditto the hair and makeup of Kevin Murata. Sound and audio by Timothy Mahamat works for the gritty tunes to heighten the ensemble moments. Aubrey Lee Staley’s choreography is minimal and natural, notable for the engaging group numbers like “Seasons of Love.” Kelli Finnegan’s lighting design is a skosh too dark but suits the bleak the N.Y. zone. Taisamasama Kaiminaauao-Eteuati’s music direction is expansive work, since there are live vocals and instruments on stage and unseen supplemental melodics off stage.
The “Rent”ensemble is brimming with love. Photos by Christine Lamborn.
While Larson’s score doesn’t provide songs you hum as you exit, except for the emotional and harmonic “Seasons of Love” — the show’s key anthem, performed at the opening of Act 2 (and twice more later) — was a moment to savor, with the cast forming a chorus line that felt like that singular sensation moment depicted in another classic Broadway favorite.
Advisory: the show has mature themes, dealing with sexual abuse and sexuality, plus strong language, so parental guidance is suggested.
“RENT”
A musical by Jonathan Larson, playwright, composer, and lyricist
What: An autobiographical rock-opera, based on the Puccini opera, “La Boheme,” which explores life and challenges of bohemian youths, in New York City at the height of the AIDS crisis
When: By popular demand, a performance has been added at 7:30 p.m. tomorrow (March 6). Remaining shows (all sold out) are at 7:30 p.m. Friday (March 7), at 7:30 p.m. Saturday (March 8) and at 2 p.m. Sunday (March 9); pre-show chat at 6:45 p.m. prior to Saturday’ shows
Tickets: $25, adults; $22, UH faculty and staff, military and seniors; $10, other discount groups; $15, non-UH Manoa students, youths; $8, UHM
“Othello,” a new Shakespearen tragedy starring Denzel Washington and Jake Gyllenhaal, zoomed up to the No. 1 slot in the weekly grosses ending March 3, denying “Wicked” the throne it’s held for weeks.
The production still is in previews, formally opening March 23, in a limited 15-week run only.
Washington plays the title character, the Moor of Venice, and Jake Gyllenhaal is Iago. With average tickets priced at $361 at the smallish Barrymore Theatre that seats1, 041 — compared to the $153.72 average for “Wicked,” at the larger Gershwin Theatre venue — the grosses will be astronomical. Add high voltage of star power, a key factor attracting audiences.
In the juggling, “Hamilton” also bypassed “The Lion King” in the step ladder of success.
