At 75, comedian Frank DeLima has common aging issues. Body aches everywhere, loss of memory, unstable legs.
At his brunch show Sunday (Dec. 3) at Blue Note Hawaii at the Outrigger Waikiki resort, he celebrated the upcoming holidays with hilarity and ho-ho-ho revelations about his life. He shared a solution to his tiring legs, explaining his frontside (tummy) is now the same size as his backside (butt), which gives him equilibrium.
Such was the tone, and temperament, of his presentation.
Yes, he donned a Santa’s outfit. Yes, he delivered the expected “Filipino Christmas,” which simultaneously salutes the yuletide and pokes fun at Filipinos. No racism intended – never, in a DeLima show – but the underlying fodder for his success over the past 47 years as a comedian who demonstrates his adoration of local ethnicities (Japanese, Chinese, Korean, Polynesian, Portuguese, and yes, particularly Filipino) because that’s his brand. He generates laughs because he celebrates, not condemns, the races here.
You’ve heard the jovial jokes, right? He learned, first hand, the idiosyncrasies of island living, in the Pauoa Valley region where he grew up. His gags may be exaggerated, but reflect truths – Japanese listening to Naniwabushi radio programs, with unique vocal tones; Chinese burning firecrackers at gravesites, bringing manapua to share with the deceased; Okinawans, with hairy chests, arms and legs, and so on.
A masterful parody creator, he unveiled his latest “Kona Low,” the term favored by weather forecastors, referring to what used to be called “Kona weather,” singing the newbie to the tune of the oldie “Let It Snow! Let It Snow! Let it Snow!” He relied on what he called his “teleprompter,” a cardboard roll-out with lyrics, with the liner comprised of Clorox boxes. So DeLima.
An earlier parody, to the tune of “Mack the Knife,” described the unfortunate fate of Captain Cook, the presumed discoverer of the Hawaiian Islands, who was eaten by the Hawaiians, as the legend goes.
Other namedropping melodies tapped King Kamehameha and Imelda Marcos.
Audience participation is part of DeLima’s agenda, so not surprisingly, he beckoned audience members to take the stage for his laugh-loaded ritual of rendering the island version of “The 12 Days of Christmas,” from 12 televisions to one mynah bird in one papaya tree. Happily, or perhaps laughingly, the dude tapped to do the mynah/papaya line could not get it right until the bitter end, earning cheers and hurrahs for his achievement.
Keali‘I Reichel, the Maui-based superstar of Hawaiian mele, chant and hula, made a triumphant return to the Blue Note Hawaii stage Thursday night (Nov. 16).
He’s doing five shows over four nights through Sunday (Nov. 19) at the Outrigger Waikiki resort venue, in whatr constitutes his annual Honolulu residency.
Reichel, who admits he is in the midst of being 61, is eager to hit 62, so he can start collecting Social Security. Or not. He likely will continue concertizing, if the opportunity is there.
His debut album, “Kawaipunahele,” is nearly 30 years old now, and it made him a prime force in island music and dance. As a concert act, he’s still very much in his prime, too, though the venues in Honolulu have become disturbingly scarce. Thus, the Blue Note is red hot for local and visiting acts.
His casual, conversational, and cordial “act” is Reichel at his best. Who else can admit he has hairy toes (he’s always barefooted on stage), and he drops local-style references periodically in his 90-minute show. From gala-gala and hanabata (to non-locals, he says it’s phlegm…and spells out the word), and he’s unashamedly honest to confess and admit he was a “bad boy” at Lahainaluna High School and couldn’t graduate in 1980 until he completed work on one credit during the summer.
This kind of patter reflects his local-boy demeanor. He is clearly a proud Mauian and his cache of songs and dances depict his life, likes and artistry.
He started off his serenades with “Ode to a House,” an homage to his earlier Valley Isle home, as he weaves name songs with place songs in his repertoire to share the joys of his life.
Most tunes are in the Hawaiian language, with a few with inserts in English, but he wisely provides brief descriptions of what he’ll perform, so he’s savvy about engaging his listeners who may not speak or understand the Hawaiian language.
And because he is kumu hula of Halau Ke’alaokamaile, his wahine dancers are joyful with precision galore, providing motion and mana’o to his compositions.
For instance, “Maunaleo,” with dancers in light blue costumes, was about a beloved mountain on Maui depicted as a source of inspiration with its majestic currents. Reichel wrote the tune for his mother, Lei.
“Kawaiokalena,” another place song, assembled his corps of dancers — clad in black and blue gowns this time — who provided a poetic painting of Piiholo, a secluded area above Makawao on Maui where Reichel and his husband Fred Krauss, now live. Its elevation and wilderness are home to grazing wild boars, cows and deer, and clouds hug the forestry. “You have to have fur BVDs,” Reichel commented about the temps, adding “You have to have big dogs you can put your feet on (presumably, when seated), not chihuahua.”
“Maile’s Song” was a sentimental moment – a tribute to Doris Maile Krauss, the late mother of Fred Krauss – and it reflected the affection he had for her. It’s also a rare instance when English lyrics were lovingly woven into the precious Olelo Hawaii (Hawaiian language).
Of course, being a ‘Luna, he delivered a splendid rendering of “Lahainaluna,” tossing in a footnote about supporting and devoting kokua to the effort to restore normalcy and restoration of Lahaina, the historic beachfront community ravished by the wildfires.
Reichel’s last tune, on a roster of 15 titles, was “E Ku‘u Home O Kahaluu,” the trademark song composed by Jerry Santos whose career with Olomana soared with this lovely, nostalgic tune engineered by the late Jim Linkner, an award-winning veteran sound engineer who championed Reichel’s career with his engineering savvy. Reichel’s entire discography was engineered by Linkner, so the tribute was genuine and real.
At last year’s Blue Note residency, Reichel played to sold-out houses but left the stage without programming his signature hit, “Kawaipunahele.”
At last night’s show, the audience howled “hana hou, hana hou,” and he returned to the stage to dutifully respond to the request. If you no ask, you no get “Kawaipunahele.”
Lest you don’t know, Reichel’s appeal and following continue to astound; at the table I sat, a visiting Los Angeles couple flew to Honolulu expressly to see Reichel in action and they used airline and hotel points to make the overnight visit. That’s loyalty, for sure – and an indication that Reichel still is in his prime.
And that’s Show Biz…
Keali‘I Reichel
Where: Blue Note Hawaii, at the Outrigger Waikiki resort
When: Opened last night (Nov. 16); remaining shows:
Nov. 17, 6:30 p.m.
Nov. 18, 6:30 and 9 p.m.
Nov. 19, 6:30 p.m
Tickets: $125 for premium seating, $85 for loge seating and the bar zone; available at www.bluenotehawaii.com. Doors open at 5 p.m. all nights and 8:30 p.m. for Saturday’s second show.
“This Is Me,” an I’m a Bright Kid Foundation (IABKF) youth-centric musical, is a declaration of incandescence, featuring teens who spent several weeks learning the essence of the theatrical experience.
Playing four times only – Friday night, Saturday afternoon and evening, and at 2 p.m. Sunday (July 30) at the Paliku Theatre at the Windward Community College — “This Is Me” is profoundly and personally a reflection of growing up, mixing appropriate tunes mirroring each kid’s take on the why’s and how’s of crossing the bridge from kid to teens, while simultaneously shaping a live show in a legitimate performance space.
Mentored by a dedicate corps of teachers, the kids express their “me” in the mentoring process, singing, dancing, and enacting what ultimately is a memorable shared experience in the making of a show.
The I’m a Bright Kid Foundation’s youthful cast : all shapes and sizes.
Oh, what charm and fun. There is no single star in this shimmering galaxy; all lads and lasses are equals and bring singular bursts of joy in declaring their individual “me.” The 40-plus in the ensemble come in all ages and sizes, with varying degrees of experience on stage, and it’s exhilarating when the entire troupers are whirling, kicking, dancing with cyclonic strength, bodies moving in circles of energy.
Diversity is an undercurrent, with a mixed plate of voices and faces – white, black, Asian and surely hapa-this or that — which distinguishes the show’s sheen and style.
Led by artistic director Jade Stice, herself an accomplished stage professional and backed by a team of musical (David James Boyd), vocal (Moku Durant, Sarahlea Kekuna) and choreographic (Lisa Herlinger-Thompson, Annie Yoshida) adult directors, the show is an IABKF trademark.
Youthful participants in grades 3 to 12 interpret a number of known and not-so-famous tunes with kaleidoscopic vigor, yielding a genuine, heart-tugging reflection of growing up amid the angst and aspirations of finding their place in life’s journey.
Some kids are terrific singers, others not so accomplished, but certainly eager to share and try, best exhibited in Colbie Callait’s “Try,” fueled with wistful wonderment. The tone is try, but don’t overdo the effort; do the best you can.
“Landslide,” the Fleetwood Mac entry, features a trio of older girls (Faith Morrow, Zoe Naso, Moana Simmons) taking turns with a trio of younger girls (Alana French, Aria Kuboyama, Kamren Neste) synchronizing voices and perspectives about girlhood.
“I’ll Stand by You,” a song by The Pretenders, is a joyous buddy number, delivered with powerful sense of loyalty, by Ezekiel Kekuna and Ezra Kekuna, with Oziah Wurlitzer on keyboard.
One of the hysterically funny numbers is a rap/hip-hop take on Eminem’s “Lose Yourself,” with Noe Kaimu loa, the Kekuna brothers, Damian Mendez and keyboarder Wurlitzer gyrating with obvious joy and intensity.
Similarly, the kids are in vogue with a mashup of “Express Yourself” and “Born This Way,” putting their youthful harmonies and movements to the Madonna and Lady Gaga signatures.
“Me” matters in “This Is Me.” This is a rehearsal shot. (Courtesy IABKF)
A series of “I Am” monologues interspersed within the larger production numbers, with single or group revelations about hope, fear, loves, hates and other challenging idiosyncrasies of teenhood.
The show’s title tune – the soul-moving, self-assuring song popularized by local girl Keala Settle in the Hugh Jackson musical film, “The Greatest Show,” is the perfect vehicle to bring out the best of the cast. Every “me” matters. The concept of the summer musical is the seventh in the IABKF series, led by Allan Lau, a dedicated fulltime teacher and the theater group’s current president. David James Boyd, the morning program director, helped shape the daytime sessions with the youngsters that evolved into the cast now doing the show. Ligaya Stice, sister of Jade, is the IABKF executive director, who continues to run the office and makes certain the spirit and inspiration of the late Ron Bright continue to be the lightning rod for developing future theater talent ….
And that’s Show Biz. …
‘This is Me’
A presentation of the I’m A Bright Kid Foundation, to perpetuate the legacy of the beloved teacher-director, Ron Bright
When: final performance at 2 p.m. today (July 30)
Where: Paliku Theatre, at the Windward Community College
Finally, there’s an appealing and sensational on-stage attraction befitting the new theater.
This outing – DHT’s season-closing endeavor – finally hits all the right notes after the largely lackluster “Cinderella” and “The Bodyguard,” the two attractions preceding “Beauty.”
On every front, this one’s a wonderment, with the essential experience and aura of a magical kingdom, a title that Disney now owns outright.
The musical, based on Disney’s 1991 hit animated film, features music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton.
At its core, this is a love story waiting to bloom; a prince becomes a beast-like figure when he falls under a spell from an enchantress; the only way he can undo the spell is to fall in love with Belle, whose father gets trapped in the lair of the beast, and she is held hostage.
Thus, the moral is to chill and learn to love, and the curse will end if Belle, a book-loving woman, sees beyond his mean demeanor and animal-like physique, and kisses him, and, yes, they’ll live happily ever after. In other words, don’t judge a book by its cover.
Director David Spangenthal (inventive, daring, spirited, pictured above) is a triple-threat in this “tale as old as time,” appearing as the Beast/Prince and also credited with the stunning choreography, making each task look easy. Clearly, he’s a singer, dancer, and a theatrical wizard – his Beast is a powerhouse of emotions on “If I Can’t Love Her.”
Spangenthal’s casting is remarkable. Beauty is a beauty (Emily North, pictured above, right, with a voice of an angel and alternately feisty and Disney princess-like, graceful, and wistful on “Home”), supplemented by brilliant choices for the humans-caught-in-the-spell: Garrett Hols (Gaston, aptly boorish, pompous, and self-loving on “Me” and “Gaston”), Samuel Budd (Lefou, Gaston’s punchy sidekick, delightfully impish), Kyle Malis (Cogsworth, tick-tocking timely advice), David Sheftell (as Lumiere, the candelabra with a beaut of a voice, and hands of candles, warmly welcoming on “Be Our Guest” ), Cathy Foy (as Mrs. Pott, the teapot, with pipes that deliver the show’s signature title song), and Julie Okamura (Madame de la Grande Bousch, a walking wardrobe chest of drawers with functioning doors and drawers).
Samuel Budd( Lefou) and Garrett Hols (Gaston), in “Beauty and the Beast.”
These fairy tale characters would not be effective were it not for the magic of new resident costumer Emily Lane, whose creations run the gamut from traditional gowns to the Beast (as a monster, as a Prince), plus specialty garb like the uncustomary costumes including a spout-arm for Mrs. Potts, and fantasy finery for Lumiere, Cogsworth and Madame de la Grand Bousch. That’s sew biz!
Cathy Foy, center, as Mrs. Potts, the teapot, in “Beauty and the Beast.”
There’s also the kitchen implements bearing larger-than-life fork, spoon, and knife, and a brigade of tools like a handmixer, a corkscrew, and a brush.
Kudos, too, to set and lighting designer Dawn Oshima, who finally converts the DHT space into a palate befitting a fairy tale: a range of scenic background slide projections (the village, the Beast’s lair, scenic skies and mountains and gigantic full moon), platforms and stairways that are utilized in different positioning. The visuals enhance the acting/dancing, elements that have been lacking earlier even with fly space. In one scene, the Beast reveals a surprise for book-loving Belle, three airy book-filled shelves comprising a library, floating beautifully.
Belle’s home is a bright yellow with red door and windows, spartan but suitable for a storybook set, and an oversized plate is an unexpected eye-filler in one scene, which reflects a huge budget for scenery and props.
Spangenthal’s choreography on “The Mob Song,” featuring Hols’ Gaston, earns the largest applause of the evening, for the well-executed mob dancing while clinking flagons, an apparatus-version of the slap dance. Great timing, grand sequence. And Spangenthal repeatedly displays a knack of movement/dancing on entrances and exits with ease and aplomb.
Chip (Mrs. Potts’ son), is cute and effective, with beaming face from a large teacup with a chip, with his body concealed in a cabinet (the role is double-cast, with Tobias Ng-Osorio and Philex Kepa). Giddy but hilarious are the trio of Silly Girls (Lana Differt, Kira Mahealani Stone and Christine Kluvo. Alexandria Zinov (Babette) and Maurice “Mo” Radke (Maurice, Belle’s father) have their moments, too.
Also watch for the somersaulting carpet (uncredited) in several scenes – a rare but stunning contribution.
The orchestra, unseen in the pit, is co-conducted by Roslyn Catracchia and Jenny Shiroma, and provides breathless sweeps and dramatic zest – a remarkable triumph since there are only 10 musicians sounding like 20.
Historically, “Beauty and the Beast” was the first Disney entry as a Broadway player, a feat viewed as a domestic response to the bounty of British-produced successes arriving from the West End. The prevailing climate among Broadway vets was indifference toward a theatrical film organization entering the market, but Mickey Mouse prevailed. Disney also launched an aggressive merchandise tactic (think tee-shirts, coffee mugs, and fake roses that light up) to cater to patrons, with a brilliant idea to direct exiting theater-goers through the souvenir shop, a move incredibly productive especially with “The Lion King,” early in that show’s run. And today, “The Lion King” is the king of The Great White Way, ranking No. 1 in grosses (more than $2 million weekly). …
And that’s Show Biz. …
‘Beauty and the Beast’
What: A musical based on the Disney animated film, “Beauty and the Beast,” with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton.
Where: Diamond Head Theatre.
When: Opened July 21, running through Aug. 20. The show’s original playdates are sold out: seats for performances Aug. 17 through 20 are available.
With little fanfare, a splendid Polynesian show, “Pa‘ina Waikiki,” was launched June 2 at the Marriott Beach Waikiki Resort and Spa. It has all the fingerprints and finery that distinguish a Tihati Productions endeavor.
The luau show, in a reimagined open-air space beyond the third-floor swimming pool in what used to be the Hawaiian Regent Hotel decades ago, is everything you’d expect from a Tihati experience, meaning pageantry with mele and hula; tales of the Pacific specifically tailored to the Waikiki location of the Marriott; a fashion show of sorts since the costumes are bright, authentic and stylish; and pre-show hands-on arts and cultural lessons in lei-making and tattooing.
If that’s not enough, at the end of the production, visitors can go on stage to acquire quickie lessons in Samoan and Tahitian dancing, with attractive and handsome cast members as teachers. Out-of-towners are willing and wonderful in this concluding camaraderie of performers and patrons.
Because the site is smaller than most Tihati shows, the evening is a lot more intimate and thus very engaging for the spectators.
Count ‘em, if you will: this is the 12th Tihati show statewide overseen by company president Afatia Thompson and his sister Misty Thompson Tufono, who are the son and daughter, respectively, of legendary Jack and Cha Thompson, who turned over the business to the siblings while still serving as cultural mentors.
This show also is history in the making, marking a next-generation milestone, since children of Afa and Misty (and grandkids of the founders) are prominently and actively engaged in the delivery of the sweet Hawaiian mele and drumbeating exhibition of Samoan, Tahitian and Tonga songs and dances.
Tihati Thompson, 6, is the youngest fire knife dancer.
Afa’s and wife Nicole’s kids featured include hula girl Bella Thompson, notably on a hula about Kuhio Beach, and her brother Matagi Thompson, part of the lineup of male dancers; at 6, Tihati Thompson – truly a cutie patootie – is the youngest cast member and the resident keiki fire knife dancer with an astonishing skill and stage presence as he whirls and twirls his kid-size knife with flares on both ends.
Summer will herald more kinfolk. Misty’s daughter Mokihana Tufono will join the dancers when she returns from UCLA; her brother, Maninoa, also has joined the ranks.
Captains for the revue are Wallen Thompson Teo, son of Jack and Cha’s eldest daughter Ruana Thompson Teo, who is male captain; his wife, Lupe Tauiliili Teo, is female captain. Another male line dancer, expected this summer, is Ruana’s other son, Eli Thompson Teo.
The Tihati tradition requires that all performers, in lead roles or in ensembles, must learn the songs and dances for all of the company’s productions, so most troupers bounce from one show to another.
Brandon Mafua is a congenial, conversational emcee.
Brandan Mafua, an eight-year member of the Tihati troupe, is a likeable emcee, who not only is welcoming and congenial, but delivers historical factoids about why a song is embraced here, and the history surrounding the tune or environs; it’s all handily researched material scripted by Misty, company vice president, who clearly has a vault of knowledge blending entertaining motives and simultaneously embracing educational history. And Mafua’s easy-going conversational style is a plus.
Tihati hula sweetie , in pareu
Afa is resident choreographer and director of the spectacle. His moves, backed by a versatile house band, captures the flavors and tempos of the galaxy of Polynesian nations. The Tihati Serenaders, led by percussionist Alex Galeia‘i, includes guitarists Travis Kaka and Josei Alfonsi, and bassist Dennis Keohokalole, whose vocal harmonies and heartbeat drumming, exhibit the syncopation of all the South Seas nations.
Makayla Arakaki is the wahine keiki solo dancer.
Makayla Arakaki is wahine keiki solo dancer, and Mika‘ele Oloa, five-time champion fire knife dancer, is one of the most seasoned of the breed. And he earns the hurrahs and applause with his fire knife dancing and fire-eating style, a stunning finale for the evening.
Mika‘ele Oloa is the adult fire knife dancer — and fire eater.
The spectrum of music entails tunes associated with some of Hawaii’s alii, like Queen Kapiolani and Prince Kuhio, and links zones where they lived or partied. The show acknowledges a show from the past, Puka Puka Otea, once ensconced at nearby Queen’s Surf, and remembers R. Alex Anderson’s iconic hapa-haole composition, “Lovely Hula Hands,” and also pays homage to Hawaiian surfers, then and now.
Wahine dancers, in traditional ti-leaf skirts.
Tihati costumes continue to project bright, festive, and fun motifs – from ti leaf skirts to grass skirts, from surf wear to area-specific costumes in more colors than a rainbow, from reds to greens, from purple to blue, with detailed accents from head to toe (lei, shell necklaces, lauhala hats, etc.). Well, footwear are not ever utilized here; dancers always perform barefoot, but ankles sometimes display trinkets.
Male dancers, in modern surfing shorts.
Actually, there are two shows – one preview prior to dinner in daylight, the other the formal revue with appropriate nightlife lighting – so arrive early so you don’t miss anything.
Kudos to Jerry Gibson, veteran hotelier, and a Marriott executive who has been a pioneering supporter of island shows large and small. His valued leadership has provided time and space for many shows, informal and formal, to keep the pulse of Hawaii and Polynesia alive. Where most hotels have abandoned shows – remember when all major Waikiki hotels all had showrooms as a venue for performers and an amenity for visitors? – and perhaps this is a post-pandemic jump start for more newbies to enter the race and pace of keeping Hawaii Hawaiian.
Yes, this is Tihati’s 12th endeavor in Hawaii – but shhhhh. Two more projects are in the works. If you build it, they will come.
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“Pa‘ina Waikiki”
A Polynesian spectacle and lu’au, staged by Tihati Productions
Where: Third floor of the Waikiki Beach Marriott Resort & Spa
When: 5:15 to 8 p.m. Sundays, Mondays, Wednesdays and Fridays.
Cost: $110-$170, general seating; $150 to $200, VIP seating. Buffet dinner included.
