There is much to embrace and admire in the luminous and luscious “Fiddler on the Roof,” now in residency at Diamond Head Theatre.
Let’s start with Garrett Hols, as Tevye the dairyman-papa, and Mary Chesnut Hicks, as Golde his wife and the mama, perfectly cast as denizens of the European community of Anatevka, where families live, work, and worship together in natural harmony.
And oh, there’s literally a storybook fiddler on the roof here.
Based on tales of Sholem Aleichem, “Fiddler” features a book by Joseph Stein, with music by Jerry Bock and lyrics by Sheldon Harnick and was an award-winning entity produced by Harold Prince on the Broadway stage, and directed and choreographed by Jerome Robbins. To work, the show requires vision and competence to bring the characters to life through dialogue, music and dance.
There are no Hols barred as Hols inhabits Tevye with determined trust, adventure and joy; his vocals and dances are expressive, from the opening spectacle “Tradition ” with the Villagers, to plot-moving classics like “If I Were a Rich Man,” “Sunrise, Sunset,” “To Life” and “Do You Love Me,” the latter with a comedic strain with mama Golde, and she charms every time she speaks and vocalizes.
Garrett Hols is Tevya, Mary Chesnut Hicks is Golde, in DHT’s ‘Fiddler on the Roof.’ Easton Ikenaga photo, courtesy DHT.
The show is a journey boasting a chockful of hits delivered by secondary characters vital in connecting the dots in the storyline. Kyle Conner (Motel the tailor); R. Andrew Doan, (Lasar Wolf the butcher); Betty Bolton (Yente the matchmaker); plus the five marriageable daughters Tzeitei, (Marie Staples) ; Hodel (Salote Vaha’i), Chava (Anya Teruya); Kara Katayama/Hayden Lau (Shprinyze); and Bieke (LeiaKandel/KaraKatayama).
The ensemble numbers are extraordinary, with vigor and unity. Co-directors Roberta Stephens Satori and David Weaver move mini-armies of villagers, and filli the stage with genuine spirit and life. L’Chaim!
The precise bottle dance. photo by Easton Ikenaga, courtesy DHT.
The robust choreography – with the ritualistic bottle dance at the top of the list – projects the spirit of life; David Weaver recreated the original staging. Emily Stone’s costumes – gorgeous in assorted hues — add to the festive momentum and fill the eyes of this cultural treat.
But overall, the technical work is awesome. Deanne Kennedy’s set design taps segments of moveable sectors of a rustic home, displaying versatility of outdoor and indoor looks. Aiko Schick’s hair and makeup continues to bring sheen to the show, and Janine Myers’ lighting design takes adventures of the key set pieces and brings silhouettes to the party, a nice element. Jericho Sombrio’s sound design is top-notch, too.
Finally, dependable Jenny Shiroma’s nine-piece orchestra is back in the pit, with Richard Lee, in the role of The Fiddler, earning two big spotlight moments beginning with the opening scene fiddling on the roof, plus an Act 2 reprise.
So fiddle no more; seats are selling fast, but extension dates are available.
And that’s Show Biz…
‘Fiddler on the Roof’
What: A musical featuring book by Joseph Stein, music by Jerry Bock, and lyrics by Sheldon Harnick, based on the stories by Sholem Aleichem.
Where: Diamond Head Theatre
When: 7 p.m. Thursdays, 7:30 p.m. Fridays and Saturdays, 3 p.m. Saturdays and Sundays; extended playdates on Oct. 16 and 17.Tickets: $45 to $56, at 808-733-0274
If there’s a whim, there’s a way for comedian Frank DeLima, who leaps into the parody-writing game, whenever nature calls. That’s Mother Nature, of course, since she uncorks her stormy weather with flair and like a firefighter, DeLima jumps into action.
This month, DeLima – now a Las Vegas storm trouper of sorts – released “Lala’s Whip,” even though his storm-related musical parody arrived a skosh tardy, as it was Lowell who succeeded Lala in the stormy limelight on local TV and national stations like CNN and NBC the past few days.
Frank DeLima
DeLima tapped the theme song of “Gilligan’s Island,” and advocated advanced planning – including assembling an emergency kit, to survive the threat of wind, rain, and waves of flooding. (Watch the video performance at https://www.facebook.com/wayne.harada.5, Harada’s Facebook page; this site does incorporate video).
“I have an emergency kit, too, since our electricity in Vegas goes out due to high winds,” said DeLima, about the differences in prepping for the arrival of a storm.
“I was told that there were flash floods in the past (in Vegas) with a clear blue sky above! Storms in the surrounding mountains caused water to empty into the valley,” said DeLima about the differences of impact from Hawaii.
“Last year we had a hail storm … in the desert! The ground looked like one truckload of ice in the desert.in the desert! Lasted for 5 minutes.”
He quoted his late Portuguese mom Pearl, who always said, “You nevah know!”
His survival kit included dry fruit and beef jerky from the Las Vegas Jerky store where locals flock to, no matter the weather. And his prep included batteries for lamps, a hand-cranked radio, and other essentials when lights might go out.
So he got dried fruit and beef jerky from the popular Las Vegas Jerky Store
And batteries for lamps.
A handcrank radio, too.
I researched and found on ine what should be in emergency kit
And he did a parody of theme song of “Gilligan’s Island”
He sings:
“Just sit right back
“And you’ll hear one song;
“One song with a list of tips
“Giving all the damage reports…
“Let’s learn from Lala’s whip.”
“No dilly dally
“Follow da plan;
“Takes moa
“Den be brave…”
He suggests you pack enough “key stuff that last 14 days or 1,200 hours or more.”
Edibles? Non-perishable food, like chips, jars of jam, peanut butter, protein bars.
Missing from his compilation: tins of Vienna sausages, a can opener for tuna, and happily, he didn’t forget bottled water…
Only one adult island actress — as I recall –has brought her talent to the beloved story of Victor Hugo’s wartime drama, “Les Misérables,” back in the day.
As Diamond Head Theatre launches its weekend premiere of “Les Mis” today (July 31), tomorrow (Aug.1) and Sunday (Aug. 3) – despite several performances last week (holdover shows staged before the premiere party which constitutes “add-on” playdates – it might be proper to salute the young troupers from Hawaii whose participation in the classic still bring back memories.
The alumni of child actors in the “Les Mis” hall of fame:
Janelle Parrish – who was cast as Young Cosette. Well before she gained fame in “Pretty Little Liars,” Janelle excelled as Cosette in the National Tour of “Les Mis” in 1996. Her beloved performance was highly celebrated when the Broadway touring company visited Blaisdell Concert Hall in Honolulu, enabling her to slip on the costume and shoes of Cosette at the Imperial Theatre, to bring down the house by singing her signature tune, “Castle in the Cloud.” (She was a super fan of Broadway music, and could sing all arias of Christine in “The Phantom of the Opera.”)
Janelle Parrish
Jason Tam – who was cast as Gavroche. He lived in Aina Haina, graduated from Punahou School, and was his era’s most popular urchin of the musical. When the national tour visited Honolulu, it was his gate to the Gavroche He subsequently made Gavroche astepping stone to a fantastic and luminous career, with a portfolio that now includes the lead role of Paul San Marco in “A Chorus Life,” in which he delivered a show-stopping monologue setting up the musical’s “One Singular Sensation;” and further, he was heard but not seen doing voice-over participation in ”Dear Evan Hansen,” plus roles in such plays as “Be More Chill,” among others.
Jason Tam
Ryan Rumbaugh — another local from Hawaii, who wound up in the pivotal barricade scene, performing the character’s send-off tune, “Little People,” in the Broadway company’s original run.
Milo Maharlika – a youngster from Ewa Beach and an alumnus of DHT, made his own history in 2023 when he became the first Gavroche ofFilipino-American at age 9 to perform the role in an American Broadway tour.
Ann Harada is sort of a Lone Ranger when it comes to “Les Misérables.” As far as we could determine, she’s the only adult actor from Hawaii to inhabit a “Les Miserable” character.
Ann Harada
A Punahou grad, Harada portrayed the mischievous Madame Thenardier, in the last Broadway revival of the popular show. I saw and remember her performance — proof she can handle any role.
Otherwise, Harada has amassed a remarkable range of roles, perhaps because she goes for character roles, not ethnic (Asian) parts, relying on her versatility as both singer and actress.
She currently is featured in the wildly successful “Schmigadoon” musical, at the Nederlander Theatre, where she is having tons of fun and curtain calls, without the comedic of the Thenardier character. Her enviable, wide-ranging credits, include the part of Christmas Eve in the Tony Award-winning “Avenue Q,” “Cinderella,” “9 to 5,” “M. Butterfly” and “Seussical.”
NEW YORK — Remember when you bought tickets to a Broadway show, and simply watched the performance?
Alas, Broadway theaters have adopted the movie mojo, hawking concessions once exclusive with film-going.
I have a frank confession about concessions. No, no. no. If you book seats for a Broadway show, you don’t go there to eat. Or drink. Or share snacks.
You go, supposedly, to watch, to be entertained, to witness a musical and sing your way out, or cherish a chuckle about a hilarious moment or character in a comedy, or wipe off tears if you experience a heart-tugging or impactful chicken-skin scene element in a drama.
Leave the food in your hotel room. Eat it before or after the show, please.
We need to restore the dignity and respect for theater performers. Please?
There was a time –back in the day when with shows featuring legendary and outspoken actors like Patti LuPone — would halt her show if someone was eating or chatting during her performance. Ballsy LuPone would stop her show, if faced with distractions from the stage. She would find you to shame and yes, shame on you… so you don’t mix eating and chatting during a performance.
Similarly, I recall Glen Close halting her performance and pinpointing a spectator in a Los Angeles theater, when a cell phone rang.
Popcorn, candy and munchies are not suitable for theater. Ditto, iPhones. Theaters become circuses and ballparks when viewers bring food to the table. To me, that’s a worrisome wrinkle on Broadway.
Perhaps it’s too late, to sound off the alarm, since the flood of food at Broadway shows apparently began as far back as the 2000s, when you could only buy a drink with a tight lid to sip and watch a performance. How the movement has changed. I noticed this year, folks were hauling in gigantic soft drinks, and kids were carrying drinks with sealed lids, as if there’s a drought outside. Many theaters allow wrapped candies and soft drinks and sealed wine glasses, and I haven’t seen spilled drinkables. Yet.
Remember, Broadway theater seats don’t have cupholders on the arms, which means that a careless drinker could kick and spill a filled cup left on the floor. Messy and sticky, if this happens.
The Shubert organization, which operates 17 Broadway theaters (nearly half of the show houses), used to be the strictest in the snack parade, allowing only quiet-opening candies like Kit-Kats and M&M. Times have altered operations; theater owners know concession sales will make the proverbial cash registers ring and jingle and yield more bucks to combat rising costs.
The Nederlander chain embraces the movie-style, too, with common candy, chips and popcorn, normally at shows with family and kiddie audiences.
The volume of snack sales go up with family shows like “The Lion King,” “Aladdin,” and “Lost Boys,” and “Harry Potter and the Cursed Child” and perhaps fewer sales in dramas like “Giant,” and “Death of a Salesman.”
I didn’t see it at the abridged “Harry Potter” this year, but several years ago, when “Harry Potter” was a twofer Part 1 and Part 2 – there were snack and drink menus at the theater seats. So if you ordered before intermission, the bounty of orders was delivered at the break.
The theater fare so far excludes pizza, a concerning edible since it can be messy and it smells. But some shows approve popcorn, which of course signals whiffs of buttered popcorn as the lights go down.
All theaters now have that standard plastic cup for soda and booze, and special promotions boasts logos of the show, a means to charge even more. But you get to take home a souvenir.
At a “Harry Potter” performance I was at the Lyric Theatre in early July, a boy’s phone rang, with bonus of bright lights shining, but he was quick to shut down the phone, wisely without answering. But it gave him an op to share candy with his girlfriend.
Alas, LuPone was not in the cast. That’s food for thought…
NEW YORK – There are 41 theaters on Broadway, and in early July, I visited eight theaters and consequently saw a remarkable range of shows.
The good news: Broadway amassed its best season ever, in its just-ending 2026 season, achieving $1.9 billion in total grosses, reflecting a remarkable $14.6 million tickets sold, according to Ken Davenport, a Tony Award-winning producer who monitors the tempo, the heartbeat and pulse of The Great White Way,
Davenport publishes weekly analytical breakdowns tracking individual show revenues, and regularly monitors developing theatrical trends. He also is an active producer of shows.
Ken Davenport
As a show-goer, the eight different productions I caught over a six-night stay leading to the July 4 holiday weekend was my umpteenth New York vacation over the years.
The first trip my wife Vi and I made to Broadway was in 1973, when we saw “A Litle Night Music,” which was ensconced at the Shubert Theatre. “Night Music,” a Stephen Sondheim creation, was the season’s gotta-see number, playing to sellouts. We had no reservations, so we dropped off our suitcases at the Algonquin Hotel a block away and headed to the Shubert.
In those days, sales were largely done in person, and the woman at the ticket window said the performance was a sellout for the matinee. I smirked a bit…and she quickly informed us there were two tickets left, located near a column so there would be moments we wouldn’t be able to see two quickie scenes. We bought the tickets, so at least we got in. And those days, I was such a country-jack, looking and gawking at the antique theater décor.
Decades later, I shared this little story with Hal Prince, the prevailing theatrical giant of his lifetime, and he chuckled. He was visiting his longtime friend, the late Joy Abbott, widow of the legendary playwright George Abbott, who was a sometimes resident, who hosted us at a lunch at the Orchids Restaurant at the Halekulani Hotel. The director and the playwright Abbott had collaborated with a bounty of Tony-winning shows, so it’s a remarkable irony that neither director Prince nor writer Abbott have theaters named after them today.
A Broadway theater must have at least 500 seats to qualify as a “Broadway theater,” the genre that includes such legendary attractions as “The Lion King,” “The Book of Mormon,” “Hamilton,” “The Phantom of the Opera,” “Les Misérables” and “Cats.”
As for the 41 existing theaters, I daresay I’ve seen musicals, comedies and dramas possibly in perhaps 38 of the 41 theaters since the ‘70’s.
John Rhoades, enjoying a chic breakfast at Delta’s Skyclub at JFK’s Terminal 4 in New York.
Some reflections:
This last trip was a long-planned family journey to take our grandnephew, John Rhoades (now 28, and a sergeant in the Army), on his second visit to the Big Apple. The first was when he was in middle school. This time, he offered to tend to the wheelchair I needed to get around Times Square, and oversee the weighty suitcase transport. The trip was somewhat a dream come true treat for all, with first class seats on Delta, which included visits to the Delta Skyclub in Honolulu prior to our departure flight, which was not as glorious as the luxurious dream-come-true experience at the modern and swanky Delta One Club, throbbing with excellence and grandnes, in Terminal 4 of JFK airport.
We’re all checking out the Delta Skyclub; from left, John. Wayne and Vi. Breakfastcalls.
No one took advantage of the massage and shower options available, but I utilized a swanky men’s room, which had ample space, with possible even guest-sitting, with space for a handler for wheelchair. No, I was solo, while John was checking out other options.
Times change; while my energy has diminished, the spirit’s still there, but a new strategy was vital. Two heroes in the 2026 plan: Vi’s penchant for details, John’s devotion and physical power to navigate the wheelchair with savvy. This reportage is slanted to help other handicapped travelers who may be reluctant to visit to The Big Apple but are fearful of crowds, and thereby denying themselves of taking in marvelous entertainment. Seek support, and you can possibly made a desire happen.
The able Mr. Walker
Mr. Walker, whom you’ve heard me mention previously, was on the trip with me, so I was able to do a bit of meandering with the walker. I had rented a power wheelchair, which was was a huge mistake, because I couldn’t easily get around. It was John who canceled the electric wheeler and exchanged it with a traditional chair which he pushed and twirled amid the jam-packed sidewalks and roadways in the Times Square vicinity.
The traditional Mr. Wheeler.
The new Mr. Wheeler got me to all eight shows on time with John quickly learning the routines of Mr. Walker and Mr. Wheeler, who had to be alternately parked before and retrieved after all performances. Ground transportation was never so easy, when in the right hands.
The shows we saw:
“Lost Boys,” at the Palace Theatre. A musical spectacle with vampires and more!
“Oh! Mary!,” at the Lyceum Theatre. Secrets and music a-plenty, with Mary Todd Lincoln.
“Cats: The Jellical Ball,” at the Broadhurst Theatre. The cat’s out of the bag, competing in drag-show, fashion-plate pace.
“Schmigadoon,” at the Nederlander Theatre.” A parody of “Brigadoon” with homages to “Oklahoma” and more. The year’s Best Musical Tony winner, and the most fun.
“Harry Potter and the Cursed Child,” at the Lyric Theatre. The magic is reimagnied in this drama about Albus Severus Potter, son of Harry and Ginny, who strives to maintain and live up to the fame of his father’s legacy.
“Moulin Rouge,” at the Al Hirschfeld Theatre. A jukebox musical, loaded with 70 disco and boogie music, embraces a tragic star-crossed romance between songwriter Christian and. chanteuse Satine, set at the Montmartre Quarter of Paris.
“Titanique,” at the St. James Theatre. A parody of “Titanic” and vocalist Celine Dion. And of course, The Song goes on and on.
“Stranger Things: The First Shadow:” This is a strange play withmusic and dance, featuring beaucoup songs by a singing-dancing cast. It’s a prequel to the Netflix streamer, whose audiences are supporting the tale of how a boy became the villain. The least likeable of the shows I saw.
(Note: I’ll post mini-reviews in a subsequent column).
Show tickets are costly, like other life pleasures. In earlier times, I would splurge and purchase seats in prime orchestra locations. In checking prices this year, some shows had orchestra seats for under 400. I sought orchestra, but in secondary locations, with per-show admission up to $250, range, as follows: “Boys,” $121.06; “Mary,” $251.66; “Cats,” $276.11; “Schmigadoon,” $231.34; “Potter,” $233.10; “Rouge,” $192.86; “Things,” $94.70; and “Titanique,” $111.00. (And do the math, if you want to know the tab for three seats for each show).
Locations matter, when seeking a hotel.
I used to book rooms that offered frequent-stayer points, like Marriott, Hilton, Sheraton and Hyatt. Not any more, since they are useless unless you are a business traveler capable of accruing enough status to justify the amenity. From nearly a decade ago, location mattered more because my walker-wheelchair needs mounted. So we now book Hotel Edison, on W. 47th St., in the heart of the Times Square. And tariffs were in the upper $300 during prime summertime travel.
Hotel Edison, on W. 47th St.
From the Edison, walkability to the shows was breezy block or minimally a block or two away – no cab, bus, or subway necessary. From Times Square, the furthest north theater is the Vivian Beaumont at Lincoln Center, the furthest south is the Nederlander, on W. 41st St. The bulk of the theaters are located in the grid of the 40ths, between 6th Ave. and 9th Ave.
The bathroom issue? Yes it can be problematic.
Getting to know where to “go.”
When you’re handicapped, going to the lua is a challenge; you may rely on a cane, some crutches, a walker or a wheelchair, so knowing where accessible bathrooms in theaters is prime before heading to your seat, or at intermission.
Realistically, theater restrooms at Broadway theaters are either In the basement, sometimes on the mezzanine, but only rarely on the orchestra (first) level.
Do what I do, if you’re theater-bound. Before you secure tickets, inquire with the theater, or seek help with ticket sites. I inquired with broadway.com, where I bought all my tickets, and they’re friendly like heck — almost as easy as Goggling each venue.
However, I’ve done the math for you, if you’re only bound for any of these destinations: Palace Theatre, wheelchair access on orchestra level; Lyceum Theatre, unisex wheelchair access on main level; “Cats,” wheelchair on orchestra level; Nederlander, previously not available, but now with accessible restroom on first level; Lyric Theatre, accessible restrooms in Dress Circle lobby, with ADA locations in Orchestra and Dress Circle, with elevator access; Hirschfeld, wheelchair access on orchestra level; Marquis Theatre, facilities on 3rd and 4th levels of Marriott Hotel, with elevator access; St. James Theatre, access on main level.
Other information important to know before go:
You’ll require a buddy or family member to help, especially with the wheelchair; New York has rentals, which are conveniently dropped off and picked up at your airport at your desired times.
Inform airline about handicapped assistance, and it will note your needs in your flight data; ADA access will include wheelchair transit assist, from check-in through TSA checks, with lifts to your flight gate; at arrival, wheelchair assist continues to baggage claim; on return flight, similar assistance is available, from flight to baggage claim, to curbside for a pick-up or cab ride.
I secured an ADA room at the hotel rental, with shower stall catering to the handicapped…
