MT. APPLE’S LEAH BERNSTEIN DIES AT 72

Leah Bernstein, the eminent president of the Mountain Apple Company, died in the wee hours of July 4 at Queen’s Medical Center. She was 72.

She was born on Dec. 1952, in Brooklyn, N.Y.

Cause of death was cancer, an illness she had been battling for the past four-and-a-half years. Her husband Mark Bernstein, an attorney, said the diagnosis was confirmed by a New York doctor during an earlier  visit to a Big Apple hospital.

On July 4, Mark  summoned an ambulance so Leah could receive ER care. “I couldn’t give her painkillers any more,” he said. They resided in a Makiki Heights home, where an ER crew brought Leah downstairs on a gurney, for hospital treatment.

Leah Berstein, CEO of the Mountain Apple Company, has died at aged 72.

Meantime, Jon DeMello, Mountain Apple Company founder and  a life-long work colleague and friend of the Bernsteins, was on  vigil duty at Queen’s, settling in a hospital-provided cot nearby Leah. He was playing “Hawaii, in the Middle of the Sea,” a Brothers Cazimero album,  on his iPhone  “and I knew she was hearing it,” said Jon. He said Leah had texted Mark to bring her home pillows and other comforting items to the hospital.

“It was 3:20 a.m. on the Fourth of July morning when she made the transition, and that was the time when I called Mark at home. It took him just a few minutes to get down to the hospital… so Leah and I were alone when she died.”

Leah and Mark shared  a close, tight relationship. “In our 55 years together, there have been only 100 days that we’ve been apart,” said Mark.

Only their families and their closest friends were aware that Leah and Mark  were childhood sweethearts who married young and were inseparable. Together, they were the epitome of a power couple in the Hawaii they loved.

“Leah was the finest human being I have known,” said Mark, who first saw her walking the sidewalks of Hollywood in January 1969. “She was eating an orange, and I asked my friend, “Who is that?” he said.

Leah, attending Hollywood High School, ultimately met her future life partner, when she was 16 and he was 17. They became a couple when they moved in together when she was 17 and he was 18.

 “Given how horrible it could have been in the end, I’m more than grateful to have had four years to grieve,” said Mark of the quality time they’ve shared amid the cloud of the cancer that surely interrupted their life but made their love for each other stronger.

They were ardent travelers, even taking trips to Japan and Canada when Leah could, after she was diagnosed with cancer. “We also had planned a trip to San Francisco,” Mark revealed, because she had good and bad days like other cancer patients, with a lifestyle including chemotherapy treatments.

 Leah joined the Mountain Apple team in 1980.  “It was a relationship made in heaven,” said Jon. “Music was in my fiber, and she saw it, and knew it. We merged, a short mold (him) and a tall mold (her).”

“She had an absolute way with numbers; she had world-wide awareness of Hawaiian music, and was a perfect fit for Mountain Apple,” Jon continued. He ultimately named her president and Mark eventually became — and remains — the company’s lawyer.

 Mountain Apple initially was a record company but diversified over the decades, taking on publishing music, distributing CDs, managing acts, and producing iconic concerts like May Day at the Waikiki Shell and Christmas productions at Bishop Museum and the Blaisdell Arena.

With Leah’s oversight, Mountain Apple’s music publishing boasted the most extensive library of Hawaiian and Polynesian music, and company’s catalogue included The Brothers Cazimero, Bruddah Israel Kamakawiwo‘ole and Robert Cazimero as a soloist since the death of brother Roland Cazimero. Numerous other acts — Willie K, Amy Hanaiali‘i Gilliom, Emma Veary, Raiatea Helm, Nina Keali‘iwahamana, Jack DeMello, Keola and Kapono Beamer and Jimmy Borges, among others– benefitted from her vision and her marketing skills in sync with Jon’s overall leadership.

Mark arrived in Honolulu in June 1969, and proclaims he’s an “island boy, from the island of Manhattan.”  Leah worked at Kendun Recorders, a Burbank-based recording and mastering studio, where she learned her chops before settling in Hawaii in May 1972.

She held a variety of music-related jobs –Tower Records, and Territorial Tavern — which were portals to the local music industry. In May of 1980, Jon hired her to join the Mountain Apple team.

She’s pragmatic, said Jon.  She told me, ‘You gotta watch out for Mark,’” Jon said, of the frailty in his life after her death.

“There’s a lot of me in her, and a lot of her in me,” said Mark  about their bonding. “Leah was the kind of person who never talked of her illness,” he continued.  “She would be upset about how people might react to her situation. She didn’t want to make her friends feel bad.”

Robert Cazimero, the kumu hula and entertainer, commented, “One time in the early ‘80s I had gone to the Mountain Apple Company office with a young student of mine. I introduced him to Leah Bernstein. He took one look at her and said to me, ‘She looks like heaven.’ That nickname was hers for many of us, her whole life. I will miss my friend; I miss my friend dearly.”

Services will be private, per Leah’s request. “I’ll do what she wanted,” Mark said.’

‘HAMILTON’ TURNS 10 AUG. 6. GO FOR IT

On Aug. 6, Lin-Manuel Miranda’s “Hamilton” blockbuster will celebrate its 10th anniversary with a gala performance in the house where it happened  — that would be the Richard Rodgers Theatre.

I received an invite, if you can believe it, to partake in the gala on Aug. 6. Guess the show wanted some regular fans to be dazzled by the notable invitees.

Lin-Manuel Miranda

Financially, this one’s way out of my reach – tickets are either $5,000 or $2,500 for mezzanine seats –but it will be historical and memorable if you want to splurge. The higher-price ticket includes a pre-show and after-show reception; the less expensive ticket includes the post-show event.

The performance will feature the current cast which, lest you forget, currently features two performers with Hawaii ties, Marc delaCruz, who I have befriended and interviewed,  and Reanne Acasio, who I also met via an interview. It would be a hoot to see them in action, but health is a priority now,  and I don’t think I could survive the journey.

Marc delaCruz

There’s the airfare to consider, too, and a hotel room is a necessity.

For the record, I’ve seen the Broadway production twice, once with the original cast, a second time with delaCruz, who is an understudy of the title character of Hamilton. Acasio, who joined the cast a few months ago, understudies the three Schuyler sisters in the show, but I have yet to see her.

But I’ve  watched another localite, Joseph Morales.  enacting the Hamilton role in a touring company when it was ensconced in a Chicago theater. Plus, I watched the touring company that did show at Blaisdell Concert Hall two years ago.

I recall the first time; I couldn’t secure affordable seats, and orchestra tickets were astronomically high. So, I wound up buying two tickets –at $750 apiece – way up in the balcony, in the second-to-the-last row up high. However, it’s still a conversational memory.

For the 10th anniversary, the “Hamilton” logo bears 10 stars surrounding the familiar figure of Hamilton atop the star.

Ultimately, here’s the rub: If you want to be in the room where it happened, on a milestone date, who’s stopping you to go?  The Public Theatre, where “Hamilton” first played off-Broadway prior to its Broadway debut, is overseeing the anniversary show.  Come to think of it, though I didn’t see “Hamilton” there, I have taken in shows at the Public. Maybe that’s how I got the email invite. If you have been to the Public and weren’t invited, go for it—invite yourself at events@publictheater.org

Scherzinger, ‘Sunset Blvd.’ are No. 1

A new Broadway champ: ‘Sunset Blvd.’

In the final week of “Sunset Blvd.” on Broadway, Hawaii star Nicole Scherzinger – performing as Gloria Swanson, talkies star – went out as a winner, with the musical yielding grosses of $2,481,018.

The surge earned the show, and Scherzinger, the laurels of being the No. 1 hot ticket for the week ending July 20, bypassing perpetual chart topper “Wicked,” which was No. 2.

The Top 10:

1—”Sunset Blvd.,” $2.481 million

2— Wicked,” $2.412 million

3—” The Lion King,” $2.218 million

4—”Hamilton,” $2.187 million

5—” Death Becomes Her,” $1.485 million

6—”Aladdin,” $1.469 million

7—”MJ,” $1.406 million

8—”Maybe Happy Ending,” $1.347 million

9—”Just in Time,” $1.327million

10—” The Outsiders,” $1.207 million. 

The full list, courtesy the Broadway League:

And that;’s Show Biz…

BILLION-DOLLAR ‘STITCH’ GOES VIRAL

“Lilo & Stitch,” the Hawaii-filmed live-action film which originated as a cartoon, recently passed the $1 billion box office milestone. Translation: it’s now Disney’s biggest film and also is a global favorite.

And today (July 22), the film will be available on digital platforms –including Amazon Prime Video, Apple TV, and Fandango at Home – to rent or buy.

 On Aug. 26, “Lilo & Stitch” will be released on physical media via 4K Ultra HD, Blu-ray and DVD. A key destination will be Disney+, which traditionally will be a few weeks following the digital release.

The film opened during the Memorial Day weekend and boasted a $1 million budget. Its ascent to the $1 billion rank means, however, that production costs have been recouped.

Stitch and Lilo: The hit film has grossed more than $1 billion.

Clearly, “Lilo & Stitch,” is a home-grown success with prominent participation of Hawaiian actors in the cast. Surely, the feature also is the most successful film entirely lensed in the islands. Big Island discovery Maia Kealoha, who portrayed Lilo in her screen debut, is a pint-sized superstar on the fan circuit.

The ‘ohana of actors include Sydney Elizebeth Agudong as Nani Pelekai, Tia Carrere as Mrs. Kekoa, Amy Hill as Tutu,  Blake La Benz as kumu hula, Jason Scott Lee as luau manager, Celia Kenney as AJ,  Kaipo Dudoit as David, Hanna Waddingham as Grand Councilwoman (voice),  Judy Nguyen as agent Huynh, Courtney Coleman as concierge, Christina Souza as Dr. Pereira, Christian Yuen as Agent Yzao,  and Skyler Bible as Agent Foster.

Also, Billy Magnusen as Pleakly, Zach Galifianakis as Jamba, Courtney B. Vance as Cobra Bubble, and Chris Sanders as Stitch (voice).

The film was directed by Dean Fleischer Camp. Hawaii’s Chris Kekaniokalani Bright wrote the screenplay, with input by Mike Van Waes and Chris Sanders.

The anticipated Blu-ray Steel Book edition will be a keeper for fans. It will be packaged in a special edition reflecting the blue alien’s mischievous nature and contain bonus features such as  deleted scenes and bloopers, plus behind-the-scenes peeks at Lilo and Stitch with cinematic Dolby Vision and Dolby Atmos Disney packaging.

And yes, a “Lilo & Stirtch” sequel has been announced, release date not known…

And that’s Show Biz…

SOAK IN DHT’S ‘SPONGEBOB’ HIT

Diamond Head Theatre has plunged into the whirlpool of fun of “The SpongeBob Musical,” a marvel of stagecraft based on Nickelodeon’s spirited cartoon character and its undersea antics.

Originally dubbed “SpongeBob SquarePants,” the show- — minus the squarepants – is a colorful enterprise of quirky characters residing in Bikini Bottom, whose quiet lives are upended by a volcanic eruption falling and wiping out the sea community.

The real accomplishment is the coming-of-age triumph of the technical crew at DHT, which has had frequent  difficulty creating satisfying sets in its still-new theater with fly space that hadn’t been available for more than 100 years.

The sets are remarkable. including this one with underwater rainbow. Photos by Brandon Miyagi, courtesy

Thus, SpongeBob has arrived to rescue and resolve the techie production ills of the recent past, making this perhaps the best-ever, cohesive DHT enterprise.

Advisory: this is not a kiddie show. It’s family-oriented, with wide appeal to adults and parents. So, take a plunge and savor the silliness of SpongeBob.  

Chad Navarro, strumming uke, is SpongeBob Squarepants.

The saga of the undersea community threatened to lose its home is one of bonding to challenge and upend and survive the explosion of underwater mountains.  

Meana Stone is Sandy Cheeks, who has a great voice,

“SpongeBob SquarePants: The Broadway Musical” – the formal official title –was a huge hit with both critics and spectators and earned 12 Tony Award nominations for it run at the Palace Theatre at Times  Square.. I saw it and laughed and applauded and adored this cartoon transformed into a live-action stage musical.

Then, and particularly now, “SpongeBob” satisfies with terrific sets, boasting bright and bold costumes, and a spirited cast plus, inventive staging, strong performances, and all the bells and whistles of a triumphant show.

Greg Zane, an islander with Broadway credits, is the bright mind and master and logically the influence to glue the elements together. He’s attracted skilled techies, along with an inspired  corps of actors and dancers, to give “SpongeBob” its energetic heartbeat. As director and choreography (and a former actor-dancer himself), Zane’s zest is a gift well shared.

On stage, diminutive Chad Navarro is a tireless SpongeBob, who sings, prances, and dances like a wind-up toy, and his character is notably optimistic to inspire his sea buddies to become the village that bonds and unifies in a time of crisis.

Nathaniel Ryan-Kern is the four-legged Squidward Q. Tentacles.

His BFF is Patrick Star (Zack Oldman, who has comedic traits, and late in the Act 2, a sleek and sensational dancer), and the characters include Squidward Q. Tentacles (Nathaniel Ryan-Kern, navigating with four legs), Sandy Cheeks (Mehana Stone, bearing a powerful voice), Eugene H. Krabs (Lee Nebe, who runs the Krusty Krab restaurant and bears. a pair of claws), and Sheldon J. Plankton (Pressly Wheeler, an antagonist with vibrant pipes).

The whacky denizens include pirates, sea anemones, sardines and more.

Deanne Kennedy’s awesome scenic design features a splendid oceanscape of a warm light blue with coral accents, against which appears a four-tiered underwater rainbow in Act 2, and a pair on instances of glistening jellyfish descending from the fly space in the first act, and circular bubbles falling from above in the second act. Further, there are a pair of underwater “mountains” on wheels that move and turn with grace and they’re quiet, and silent in movement. Overall, these design elements elevate appeal and provide an element of finesse.

David Decarolis’ lighting is phenomenal, from bright of the day to darkness during the volcanic eruption, with occasional flashes creating dramatic effects.

Tim Manamtam’s and Sarah Velasco’s sound design complement the lights and occasionally augment onstage dramatic moments, like footsteps when the four-legged Squidward character tromps off stage, and visual elements of fog and strobe lights.

Emily Lane’s costumes and Aiko Schick’s hair and makeup design go hand in hand, with very bright colors on styles and outrageous hairdos for the entire cast of 20-plus. You can’t find the garb or the wigs at second-hand shops, so a sizeable budget was well spent.

Sage Nguyen is Pearl Krabs, in Emily Lane’s glorious costume and Aiko Schick’s pink wig.

Kyle Conner was props designer, Jared Paakaula was associate director, and Evan Autio choreographed the “I’m Not a Loser” sequence in Act 2, with Squidward and the anemones.

Jenny Shiroma’s music direction involved an ork of eight, with three keyboards and to guitars, and the music covered a range styles, with tunes tapped by producers. Thus, the score features songs by Steven Perry and Joe Perry of Aerosmith, Cyndi Lauper, They Might Be Giants, Plain White Ts, David Bowie and Sarah Bareilles.

There’s a multitude of other gems and surprises, if you look hither and yon, like the clever formation of a pineapple, which is the home of SpongeBob, a ticking aerial clock above the theater proscenium, and remote-controlled crab in a couple of scenes. All joyful stuff, in a landscape of unpredictability…

And that’s Show Biz…

“The SpongeBob Musical”

What: A musical by Stephen Hillenburg, with book by Kyle Jarrow, based on Nickelodeon’s “SpongeBob SquarePants” cartoon

Where: Diamond Head Theatre

When: 7:30 p.m. Fridays, Saturdays and Sundays, plus 3 p.m. Saturdays and 4 p.m. Sundays, through Aug. 9

Tickets: $41, $52 and $68, at (808) 733-0274 or www.diamondheadtheatre.com

UH’S ‘RENT’ HEADING TO KAUAI

“Rent,” a popular Broadway musical, is going on the road to Kauai in August.

It’s a first for the Tony Award and Pulitzer Prize-winning show, produced last year by the University of Hawaii’s Department of Theatre and Dance in a sold-out run at Kennedy Theatre. The show, with a 40-member cast and crew, will be performed Aug. 8 through 10 at the Kauai Community Colleges Performing Arts Center.

What a splendid notion and opportunity, to share the success of the UH presentation, directed by Joshua “Baba” Tavares an assistant professor of acting on the Manoa campus, who was a former cast member of the 20th anniversary national tour of “Rent,” an iconic creation by the late Jonathan Larson.

As part of the Kauai visitation, the company will stage a free acting workshop on Aug. , to share with and engage in the Garden Island’s community of artists and storytellers. Touring Broadway casts never present performances on the Neighbor Islands, with shows staged only at Blaisdell Concert Hall in Honolulu.

Joshu “Baba” Tavares

“We are so excited to take our show to Kauai and connect with our Kauai ‘ohana in this way”, said Tavares.

So it’s a win-win proposition.

The staging of a well-known production – “Rent” is a Tony-winning rock production, which speaks to a youthful audience – also was a rarity for Kennedy Theatre, customarily known for Japanese kabuki shows and Chinese Peking opera, art forms that address traditional and classic repertoires and have been widely lauded over decades. “Rent” was a breakthrough experiment that worked.

Tavares is opening new doors and avenues with “Rent,” discovering relevance in the process.. “Even though the show is set in a specific time, its challenges feel just as relevant today, especially here in Hawai,i” he said. “Homelessness, gentrification, mental health struggles and finding a way forward after a devastating disease––are we talking about the ’80s and ’90s, or are we talking about today?”

A scene from “Rent,” a Kennedy Theatre production, heading to Kauai in August.

The venue is the newly reopened Kauaʻi CC Performing Arts Center, which reopened in April 2024 after closing due to the pandemic. It boasts major upgrades to its lighting, sound and backstage systems. The venue is once again a a major cultural hub, enabling a Garde Island venue a shot at booking a Broadway production, under new faciity manager Gregory von Hausch.

Gregory von Hausch

Showtimes are from 7 to 9 p.m. Aug. 8 and 9, and from 1:30 to 3:30 p.m. Aug. 10. Tickets are $15 for students and teachers (any school) $25 general admission and $60 VIP seating; visit https://www.tixtree.com/e/rent-the-broadway-musical-9501aa6f5187

A workshop also is set for Aug. 9, but specifics have not yet been announced….

The 2025 Kalapana, from left: Konrad Kendrick. Alden Levi, Kenji Sano, Gaylord Holomalia, Todd Yukumoto, Ben Taaca, and Sean Thibodeaux.

Kalapana marks 50th anniversary

Kalapana, the legendary island band known for a vast catalogue of hit tunes,  will mark its 50th anniversary in a milestone concert Oct. 4 at the Tom Moffatt Waikiki Shell.

Tickets go on sale today (July 19) at the Neal Blaisdell Center box office at www.ticketmaster.com

While most original group members have gone to the heavenly stage, a retinue of singers-musicians, comprised of friends and contemporary fans, are carrying on the legacy of Kalapana and, of course, the traditional repertoire of classic hits reflecting the still-powerful sound.

Leading the parade are such fans and colleagues as Henry Kapono, the group Summer, and Jordan Kealoha-Yamanaka (formerly of the group, Crossing Rain)..

Founding group member Kirk Thompson will perform, along with Eie Atushi, who has recorded with Kalapana in his native Japan.

Kamasami Kong

Japan’s superstar deejay, Kamasami Kong, will emcee. Of course, islanders know him for his deejaying origins in Hawaii.

Tickets are $225 for limited VIP seats, which includes a meet-and-great with the performers plus a merchandise package. Reserved seats are $150, $75, and $55 and $35 for general admission lawn seats. Keiki 12 and under are free, limited to four kids per couple

A $1 fee will be added to each ticket, with the donation benefitting the Henry Kapono Foundation.

Kalapana’s music has been on radio playlists across the globe, from North and South America to Asia to Europe. In 2011, the group was awarded the Na Hoku Hanohano Lifetime Achievement from the Hawaii Academy of Recording Arts.

The 2025 Kalapana group features Konrad Kendrick, Alden Levi, Kenji Sano, Gaylord Holomalia, Todd Yukumoto, Ben Taaca, and Sean Thibodeaux.

The concert is a presentation of Aloha Group International, headed by Barb Saito. She formerly worked with iconic promoter Tom Moffatt, of Tom Moffatt Productions…

And that’s Show Biz…