THREE HOURS WITH CAZIMERO

Robert Cazimero’s 75th birthday celebration last night (March 20) at Chef Chai’s was an unprecedented three-hour serenade, characterized by a spectrum of melodies  by the maestro of the keyboard.

The champagne flowed, which fueled the formidable mini-marathon, and the vocals prompted impromptu and voluntary hula, validating the local custom of getting up and dancing, if you know the particular number. So, a continuous wave of hula brothers and sisters  – solo, or perhaps up to seven or eight — joined the celebratory, mesmerizing moments.

And lei. Plenty of lei were bestowed on Cazimero, nearly burying him head-deep in fragrant pikake and pua keni keni,  making him look like a Kamehameha Schools chap on graduation day.

Naturally, his output of tunes – Hawaiian, pop classics, even kid-time numbers – made him appear like a human jukebox, minus the coins needed to fuel the music. This was, emphatically, a command performance before a loyal crowd, mostly of folks who’ve followed him concerts large and small. Cazimero might have stayed till midnight, but the non-stop three-hour session set a record.

 

And since we’ve reviewed his shows regularly in recent months, we’ll resort to sharing instead a modest gallery of those who danced. And if you know the restaurant’s setting, the aisles are not ideal for dancing, or photographing.

Happy birthday, Robert…may you have more joyous years of serenading. And mahalo, Chai Chaowasaree, for providing Robert a monthly showcase…

And that’s Show Biz…

DHT ANNOUNCES 2024-25 SEASON

Diamond Head Theatre’s 2024-25 season will offer a potpourri of shows, including one Hawaii premiere, a Christmas favorite, musical revivals with timeless and traditional plots and tunes,  a splashy kid-centric cartoon  production, and a textbook play on how to prepare for a stage role.

The season begins Sept. 20 and “builds on DHT’s tradition of artistic excellence with fresh energy and innovative theatrical storytelling…and offers entertainment for all ages, from keiki to kupuna,” said Trever Tamashiro, Diamond Head’s executive director, in a statement.

Productions run for three weeks, with performances Thursdays through Sundays, including weekend matinees. Extension playdates are added, when there is a demand.

The lineup includes:

“Honeymoon in Vegas,” a musical with a book by Andrew Bergman and music and lyrics by Jason Robert Brown, based on a 1992 film of the same name. Jack Singer promises his dying mother he’d never marry but falls in love with Betsy Nolan. They elope to Las Vegas but a charming gambler, Tommy Korman, threatens to steal Betsy away, leading to a madcap adventure including a romp to Hawaii. Opens Sept. 20.

“White Christmas,” a musical  based on a 1954  Paramount film, with book by  David Ives and Paul Blake, and music and lyrics by Irving Berlin. A tale of  two veterans, Bob Wallace and Phil Davis, who had a successful song-and-dance act after World War II, who seek and follow two singing sisters at a Vermont lodge owned by the soldiers’ Army commander. Features Berlin’s trademark tune, “White Christmas,” plus “Blue Skies,” “I Love A Piano,” and “How Deep Is the Ocean.” Opens Nov. 22.

“Master Class,” written by Terrence McNally, a textbook lesson on how Maria Callas conducted a master class to bolster an audition. Rich with theatrical nuggets, about a soprano, Sophie, who selects a challenging aria, and details of Callas’s famous affair with Aristotle Onassis and struggles with her own career. Opens Jan. 24.

“Grease,” the teen musical best known for the 1978 film hit co-starring John Travolta and Olivia Newton-John, based on a  a screenplay by Bronté Woodard and an adaptation by co-producer Allan Carr, inspired by the stage musical of the same name by Jim Jacobs and Warren Casey.  Set in 1959 at Rydell High, greaser Danny Zuko and new-girl-in-town  Sandy Dumbrowski flourish amid the travails of the Burger Palace Boys and Pink Ladies. With jukebox hits like “Summer Nights,” “Greased Lightnin’,” and “You’re the One That I Want,” this is the soundtrack for teenhood. Opens March 21, 2025.

“Man of La Mancha,”  the  beloved musical inspired by Miguel de Cervantes’ “Don Quixote” novel, with book by Dale Wasserman, music by Mitch Leigh and lyrics by Joe Darion, who gave the world “The Impossible Dream” anthem. Set during the Spanish Inquisition, the musical finds Cervantes and his fellow prisoners staging a play about the elderly Alonso Quijana, who becomes the idealistic knight Don Quixote on a quest to right the world’s wrongs. Windmills matter, too.  Opens May 23, 2025.

“SpongeBob Squarepants: The Broadway Musical,” the undersea spectacle based on the animated Nickelodeon series, where SpongeBob lives. With book by Kyle Jarrow and music by Steven Tyler, Sara Bareilles, Panic! and  Plain White T’s. The mission at hand for the denizens of the deep is to save Bikini Bottom from a looming volcanic eruption. So SpongeBob finds unity with his buddies Patrick, Sarah, Squidward and Mr. Krabs to save Bikini Bottom. For the young and young at heart. Opens July 18, 2025.

Season subscribers can renew seats for the forthcoming season, with tickets available for $162. Renewing subscriptions will guarantee seats for subscription holders before subscriptions and sales are offered to the general public.

To become a subscriber, visit diamondheadtheatre.com or call the box office at (808) 733-0274…

MGM Resorts debunk Bruno’s debt rumors

Bruno Mars pictured below, doesn’t owe millions in gambling debt to MGM Resorts — despite what a recent report claimed — according to TMZ.

A rep for MGM Resorts International has told the website that singer Mars doesn’t have a $50 million gambling tab on the books with them, calling the allegation “completely false.”

In fact, the Las Vegas resort  remains excited to continue to collaborate with the Grammy winner again in the future. Didn’t quite believe the rampant rumor that Mars would be the gambling kind who walked away from a debt.

 “We’re proud of our relationship with Bruno Mars, one of the world’s most thrilling and dynamic performers,” the hotel/casino said in a statement. “From his shows at Dolby Live at Park MGM to the new Pinky Ring lounge at Bellagio, Bruno’s brand of entertainment attracts visitors from around the globe. MGM and Bruno’s partnership is longstanding and rooted in mutual respect. Any speculation otherwise is completely false.”…

And that’s Show Biz…

A HALAU OF A SHOW, FROM CAZIMERO

Robert Cazimero’s “Pae ‘Aina (Hawaiian for archipelago)  concert yesterday (March 17) was a two-part wonderment, celebrating the splendor of hula kahiko (ancient hula) in the first half, and informal chit-chat plus some hula auwana (modern hula) in the second half.

Cazimero, the kumu hula of Halau Na Kamalei O Lililehua, was acknowledging the astonishing breadth and roots of male hula and vocalizing, the hallmarks of his gents, at the near sell-out performance at Leeward Community College Theatre.

The opening number: “This Is Our Island Home.”

So, what was on display? Plenty, like the pulse, the professionalism, and the perfection within the halau, reflecting  the devotion, the loyalty, the commitment, the camaraderie, and the brotherhood that have been the trademark of Halau Na Kamalei, now in its 49th year of sharing the

mesmerizing and magnificence of hula.

Clearly, Cazimero has shaped and honed his dancers, with choreography and vocals, and the process involves imagination and innovation, with syncopated movement and harmonic singing.

At the launch of the show, the guys rendered “This Is Our Island Home,” which became a medley with “He Aloha Nihoa,” which triggered an island-by-island tour de force, embracing each island with mele, beginning with Kaho‘olawe, Ni‘ihau, Kaua‘i, O‘ahu, Lana‘i and Moloka‘I, Maui and the Big Island. With this ‘ohana, no island is left out.

When the company of 20 performs, the spectators have a lot to explore and examine – fingers and hands, feet and legs, arms and knees uniformly perform as one unit; the choreography enables any number of troupers – six, eight, two, four dancers beginning the hula, and  two or four or one would  easily glide into motion, without skipping a beat. That’s precision.

Hula kahiko — gents dance, kumu Robert Cazimero on pahu.

The lads augment Cazimero’s stint at the piano and pahu (drums), utilizing a number of traditional hula instruments for hula kahiko, like ‘uli ‘uli  (percussion gourd), pu ‘ili (bamboo rattle), pu‘ohe (bamboo trumpet)  ‘ipu (gourd drum) and kala‘au (rhythm sticks). That’s versatility.

Gunnie, clad in ti leaf skirt and draped in maile, has a solo moment.

As the regular  Cazimero viewers know, the gents have nicknames like Bully, Kolohe, Buddy, Gunnie and Puna.  There’s even a Brad Cooper in the ranks (he says he’s the original, not the film star) and peers  with conventional names, like Nick, Zach, Jonah, Daniel, Parker, and Keola, among others, who emerge and entertain. That’s normalcy.

These guys let their hair down after intermission, in an informal, unscripted,  hang-loose segment with panel leaders. Hula brother Manu Boyd had a stint in this section, too. The format was risky, the comments hilarious, the mood spontaneous. That’s humanity.

The finale: Lahela Ka’aihue dances on “Waika.”

Throughout the show, hula sisters like Sky Perkins took the mike to introduce the tour of the archipelago . Another hula sister, Lahela Ka‘aihui joined the company to dance in the finale, “Waika.”  That’s fellowship.

Everthing considered, it was a halau of a production…

And that’s Show Biz…

FOR LORETTA, GRAY IS THE NEW BLACK

Actress Loretta Ables Sayre confirms that letting her hair go gray enabled her to land jobs like “Pretty Little Liars: Summer School” last year.

“I have now graduated from the mom/auntie roles to the tutu age market,” she said in an e-mail. “And frankly, I love it.”

Widely known for her Tony-nominated role of Bloody Mary in Lincoln Center’s revival of Rodgers and Hamilton’s “South Pacific” 16 years ago on Broadway, Ables Sayre surmises “there might be less gray-haired tutus in the Polynesian/Asian category that are looking for work (but) I love the freedom of being who I am and not having to worry about touching up my roots. At this point, darker hair didn’t make me look younger. It just made me look like I was in denial.”

On April 1, Ables Sayre will  turn 66  and admitted her dye job days are over. “No one was looking at me saying ‘gee, I wonder if she’s still in her 50s?’ Letting my hair go gray the way it has wanted to the past 35-plus years was freeing.

Further, going gray was empowering and enabled her to land the role of a grandma named Lola in “Pretty Little Liars: Summer School” which she completed filming in New York last year. Appropriately, Lola is a name and also the term that Filipinos call their grandma (Ables is Filipino, so she knows!).

 Ables Sayre portrays the tutu of Minnie Mouse, her granddaughter enacted by Malia Pyles in the HBO/MAX series, and the mother  of Tony winner Lea Salonga, of “Miss Saigon” fame, who plays her daughter Elodie.

She wasn’t in “Pretty Little Liars: Original Sin” (Season 1) but makes her debut in “Summer School” ( Season 2), likely to premiere sometime in spring, continuing the topsy-turvy life in Millwood.

“I don’t think having gray hair means you look frumpy,” said Ables Sayre.
 “If you have a great cut that still looks fun and sexy, you can rock that. Being older doesn’t have to mean being over the hill. You can be gray and still sparkle; I have a great hair stylist, Donna Tokumoto, who keeps me in shape.”

Ables Sayre said filming was whirlwind but fab – “everybody brought their A-game to the set every day” – and the challenge was to complete the work complicated by the dual WGA and the SAG/AFTRA strikes. The Hollywood walkouts paused production and filming resume when the strikes were settled.

“I would come home whenever I could but sometimes, I would only be home for about four days before I had to head back to New York,” she said.

Enough to give one gray or white hair…

Bruno Mars has gambling debt

Hawaii’s superstar Bruno Mars (pictured below), who has an ongoing stint at the MGM casino in Las Vegas, apparently is an extravagant gambler, according to the News Nation website.

Mars, a professional poker player, has apparently logged significant gambling losses at the MGM, with a Vegas source indicating that the debt is in the $50 million range.

As the resident attraction in the casino’s showroom, Mars’ revenues from his performances likely will be paybacks to clear the debt.  

Good thing Mars is completing a new album – his first solo disc since 2016’s “24K Magic” — and is in early conversations with Live Nation to plan a concert tour to support the disc through 2025.

He has been on an international tour with his group, The Hooligans, which has sell-out tours in key markets like Tokyo, so he’s cashing in huge sums.

He also has a secondary R&B career with Silk Sonic, with his blues partner Anderson .Paik. Their 2021 debut studio album, “An Evening With Silk Sonic,” earned  four Grammy trophies…

And that’s Show Biz…

‘EVAN:’ SPLENDID, BUT TENSION-FILLED

In “Dear Evan Hansen” — the emotional Tony Award-winning Broadway musical embracing teenage angst, loneliness, kindness, mental health, and suicidal issues — Manoa Valley Theatre hits all the right notes, with a superb cast led by Darian Keanu Aquino as the title character.

It is a potent and painful glimpse – loaded with tension — of the profound power and unexpected danger of social media, and the unintended fame earned by Evan, a high school student who writes himself an email in a doctor-ordered exercise that  gets into the hands of an unhappy peer, Connor Murphy (Presley A. Wheeler, equally unstable, carefree, sometimes rude, and a free spirit), who finds a printout in the school’s computer room, and steals the letter enroute to committing suicide.

Connor’s mom, Cynthia Murphy (Susan Hawes, every bit a concerned mother), discovers the errant  letter after his death, and it becomes the catalyst  and centerpiece in Evan’s twisted rise to fame and a campus hero.

Darian Keanu Aquino is Evan, Presley A. Wheeler is Connor, in “Dear Evan Hansen.”– Photo by Brandon Miyagi, courtesy MVT.

The show features a book by Steven Levenson  (passionate and eloquent) and music and lyrics by Oscar winners (“La-la Land”) Benj Pasek and Justin Paul (absorbing and heart-tugging tunes). Directed by Rob Duval on a “set” by Elyse Takashige that is a bare but functions as an oversized billboard with periodical projections designed by R. Andrew Doan that propel – Facebook and TikTok fashion – the meandering plot details. The  tech team thus is as vital as the acting ensemble, and together, there’s raw power and cadence that propel the highs and lows of this emotional roller-coaster.

Aquino as  Evan has body language that speaks emotions without words. He is twitchy and nervous, with constant blinking eyes, with a fetish about his wet and clammy hands, always apologizing and possesses a never-ending habit of pulling down his tee shirt, shirt, or hoodie. Evan is a perpetual loner, walking a tightrope with a baggage of worries, not the least of which is his inability to find a genuine friend to sign his cast on his injured left arm. Enter, Connor, an indication that he’s an outsider, too,  

With telling details, the plot is all about relationships, between Evan and his best bud, Jared Kleinman (Shane Nishimura, a charming wise-cracking sidekick, who’s Evan’s only friend), who serves as a warm shoulder to lean on. While Evan accepts Connor’s signature on his cast, he’s a hardly a pal, in life and in his imagined encounters after his passing, but there’s a moment of mutual, vigorous rock-dancing.

Evan, who is attracted to Connor’s sister  Zoe Murphy (Ayzhia Tadeo, initially distant and quizzical but eventually tenderly sweet), overcomes the friction after Connor’s death.

 Further, there’s a relationship between Evan and his working mom, Heidi  Hansen (Vanessa Manuel-Mazzullo ) and with Connor’s parents, Larry Murphy (David Weaver), father of Connor, and Cynthia Murphy (Susan Haws). Not surprisingly, there are cracks and gaps in the relationship, when Evan is “outed” as a liar, the fibs heightened by public acclaim of his befriending Connor.

There’s one more relationship instance, between Evan and Alana Beck (Jenelle Wong, a willing cheerleader), who is co-president with Evan of the Connor Project, which she is fully committed to, to perpetuate the life of Connor.

Evan’s inability to spill the beans of his faux pretenses is understandable; he was a nobody before the tide turned, and the attention serves his psychological deficiencies while simultaneously feeds the frenzy that lifts his ego. That he could even deliver a speech at an assembly of peers plus the Murphy family reflects his lofty status and his declining fragility. And Aquino’s performance gets richer and more robust as Evan’s popularity soars, and the details get more specific and cloudier with fake specifics, like falling from a tree in the orchard of apple trees he had never seen. He’s found pieces from a massive puzzle, and he’s reaching out to complete a portrait he feels his rooters anticipate.

The musical score is splendid and the singers soar; the riches include Evan’s “ “You Will Be Found” in Act 1, the anthem where he laments his loneliness and uncertainty. Evan and Zoe’s duet on “Only Us” assures that his crush is becoming a real romance in Act 2, and Evan’s “Words Fail” is the ultimate “I’m sorry” effort, with the admission, “I never meant to make it such a mess.”

Jenny Shiroma conducts (and also plays keyboards with) the unseen orchestra of eight, supported by the resourceful sound designed by Sarah Velasco and Timothy Manamtam. Lighting designer Chris Gouveia illuminates the set with brilliance; and costume designer Amber Lehua Baker delivers with credible everyday garb. Likewise, Lisa Ponce de Leon’s hair and makeup design also reflects the simplicity the show requires.

For the faint of heart, bring Kleenex, because there will be emotional elements that will evoke tears. Truly. And for those queasy about language, there several F-bombs throughout the play…just so you know.

And with the sensitive health concerns of mental illness, and the element of suicide, MVY has a “You Will Be Found” postcard inserted in the “Dear Evan Hansen” playbill, should there be families or friends with need for support and consultation. Also, HMSA is the presenter of “Dear Evan Center,” cementing potential health needs for the community at large. A noble and necessary involvement…

And that’s Show Biz. …




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“Dear Evan Hansen”

A musical by Benj Pasek and Justin Paul, with book by Steven Levonson

What: A lonely youth who writes a letter that falls into the hands of a suicidal peer, and the fame then furor, that ensues

Where: Manoa Valley Theatre

When: at 7:30 p.m. Thursdays through Saturdays, and 3 p.m. Saturdays and Sundays, through April 7; extension dates,  March 29 and 31 and April 6 and 7

Tickets: $36 to $46, at (808) 988-6131 or www.manoavalleytheatre.com