KEVIN: RETIRED BUT STILL ACTIVE

Kevin I, aka Kevin Iwamoto, has formally retired but no doubt will be busier than ever.

Most retirees have hectic, fruitful, and yes, busy lives when they make the plunge. It’s normally because you decide, when you get up in the morning, what you’ll do. You’ll elect to focus on retiree choices: tend to the garden, take more trips, schedule occasional lunches or dinners with friends and family. Or not. You can do absolutely nothing.

A pal from back in the day, Kevin was a recording artist and frequent singer, at local clubs and venues. We’ve known each other for decades – five? six? —when we both young, green and eager to make a difference in our chosen fields.

Kevin’s had many jobs, spanning a spectrum of successes, moving up the business ladder after ending his performance career. It’s not so much that he feared not finding a performing job, but another option – in his case, aspects of business – would be a better foundation.

Me, I prevailed in one and only occupation – a journalist, a reporter, a critic, a columnist – as if my needle was stuck on the record player. Boring, perhaps, but filled with some opportunities but loaded with memories.

Kevin, of course, has had a luminous career and was, and still is, an active voice in the corporate travel industry. Why not? He earned his stripes at TIM, the University of Hawaii’s fabled Travel Industry Management program of the Business College, and he rocked and rocketed, from a Hawaiian Airlines employee to the Bizly biggie, where he was chief strategy officer and head of enterprise. When he retired a few weeks back,  he emerged – when you look back – to be one of the sparkplugs of the corporate travel industry for 35 years. He’ll continue to advocate for the biz travel community, consulting and speaking, as he’s done throughout his career.

Those in the biz world, who worked with and knew Kevin, will attest to his generosity of time and skills, during various facets of his growth as a corporate leader.

Business Travel News named Kevin Travel Manager of the Year in 2001 for accomplishments at Hewett-Packard, and he was named an Industry Icon in 2009, by the National Business Assn. now known as the Global Business Travel Association.

He’s authored books  and  was a prolific blogger for a network of travel biz followers, but he’s not forgotten his Hawaii roots, providing TIM scholarships for UH biz students.

In the past year, his entertainment career made a comeback of sorts, when his vintage vocals became a minor sensation in downloads with surprising sales and response from a network of new fans discovering his ‘80s music. Better late than never.

Ironically, he kept a stash of long-playing vinyl records for years, but discarded a bundle of ‘em when clearing out storage space in Hawaii, a miscue since the discs are  now out of print.

I’ve not traveled with him, but Kevin has frequently met me and my wife  in New York, to do a few touristy things, and we’ve gone to Broadway shows together. In  the summer of 2019, when we took in “Hamilton” together we got to explore the onstage set after the performance. (Those visits were halted because of the pandemic).

We’re hoping to find a mutually workable date this year, to meet up in New York again. And here’s a morsel most folks won’t know about Kevin. He probably doesn’t remember, too,  but he was briefly a journalist in Hawaii and turned the tables on me by conducting and then writing up an interview with me for a local publication.

It was a lovely piece, which I probably still have in box of memories at home.

So Kevin, enjoy your retirement. I know you will likely be the busiest retiree in. your circle, but will make time for activities you want to do, not have to do on your own timetable.

I share these recollections to congratulate Kevin on finally bidding aloha to the work force.

I know our paths would not have criss-crossed if he wasn’t a singer, but fortunately, his job at one time connected with mine as a journalist, and it’s been a blissful intersection and intervention since. …

About Spam and chow fun…

If you savor Spam, it’s old news that McDonald’s in the islands serves Spam as an accompaniment to eggs, in one of its breakfast meals. The other option, you must know, is Portuguese sausage.

These “side” options, however, are not available  at McDonald’s on the Mainland.

Saimin also had been another only-in-Hawaii item at your local McRestaurant, but it was discontinued some time ago…

And lucky you live Hawaii, too, if you like chow fun with your Chinese take-out at Panda Express.

Panda here offers four starch choices (and you pick two):  white rice, fried rice, chow mein or chow fun in plate-lunch portions or in bulk via its Family Feast option. But most Mainland Panda eateries don’t have the chow fun…

Scratch this on your list

Scratch Kitchen in Hawaii Kai – located on the former site of Outback Steakhouse on Kalanianaole Hwy., at the Hawaii Kai Towne Center  – is opening at 9 a.m. Friday (April 14).

No specific details yet, but the restaurant plans to serve brunch (presume breakfast and lunch fare) as well as dinner.

Wish it would open earlier, like 7 a.m., on a trial run, for early birds who want to get breakfast before hitting the road, or retirees who get up early who would likely prefer an earlier time to have chit-chats with breakfast fare. You know, with eggs, bacon, and coffee, in a modified menu and timetable that would fill the void caused by the April closure of Zippy’s dining room at Koko Marina Shopping Center. Take-out counter service continues, but heck, dine-in matters, too.

Also newish at Hawaii Kai Shopping Center, is Tex808 BBQ & Brews, open for lunch and dinner on the waterfront. Ribs and brisket are the prime offerings and happily, there was a good-sized crowd when I visited Saturday night. There was live entertainment, but too loud with amplification. …

Pagoda koi population to downsize

Over at the Pagoda Hotel, you know that Sorabol has taken over the dining rooms, upstairs and downstairs, and in the pagoda clusters amid the ponds which have been home for the resident koi for decades. Korean food prevails in the dining halls.

But the koi population, as well as the scope of the ponds, apparently will be downsized.

The talk is that the koi and the watery element will be focused only in the front area of Sorabol, which means a key attraction on the site will be minimal. You could buy koi food and toss ’em as they swim to get their meals.

If there’s not much water surrounding the dining pods, there will be fewer koi, so the tradition will end, timetable not known.

Pagoda hotel guests still have access to breakfasts served at  the Pagoda ballroom, where shows or special buffet meals prevailed before, but these American meals are not open to the public.  …

And that’s Show Biz. …

‘LA CAGE:’ GAY, GIDDY AND GLAM

 Note: this column originally was posted on March 29, 2023, after “La Cage Aux Folles” opened at Diamond Head Theatre. The original art appearing here has been replaced with photos by Brandon Miyagi, which DHT provided a few days ago.

“La Cage Aux Folles,” now at Diamond Head Theatre, is a giddy and gorgeous musical bubbling with heart and hilarity, about a gay couple named Georges and Albin who share a home, a nightclub and heartbreak that test their longstanding relationship.

Georges (Guy Merola, grandly showcasing his tenor voice, with substantial operatic presence) operates “La Cage Aux Folles,” a hotspot in St. Tropez, France, where he is the supposed guy in a supposed hetero-homo lifestyle. His partner, Albin (Andrew Sakaguchi, in a career-best expedition as a gorgeous drag queen chanteuse, with abundant swish and sizzle), is the trans whose baritone soars to the high notes, on three-inch pumps and ultra glamorous wigs coupled with body-clinging gowns.

The narrative supposes this is a happy household, where Albin doubles as a “mom” to Jean Michel (Charles Ho, a cutie like the boy next door, who is the 20-something straight son of Georges) from a previous relationship named Sylvia, mentioned but not seen.

Guy Merola as Georges, Andrew Sakaguchi as Albin, the lovers in “La Cage.”

The wrinkle: Jean-Michel visits the couple’s apartment, which adjoins the sexy nightclub, to announce he’s about to marry g.f. Anne (Nanea Allen, also a cutie-beauty). Thus, the calm becomes chaotic, complicated  and challenging, when the tempo and temperature rise.

Based on a play by Jean Poiret, with a book by Harvey Fierstein and music and lyrics by Jerry Herman, “La Cage” plays unabashedly gay, and preys on cliched and exaggerated manners, gestures and chatter.

But an undercurrent of traditional virtues and values — the respect for lifestyle choices that may not be the norm, the notions of acceptance and empathy, the bond of family harmony  –  echoes a rom-com involving two traditional lovers. Everyone, everywhere and everything become threatened by distortions, fibs and pretense, when, in fact, the show celebrates and humanizes the gayness of the leads.

Director John Rampage, a wizard of spectacle, has assembled a stellar cast to play out the different strains of the rainbow with sentimental turns without resorting to caricature. Sakaguchi doubles as choreographer, with swirls of clubby dancing, surrounding himself with the Cagelles decked out in  eye-filling frou-frou. For the audience, it’s a guessing game to figure out which are women with plumes and sequins, which are men masquerading as exotic dancers on heels.

Merola, who is making a comeback after more than a dozen years away from the stage spotlight, has the best of times when his tenor works its magical spell. His handling of the “Song on the Sand” ballad, with those la-da-da-das, is captivating, and is generously heard twice (in Act 1 as a solo number, in Act 2 as a duet) with Sakaguchi’s powerful, pliable voice in both gentlemanly and womanly modes.

The tension and trauma unfold when the conservative parents of Anne, Edouard Dindon (Joe Martyak, perfect as a big shot bigot) and his wife, Marie Dindon (Kim Anderson, hilarious and open-minded) pay a visit to meet the parents of Jean Michel. The tangled play-out is over-the-top outrageous, but never falls to mockery.

A dinner with Georges (above, left) and Albin (below, right), at Chez Jacqueline Restaurant, formally introduces Jacqueline (Shari Lynn, in a cameo, repeating the role of the restaurant owner), enabling the dependable Shari to  uncork her Jacqueline juice on “The Best of Times,” with Albin and Marie chiming in.

Composer Herman’s score is rich and savory, with two precise, enduring hits — the aforementioned “The Best of Times” and the be-who-you-are anthem, “I Am What I Am”–delivered with precision and pride in an empowering, ecstatic Sakaguchi interpretation that closes Act 1.

At the Saturday night (March 25) performance I attended, La Tanya Faamausili-Siliato’s sound was quirky and uncertain, crackling a few times with feedback. Ouch!

Phil Hidalgo’s music direction — silky smooth and smart, even employing an actor to “play” an accordion onstage — deserves a curtain call, but it’s impossible because the stage pit design disallows the bow. Quel dommage.

Madison Gholston’s first costume design assignment included a boutique-like array of garb, from showgirl glitz to snappy traditional men’s suits, from houseboy uniforms to the stunning formal glam garb donned by Albin, notably in Act 2. Bravo!

And makeup and wig designer Aiko Schick merits kudos for her flamboyant finery, in concert with the varied and imaginative hair design by Shaw Rodriguez. Magnifique!

Georges and Albin, seated, with the chorus of glam Cagelles in the background.

Steven Clear’s light design provided keen sheen, but Dawn Oshima’s set design was a wonderment, with limited utilization of the facility’s fly space, mostly lowering curtains and bejeweled ribbon drops and a couple of painted scenic. There’s still constant reliance of split-sets scenery of the Georges-Albin digs and a French promenade,  wheeled out in sections on wagons instead of aerial drops (too heavy?) from the fly space. Porquoi?

“La Cage Aux Folles” reflects and embraces the joyous era of the musical with songs that audiences can sing or hum as they exit the theater. It also boasts a grand opening overture that includes the key hit songs, a formula of the prolific Rodgers and Hammerstein duo of yesteryear, still a requisite in revivals.

Andrew Lloyd Webber and the “Les Miserables” team of Claude-Michel Schonberg and Alain Boublil  are among the creative forces who have followed the R&H format, with appealing overtures and scores that produce breakout hit songs.  …

“La Cage Aux Folles”

A musical based on a play by Jean Poiret, with songs and lyrics by  Jerry Herman and book by Harvey Fierstein

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, and 4 p.m. Sundays, through April 9, plus extended shows at 7:30 p.m. April 15 and 4 p.m. April 16

Where: Diamond Head Theatre

Tickets: $27 to $52, at (808) 733-0274 or www.diamondheadtheatre.com …

And that’s Show Biz. …

ISLE FILIPINO BOY IN ‘LES MIZ’

A Filipino American child actor from Hawaii is the latest to join a growing list of accomplished performers in high profile roles.

Milo Maharlika, 9, a fifth grader, joined a touring company of the Tony Award-winning “Les Misérables,” in the featured role of Gavroche. He made his debut March 31,  in a Durham Performing Arts Center staging of “Les Miz” in North Carolina, which will embark on a 12-week tour over the next six months.

As Gavroche, Maharlika (pictured below) solos on “Little People,” the tune that boasts a can-do attitude of a youngster.

Or, as the lyrics say, “The world is big, but little people turn it around!” In context of the show, Gavroche is a young patriot who does his best to work among adult soldiers amid the barricades, based on Victor Hugo’s compelling French Revolution novel, transferred to the Broadway stage and subsequently, in a film.

He’s the first Filipino actor to play this role—customarily cast with Caucasian lads, and infrequently Asians – in the U.S.  One of the early Hawaii actors to portray Gavroche in the 1990s was Jason Tam, who performed in the show here as well as on Broadway, and since has developed into an adult Broadway star with such notable credits as “A Chorus Line,”  “Jesus Christ Superstar” and “Be More Chill.” Islander Ryan Rumbaugh also took on the role, too. …

Kamusta, Pilipinas!’

If you have relatives in the Philippines, might want to inform them that “Hamilton” is heading for the Philippines in September.

Show creator Lin-Manuel Miranda was in Manila a few days ago and told media that his award-winning show will be staged at The Theater at Solaire.

“Kamusta Pilipinas!” (Hello, Filipinos), Miranda said prior to sharing a video of his hit show. He also acknowledged that there are several actors in his company of shows who are Filipinos, including Marc dela Cruz (pictured right), from the Big Island, in the flagship Broadway company. It’s not likely for dela Cruz to join the touring company on tour, though Filipinos in the cast would boost ticket sales.

“Now we get to bring the show to your beautiful country very soon,” Miranda said. “I can’t wait for you to see it.” …

And that’s Show Biz. …

A THRILLING ‘LION,’ RICH IN PRIDE

Tip: Don’t let the “junior” label in “Lion King Jr.” fool you, or keep you away from attending one of the final performances this weekend at Mamiya Theatre.

The production, besieged with casting challenges last week, is a surprisingly splendid springboard of achievement for the 23 youths in the company that showcases professionalism, commitment, and pride. For the producers, Mo‘olelo Studios (in partnership with the Saint Louis Center for the Arts), this staging of Disney’s “Lion King Jr.” reflects a keen commitment to enlighten, elevate and educate youngsters employing theater arts to shape a  brand of storytelling through a circle of life in singing, dancing, and acting.

What a thrill!

Director Kyle Kakuno and choreographer Christine Yasunaga are the adults who have polished this show with talent from high school down to middle school. Kakuno, who has directed numerous musicals at Mamiya, has lured students from Saint Louis, Sacred Hearts Academy, campuses in proximity to the theater, but many come from other private and public schools this year, including Kamehameha, Farrington, Punahou, Le Jardine Academy,  Catholic Academy and Mililani.

Yasunaga, who was originally the lone Asian ensemble trouper in the Broadway company of “Lion King,” surely has contributed to the tone and temperament of this show, bringing insider knowledge rubbing off from working with Tony Award-winning director Julie Taymor and choreographer Garth Fagan.

If you recall the distraction last week, several key roles had to be recast. The shuffle meant the replacements had only three days of rehearsals before last Saturday’s delayed premiere.

Yet, you’d never know, if the problem didn’t go public in this column.

So first, kudos to these valuable and valiant souls, who stepped into the production:

  • Nathaniel Ryan-Kern, as Mufasa, with commanding and kingly presence plus a rich, resounding voice.
  • Nainoa Kebo, as Simba, with youthful charm and boyish vulnerability.
  • Cocomi Mehring, as Nala, with comforting motherly concern.
  • Lyric Illiana Bernard,  as Rafiki, with perhaps the best booming voice projecting authority and advice
  • Zander Woolsey, as Pumbaa, the most comedic and carefree figure with constant “Hakuna Matata” philosophy.

You sense this will be an exhilarating thriller from the get-go, when the parade of puppet figures – elephant, rhinoceros, lionesses and more – parade from back of the house and trekking in both the left and right aisles, reaching the stage where Rafiki is rendering “Circle of Life” amid  loud howls and  appreciative cheers from the audience.

Isaiah Castillo is Scar, Pomaikai Kauka is Young Simba, in “Lion King. Jr.” at Mamiya Theatre.

You know the plot: Mufasa, a visionary, prepares Young Simba (Pomaikai Kauka) to one day become his successor as King to rule over the savanna, but Scar (Isaiah Castillo) the king’s brother and uncle to the cub, has other ideas, and the young successor disappears for a spell to sort out his options after the nasty uncle kills Mufasa, blaming Simba, who escapes to the dark side beyond the  Pride lands, despite the efforts of Zazu (Reagan Beissel) skillfully manipulating  the hornbill bird puppet) to warn him of imminent dangers.

Simba’s  journey encounters the team of Pumbaa and Timon (Christopher Casupang) and is threatened by three hyenas – Shenzi (Maya Yoshida),  Banzai (Lloyd Smith) and Ed (Aaron Dela Cruz) — eager to eat him.  

The production is blessed to utilize the remarkably professional puppets that elevate the show well beyond the “junior” label. These exquisite creations – from the elephant and to the pair of zebras, from the lionesses to the stellar Pumbaa figure – were created by Alison Joy Bishop  of Kamehameha Schools, which gave access and use of these remarkable puppets for this show, a grand gesture that reflects the cooperation and kindness of community sharing of valuable assets and skills.

There’s an element or two of special additions to “Lion King Jr.,” including a brief hula skirt worn by Timon, obviously to earmark this as a homegrown effort, and a couple of instances of “starlight” on the ceilings of the theater (look up, you’ll see ‘em) I have not experienced on Broadway or the earlier national touring company at Blaisdell Concert Hall.

In all ranks of the show, from costumes (designed by Chris Valles, with Cathy Kakuno as costumer) to scenic design (Nigyl Nissan, creator of Pride Rock), from lighting (Leo Uitto) to music (Miguel Cadoy III),  from sound (Steven Nelson) to makeup and wigs (Jess Aki), excellence prevails.

Everything you might expect – the staged stampede scene, first on video, then live with costumed dancers, the scene with the grass – are here.  And quite essential, for spectators and actors alike, there is a keepsake playbill with data and bios to navigate you through the show.

And yes, Mo‘olelo lives up to its mission name, of  sharing and passing down stories, myths or legends. There’s a lot of pride on and off stage. …

Lion King Jr.”

A Disney musical with music by Elton John, lyrics by Tim Rice, and a book by Roger Allers and Irene Mecchi.

When:  7:30 p.m. March 31, 2 p.m. April 1, and 6 p.m. April 2, preceded by a 4:30 p.m. gala, with cocktails and pupu.

Where: Mamiya Theatre, at Saint Louis School/Chaminade University campus

Tickets: $15, at www.moolelostudios.simpletix.com

And that’s Show Biz. …

 ‘LA CAGE:’ GAY, GIDDY AND GLAM

“La Cage Aux Folles,” now at Diamond Head Theatre, is a giddy and gorgeous musical bubbling with heart and hilarity, about a gay couple named Georges and Albin who share a home, a nightclub and heartbreak that test their longstanding relationship.

Georges (Guy Merola, grandly showcasing his tenor voice, with substantial operatic presence) operates “La Cage Aux Folles,” a hotspot in St. Tropez, France, where he is the supposed guy in a supposed hetero-homo lifestyle. His partner, Albin (Andrew Sakaguchi, in a career-best expedition as a gorgeous drag queen chanteuse, with abundant swish and sizzle), is the trans whose baritone soars to the high notes, on three-inch pumps and ultra glamorous wigs coupled with body-clinging gowns.

The narrative supposes this is a happy household, where Albin doubles as a “mom” to Jean Michel (Charles Ho, a cutie like the boy next door, who is the 20-something straight son of Georges) from a previous relationship named Sylvia, mentioned but not seen.

The wrinkle: Jean-Michel visits the couple’s apartment, which adjoins the sexy nightclub, to announce he’s about to marry g.f. Anne (Nanea Allen, also a cutie-beauty). Thus, the calm becomes chaotic, complicated  and challenging, when the tempo and temperature rise.

Based on a play by Jean Poiret, with a book by Harvey Fierstein and music and lyrics by Jerry Herman, “La Cage” plays unabashedly gay, and preys on cliched and exaggerated manners, gestures and chatter.

But an undercurrent of traditional virtues and values — the respect for lifestyle choices that may not be the norm, the notions of acceptance and empathy, the bond of family harmony  –  echoes a rom-com involving two traditional lovers. Everyone, everywhere and everything become threatened by distortions, fibs and pretense, when, in fact, the show celebrates and humanizes the gayness of the leads.

Director John Rampage, a wizard of spectacle, has assembled a stellar cast to play out the different strains of the rainbow with sentimental turns without resorting to caricature. Sakaguchi doubles as choreographer, with swirls of clubby dancing, surrounding himself with the Cagelles decked out in  eye-filling frou-frou. For the audience, it’s a guessing game to figure out which are women with plumes and sequins, which are men masquerading as exotic dancers on heels.

Merola, who is making a comeback after more than a dozen years away from the stage spotlight, has the best of times when his tenor works its magical spell. His handling of the “Song on the Sand” ballad, with those la-da-da-das, is captivating, and is generously heard twice (in Act 1 as a solo number, in Act 2 as a duet) with Sakaguchi’s powerful, pliable voice in both gentlemanly and womanly modes.

The tension and trauma unfold when the conservative parents of Anne, Edouard Dindon (Joe Martyak, perfect as a big shot bigot) and his wife, Marie Dindon (Kim Anderson, hilarious and open-minded) pay a visit to meet the parents of Jean Michel. The tangled play-out is over-the-top outrageous, but never falls to mockery.

A dinner with Georges and Albin, at Chez Jacqueline Restaurant, formally introduces Jacqueline (Shari Lynn, in a cameo, repeating the role of the restaurant owner), enabling the dependable Shari to  uncork her Jacqueline juice on “The Best of Times,” with Albin and Marie chiming in.

Composer Herman’s score is rich and savory, with two precise, enduring hits — the aforementioned “The Best of Times” and the be-who-you-are anthem, “I Am What I Am”–delivered with precision and pride in an empowering, ecstatic Sakaguchi interpretation that closes Act 1.

At the Saturday night (March 25) performance I attended, La Tanya Faamausili-Siliato’s sound was quirky and uncertain, crackling a few times with feedback. Ouch!

Phil Hidalgo’s music direction — silky smooth and smart, even employing an actor to “play” an accordion onstage — deserves a curtain call, but it’s impossible because the stage pit design disallows the bow. Quel dommage.

Madison Gholston’s first costume design assignment included a boutique-like array of garb, from showgirl glitz to snappy traditional men’s suits, from houseboy uniforms to the stunning formal glam garb donned by Albin, notably in Act 2. Bravo!

And makeup and wig designer Aiko Schick merits kudos for her flamboyant finery, in concert with the varied and imaginative hair design by Shaw Rodriguez. Magnifique!

Steven Clear’s light design provided keen sheen, but Dawn Oshima’s set design was a wonderment, with limited utilization of the facility’s fly space, mostly lowering curtains and bejeweled ribbon drops and a couple of painted scenic. There’s still constant reliance of split-sets scenery of the Georges-Albin digs and a French promenade,  wheeled out in sections on wagons instead of aerial drops (too heavy?) from the fly space. Porquoi?

“La Cage Aux Folles” reflects and embraces the joyous era of the musical with songs that audiences can sing or hum as they exit the theater. It also boasts a grand opening overture that includes the key hit songs, a formula of the prolific Rodgers and Hammerstein duo of yesteryear, still a requisite in revivals.

Andrew Lloyd Webber and the “Les Miserables” team of Claude-Michel Schonberg and Alain Boublil  are among the creative forces who have followed the R&H format, with appealing overtures and scores that produce breakout hit songs.  …

“La Cage Aux Folles”

A musical based on a play by Jean Poiret, with songs and lyricsby  Jerry Herman and book by Harvey Fierstein

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, and 4 p.m. Sundays, through April 9, plus extended shows at 7:30 p.m. April 15 and 4 p.m. April 16

Where: Diamond Head Theatre

Tickets: $27 to $52, at (808) 733-0274 or www.diamondheadtheatre.com

Broadway grosses, week ending March 26

Looks like “Phantom of the Opera” will go out with a bang; it still tops the weekly Broadway gross race, breaking records in the weeks before its closing.

The top seven leaders:

1 – “Phantom of the Opera,” $3.057 million.

2 – “The Lion King,” $2.130 million.

3 – “Hamilton,” $1.915 million.

4 – “Wicked,” $1.878 million.

5 – “MJ, the Michael Jackson Musical,” $1.703 million.

6 – “Funny Girl,” $1.644 million.

7 – “Harry Potter and the Cursed Child,” $1.408 million.

Here’s the complete listing, courtesy The Broadway League:

And that’s Show Biz. …