TIHATI BRINGS SPLENDOR TO MARRIOTT

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.

Reservations: www.painawaikiki.com

And that’s Show Biz …

‘MOANA’ LANDS A DIRECTOR, KAIL

Hail Kail!

Tony Award-winning director Thomas Kail, pictured below, is best known as the director of Lin-Manuel Miranda’s hit Broadway musicals, “Hamilton” and “Into the Heights,” and he’s been tapped to direct Disney’s live-action film-with-music, “Moana.”

The announcement was made earlier this week by Dwayne Johnson, who voiced the demigod Maui in the animated version of “Moana,” and natch, he’s already set to repeat the role. But Johnson will also be a co-producer for the remake with real folks.

Johnson said in a statement, re-imagining of the animated film and his character, Maui, is “deeply personal” to him and his Polynesian culture.

“Our culture is rooted in pride, emotion, expression, storytelling, music and mana,” he said. ‘Moana’ is a once in a lifetime endeavor for us and I’m honored to go shoulder to shoulder with our director Thomas Kail and our entire team.”

“Our ancestors are watching, and the ocean will always have a pulse,” he added.

Auli‘i Cravalho, who was a high school senior at Kamehameha, is too old now to recreate the “Moana” role she created, but she’ll have a minor role in the newbie, and also with co-producer credits. You might recall, Moana was a different brand of a Disney princess with seafaring/voyaging skills and a mind and manner to navigate her own destiny.

Neither a name, nor an image, of the new Moana has been revealed yet; hope she’s someone from our midst, who looks and talks like a local girl, and can sing her heart out. Folks here would be huhu if a non-resident lands in the throne abandoned by the aforementioned Auli‘i.

The original “Moana” film, circa 2016, featured a soundtrack of melodies composed by Lin-Manuel Miranda, pictured right, Mark Mancina and Opetaia Foa‘i, embracing lyrics in English, Samoan, Tokelauan and Tuvaluan.

I would assume that the prolific Miranda could be challenged to oversee the soundtrack and then provide some of the original songs; the live-action flick demands it. The silence is deafening…he could not just compose, but sing, and even be in the live-action. Stay tuned…

After all,  he introduced music and appeared in earlier Disney projects. In the “Mary Poppins Returns” sequel, he had a had a featured role, and  for the just-released live-action version of  “The Little Mermaid,” he put pen to music.  He’a Disney do-it-all-er.

Kail is known for directing theatrical productions written and starring his Broadway buddy collaborator of “Hamilton” and “In the Heights,” and yep, he seems to be in the room where it happens in Miranda’s musicals. …

Clublicity

The Hilton Hawaiian Village’s Paradise Lounge, in the hotel’s Rainbow Tower, continues to focus on jazz, delivered by locals. For instance, the Bruce Hamada Trio takes the limelight from 7 to 10 p.m. today (June 2), with singer Shari Lynn and pianist Jim Howard returning from 7 to 10 p.m. tomorrow (June 3).  Seats are not plentiful, so arrive early so you can see the acts, not only hear ‘em.  You can order drinks and pupu, and if you do, you get validated parking. …

Gail Mack and Gordon Kim,  longtime musical partners, will perform from 5 to 8 p.m. July 2 and 9 at Mango Street Grill, 130 Mango St. in Wahiawa. The club was formerly known as Dot’s in Wahiawa. Reservations: (808) 627-5451.…

Tito Berinobis also keeps on chugging, bless him. His summer slate: from 6:30 to 9 p.m. Wednesdays, at Champs on Waialae …  from 6:30 to 9:30 p.m. Thursdays, from 8 to 11 p.m. Friday June 9 with Billy Beimes on sax, and from 7 to 11 p.m. June 13, 17 and 24, David Kauahikaua on keyboards and vocals, at the Chart House in Waikiki … and from 6 to 8 p.m. June 4 and 11 and from 7 to 9 p.m. June 30 at Elk’s Club Waikiki.

And that’s Show Biz. …

NOT MUCH CHEMISTRY IN ‘BODYGUARD’

“The Bodyguard,” now at the Diamond Head Theatre, is a problematic stage musical with a wafer-thin script, centering on an unlikely relationship between a blues-pop singer and her security guard. The key missing ingredient: no chemistry between the two leads.

Were it not for the show’s final two songs – “I Will Always Love You” and “I Wanna Dance With Somebody,” running perhaps 7 to 10 minutes, and vibrating with emotion and excellence  – this is a play that otherwise goes woefully wrong.

While the score is rich with songs associated with the late Whitney Houston, rendered here by a diva named Rachel Marron and played by Bailey Barnes, a flimsy script fails to develop a credible plot between Marron, who inherits and is initially repulsed to have security agent Frank Farmer, played by Andrew Erwin, to guard her. It’s not the stalker that ruins the fun, it’s a bum book.

Andrew Erwin as Frank Farmer, Bailey Barnes as Rachel Marron in “The Bodyguard.” Photo by Brandon Miyagi, courtesy DHT.

There’s no fault with the cast, but the culprit is a script which lacks spark and sizzle, stifling and challenging director John Rampage with an impossible task: to try to bring this deflated balloon to life.

Based on a 1992 Warner Bros. movie, starring Houston as the songbird and Kevin Costner as her security guard, “Bodyguard” features a book by Alexander Dinelaris and a screenplay by Lawrence Kasdan. The melodies are shoe-horned into the script, so essentially, “Bodyguard” is a jukebox musical with mega-wattage hits, but the tunes don’t propel the story. It all plays like a work in progress.

Amid the grandeur of DHT’s still-new facility, Dawn Oshima’s sets are woefully inadequate, and fails to establish the splendor deserving of a pop diva. There are vertical drops and scrims, seats and a sofa, and a large bed for Rachel’s home; tables and chairs  populate a karaoke lounge.

Such shortfalls suggest the star resides in a motel room. And aside from a projection of a modest stained-glass mural in a church scene, and a double-arched frame in an Academy Awards moment, DHT has not yet perfected its use of fly space technology. Is this due to a lack of budget or simply a shortage of imagination?

Yet an enthusiastic cast of 30, garbed in Madison Gholstone’s exquisite costumes (red, black, glittery silver and gold) for every body shape imaginable, give the production some life. And Aiko Schick’s hair and makeup are equally stunning.

The ensemble of singers-dancers, choreographed by Christine Yasunaga. Photo by Brandon Miyagi, courtesy DHT.

The kudos, however, go to choreographer Christine Yasunaga’s perpetual-motion, vigorous and splashy dance routines, which validate the notion that the production has a pulse despite the absence of atmosphere.

The show has had a storied past; “Bodyguard” was ready to roll, in the fall of 2019, but was saddled and shelved because of the pandemic that would last three years. Director Rampage, choreographer Yasunaga and musical director Darcy Yoshinaga  were among the behind-the-sceners who prevailed, updating their participation for this run.  

As Rachel, Barnes has the mammoth mission of delivering Houston’s big numbers, including “How Will I Know,” “The Greatest Love of All,” “I’m Every Woman,” “One Moment in Time,” plus the show-closing emotional ballad, “I Will Always Love You” and the hand-clapping, foot-stomping “I Wanna Dance With Somebody” finale. However tardy, this burst of life is welcome.

The sidebars provide some interest; Bailey’s real-life kid brother, Erye-Jordan Barnes, plays her son Fletcher in the performance I saw; the role is double-cast with Ezekiel Kekuna in some shows.  La Tanya Fa‘amausili-Siliato, Sade Frame and Anjelica Glasgow as backup singers have the moves and voices to earn some deserved hurrahs. And Dwayne Sakaguchi as Rory has no shortage of leaps and bounds in his rigorous and athletic dances, a supporting role that feels like a lead.

Nicki Marron, played by Rache Sapla, is Rachel’s sister, and has several vocal solos including “Saving All My Love for You,” but her delivery seems muted and restrained, kind of underperformed so as not to collide with Rachel’s more effusive delivery.

Erwin, as Rachel’s late-blooming love interest, has his own moments to remember, toying with a deliberately crude “I Will Always Love You” during the karaoke scene, and segues to a competent beau-protector by the final curtain.

And oh, Ben Walsh as the stalker, sings a few bars, in the waning moments of the show…a nice surprise.

Audiences will adore most of the songs and may not be bothered by the lame script.

The musical jolts include “One Moment in Time,” by Albert Hammond and John Bettis, from the Oscar-nominated flick, “Queen of the Night,” which also was a prominent theme for the 1988 Summer Olympics in Seoul. “I Will Always Love You,” Houston’s iconic ballad, was famously written by Dolly Parton, who is part of the tune’s legacy and surely is the centerpiece of the show.

A parting thought: “Bodyguard” premiered in the West End in 2012 and has toured many cities in Europe and Asia, and even has bookings through the end of this year, mostly on foreign turf. But it never, ever played Broadway — the heartbeat of theater – so can it legitimately still be dubbed a Broadway musical? I think not.

And that’s Show Biz. …

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‘The Bodyguard’

A musical based on a 1999 film of the same name; book by Alexander Dinelaris, screenplay by Lawrence Kasdan.

Where: Diamond Head Theatre

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, 4 p.m. Sundays, through June 11; extended at 3 and 7:30 p.m. June 17 and 4 p.m. June 18.

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

Running time: 2:30, including intermission

MVT’S ‘WRONG’ CAST GETS IT RIGHT

Everything wrong is right on target in the comedic farce known as “The Play That Goes Wrong,” now in its Hawaii premiere engagement at the Manoa Valley Theatre.

It’s a maniacal, madcap mélange – a play-within-a-play, to add to the mirth – that can be sometimes confusing, chaotic, and contagious, so let’s just say this controlled silliness is quite seductive, and sensational … so much so that the show’s been extended through June 4 at MVT.

Be advised: There are two playbills, one fictional and one actual, to sort out the obvious from the frivolous. The premise is this: The mythical Cornley University Drama Society, is staging “The Murder at Haversham Manor, but lacks proper rehearsals, so some dialogue is screwed up and parts of the set fall.

In other words, the play is already happening and you don’t know it. That’s part of the m.o., so if something’s amiss, it could be real, or planned.

This is the gallery of actors, featured in “The Play That Goes Wrong.”

It’s part Sherlock Holmes, part Agatha Christie, part Saturday Night Live, with lots of setups and you won’t know it till you get it. And if you’re familiar with “Noises Off,” expect similar raucous, rabid behavior and action.

The work, by Henry Lewis, Henry Shields and Jonathan Sayer, is directed by Rob Duval, who demands and gets comic control from his versatile cast. Michelle Bisbee’s inspired set is rich in precision and potency, since much of it comes apart at the precise moment, requiring impeccable timing to avoid injury, and the production is lit with superb timing by Janine Myers.

With so much live action all over the stage, it’s important to hear all the chatter and buzz, so thanks to Lock Lynch’s sound design.

What matters, and clearly is the motif of “Wrong,” is the fact that this is absurdity beyond a basic comedy, and the ensemble of actors and pretenders require to retain indefatigable timing, which enables the actors to shine, at different times for different reasons.

Even the furniture gets laughs; ditto, a mantel that keeps falling; and the photo of a dog on the wall has its giddy  moment, too.

I chortled and chuckled so often, I can truthfully say that I can’t recall which actor did what, but can offer generous praise and applause for Shannon Winpenny, Alan Shelphard, Jeff Andrews, John D’Aversa, Andrew Baker, Matthew Miller, Brett Williams, Tiger Tam, Theo and Al Reyes. Take a bow, gang.

 “The Play That Goes Wrong” premiered in London in 2012, and earned an Olivier for Best New Comedy. Its Broadway debut was in 2017 and the production transferred to the off-Broadway New World Stages on W. 50th St. in New York, where it still is playing. And a local note – one of the New York producers staging this one is Kevin McCollum, the Tony-winning producer of such shows as “Rent,” “Avenue Q,” “In the Heights” and “Something Rotten.” Surely, he’d be proud to learn that MVT is staging the show, too. …

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 ‘The Play That Goes Wrong’

A musical by by Henry Lewis, Henry Shields and Jonathan Sayer

Where: Manoa Valley Theatre

When: Extended through June 4, with performances at 7:30 p.m. Thursday, Friday and Saturday  and 3 p.m. Saturday and Sunday

Tickets:  $24 to $45 at www.manoavalleytheatre.com or (808) 988-6131

Broadway grosses, for week ending May 28

With the 2023 Tony Awards coming up June 11 in New York City,

last week was the finale for the active Broadway community.

And “The Lion King” still rules in the weekly gross list:

Here are the Top 7 by grosses, for the week ending May 28:

1 – “The Lion King,” $2.245 million.

2 – “Hamilton,”  $1.894 million.

3 – “Sweeney Todd,” $1.882 million.

4 – “Wicked,” $1.825 million.

5—“MJ,” $1.682 million.

6 – “Funny Girl,” $1.583 million.

7 – “Aladdin,” with $1.453 million.

Here’s the official compilation, courtesy The Broadway League:

ShowTHIS WEEK GROSSPOTENTIAL GROSSDIFF $AVG TICKETTOP TICKETSEATS SOLDSEATS IN THEATREPERFSPREVIEWS% CAPDIFF % CAP
& JULIETSTEPHEN SONDHEIM THEATRE$1,123,714.60-$61,919.30$142.44$323.007,8891,0268096.11%-1.79%
ALADDINNEW AMSTERDAM THEATRE$1,453,453.50$69,692.00$111.76$227.5013,0051,7278094.13%-1.38%
BAD CINDERELLAIMPERIAL THEATRE$351,163.48-$33,364.22$45.27$297.007,7571,3988069.36%0.99%
A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICALBROADHURST THEATRE$876,940.22-$212,898.02$125.24$347.507,0021,1528075.98%-6.91%
THE BOOK OF MORMONEUGENE O’NEILL THEATRE$1,040,043.30$4,575.20$126.68$0.008,2101,0668096.27%-1.76%
CAMELOTVIVIAN BEAUMONT THEATER$811,603.50-$39,798.50$112.50$249.007,2141,0478086.13%-4.40%
CHICAGOAMBASSADOR THEATRE$701,359.08-$17,023.68$96.20$237.007,2911,0808084.39%-2.22%
A DOLL’S HOUSEHUDSON THEATRE$847,080.00-$56,236.00$119.02$299.007,1179468094.04%-2.55%
FAT HAMAMERICAN AIRLINES THEATRE$391,432.60-$1,603.20$74.08$247.005,2847048093.82%1.05%
FUNNY GIRLAUGUST WILSON THEATRE$1,583,257.00$434,871.50$181.75$0.008,7111,2198089.33%21.66%
GOOD NIGHT, OSCARBELASCO THEATRE$550,970.34-$171,170.76$130.25$297.004,2301,0227059.13%-12.83%
GREY HOUSELYCEUM THEATRE$413,864.50$61,915.80$76.87$237.005,3848960875.11%-10.48%
HADESTOWNWALTER KERR THEATRE$771,642.10$359.85$106.30$0.007,2599188098.84%-0.25%
HAMILTONRICHARD RODGERS THEATRE$1,894,229.00-$12,375.00$177.55$449.0010,6691,32480100.73%-0.09%
HARRY POTTER AND THE CURSED CHILDLYRIC THEATRE$1,371,744.40$179,787.30$129.25$349.0010,6131,6228081.79%-3.04%
KIMBERLY AKIMBOBOOTH THEATRE$542,078.92$1,226.57$90.72$277.005,9757738096.62%0.36%
LEOPOLDSTADTLONGACRE THEATRE$555,823.65-$42,777.25$108.92$347.005,1031,0758059.34%-6.95%
LIFE OF PIGERALD SCHOENFELD THEATRE$501,232.55-$29,253.35$77.64$277.006,4569788082.52%-2.79%
THE LION KINGMINSKOFF THEATRE$2,245,982.00$101,265.00$177.18$199.0012,6761,6968093.43%0.23%
MJ THE MUSICALNEIL SIMON THEATRE$1,682,452.00-$490.00$153.70$250.0010,9461,3878098.65%-0.58%
MOULIN ROUGE! THE MUSICALAL HIRSCHFELD THEATRE$1,355,398.30-$49,820.45$134.08$0.0010,1091,3008097.20%-1.73%
NEW YORK, NEW YORKST. JAMES THEATRE$939,859.25-$213,265.25$85.89$0.0010,9431,6598082.45%-7.14%
ONCE UPON A ONE MORE TIMEMARQUIS THEATRE$606,278.50$24,621.00$62.57$297.009,6901,6040786.30%12.81%
PARADEBERNARD B. JACOBS THEATRE$1,108,120.05$95,670.10$140.96$327.007,8611,0208096.34%-1.49%
PETER PAN GOES WRONGETHEL BARRYMORE THEATRE$538,877.00$56,129.26$89.23$197.006,0391,0478072.10%4.81%
PRIMA FACIEJOHN GOLDEN THEATRE$949,793.76-$23,031.98$134.78$294.007,0478029097.63%-1.22%
SHUCKEDNEDERLANDER THEATRE$809,278.30$29,292.20$88.75$179.009,1191,1718097.34%-1.17%
THE SIGN IN SIDNEY BRUSTEIN’S WINDOWJAMES EARL JONES THEATRE$532,853.00$11,033.48$87.71$337.006,0751,0698071.04%-2.65%
SIX: THE MUSICALLENA HORNE THEATRE$1,044,247.00$15,227.00$137.17$249.007,6131,0318092.30%1.09%
SOME LIKE IT HOTSAM S. SHUBERT THEATRE$1,006,252.88-$150,120.77$104.51$257.009,6281,4488083.11%-8.40%
SUMMER, 1976SAMUEL J. FRIEDMAN THEATRE$511,945.00$12,556.00$111.10$319.004,6086378090.42%-1.55%
SWEENEY TODDLUNT-FONTANNE THEATRE$1,882,084.00$14,716.00$178.08$399.0010,5691,49870100.79%1.09%
THE THANKSGIVING PLAYHELEN HAYES THEATER$267,587.50$24,553.00$80.67$223.003,3175818071.36%3.35%
WICKEDGERSHWIN THEATRE$1,825,756.00$146,812.00$123.79$275.0014,7491,8678098.77%2.72%

And that’s Show. Biz. …

TREVOR TAMASHIRO JOINS DHT

Trevor Tamashiro has been named executive director at Diamond Head Theatre, succeeding Deena Dray, who retired.

Tamashiro, pictured below,   joined the staff of Hawaii’s largest and oldest community theater, and he previously performed at DHT in his younger days. Locally born and raised, he studied on the mainland and surely will bring fresh ideas and steer DHT to new heights.

He introduced himself to me last Saturday night, prior to the theater’s latest production, “The Bodyguard.” It was a sweet surprise to meet him.

He has nearly 20 years of experience and leadership in non-profits and has been working in New York prior to joining DHT in May. While he has a degree in theater arts from the University of Miami and master of science degree in non-profit management from Columbia University, he also takes pride in being a certified fund-raising exec and was the chief advancement officer of the Diller-Quaile School of Music, deputy director of Saratoga International Theatre Institute, and program director for the Drama league of New York.

So, we welcome him home and wish him the best; it’s always a charm when someone with a keen interest in theater returns to serve the community where he grew up. You don’t always have this kind of script. …

Put ‘Longs’ on your list, pronto

Kumu Kahua Theatre, the precious little downtown theater, has breaking news.

More tickets, more performances have been added to the run of Lee Cataluna’s hit comedy, “Folks You Meet at Longs,” because of popular demand. The show opened May 25 and box office was overwhelmed with demand for tickets, which sold out quickly like toilet paper during a strike.

The add-on playdates are at 7:30 p.m. June 29 and 30 and 7 p.m. July 1, plus 2 p.m. July 2.

You know the tickets will vanish swiftly, so order now, move fast, because these shows will sell out fast like TP at Longs.

Tickets: $5 to $25, at www.kumukahua.org or  (808) 536-4441. ..

New Bruno Mars CD this year?

Bruno Mars, pictured below Hawaii’s prevailing superstar, evidently is putting final touches on a new album that’s likely set for release later this year.  Would surely make a great Christmas stocking gift.

According to The Sun, Mars is nearing completion of the new CD and is in talks with Live Nation to work out a plan to do yet another mammoth concert tour, to support and fuel the unnamed album.

He has yet to disappoint, with his previous solo albums and his partnership with Anderson .Paak  as the Silk Sonic duo, a secondary project that’s been a viable extension of his craft.  It’s been seven years since Mars’ “24K Magic” was issued.

“Bruno wants it to include the biggest concerts he has ever done and is keen to mount a large-scale multi-dimensional live show,” the insider said.

He still has a series of Dolby Live concerts through June at Park MGM, where he continues to wow ‘em. …

And that’s Show Biz. …