CAZIMERO: THANKFUL AND HOPEFUL

As his slate of Christmas season concerts nears in December,  entertainer Robert Cazimero is thankful and hopeful that his shows at Chef Chai will proceed without incident.

He’s spoken with Pomaikai Shishido, new owner of the restaurant – Chef Chai – and is thankful that his dinner show performances Dec. 16 through 20 are on solid ground. A capacity crowd has reserved tables and there could be space, pending cancellations.

Cazimero also is hopeful that his performances will continue through 2026. “We had some talks with him (Shishido) about future dates next year,” he said.

Robert Cazimero

Cazimero did just one show, earlier this week, since chef Chai Chaowasaree exited the restaurant  to return to Thailand to be at the side of his fragile mother, 95, who was injured in a fall.

His fate – and the entertainment issue — had not been mentioned in earlier media reports about Chef Chai’s ownership status; the restaurant had been issued a “red” placard by the Hawaii Department of Health and was forced to close but an updated inspection resulted in a “green” placard to reopen and proceed with updated valid permits.

It’s still an open question, whether  Chaowasaree wants to return to Hawaii some day if possible, with due diligence; he could have the opportunity to possibly return in the future with proper immigration validation.

Cazimero had a brief phone chat with Chaowasaree from Thailand, and the chef said  “it’s not easy,” about his current status.

Cazimero’s  informal shows – he plays on a grand piano, a gift from Chaowasaee years ago – had  been earlier called Full Moon Concerts, with the playdates on or near full moon dates on the lunar calendar, but eventually the dates became fluid, depending on his availability and travel agenda, and some months he stages more than one concert. Like the December playdates.

In a bizarre atmosphere in Waikiki, where resort hotels have shuttered  nearly all showrooms and  essentially have minimized the hiring of notable entertainers like the old days, an entertainer like Cazimero has to think outside the box, and set anchor where there’s opportunity. Chaowasaree hired Cazimero to perform at Chai’s Island Bistro at Aloha Tower Marketplace, when he featured entertainment beside his popular cuisine. Before Chef Chai opened on Kapiolani Boulevard, Chaowasaree gifted Cazimero with a grand piano where it is housed in a corner of the restaurant. The theory was that Cazimero – who became a solo act, after his brother Roland died – would always have a home (and piano) where he could strut his stuff.

Other options could materialize for Cazimero; his former employer, Kelvin Ro (formerly of Kahala Moon, where Cazimero serenaded, and now proprietor of Diamond Head Market and Grill) recently hired a new partner, Jason Peel, to create menu specials and develop a new weekend option, a brunch show on Saturdays and Sundays from 7:30 to 10:30 a.m.

The deal is so new, there’s no ink on a contract yet, but guess who they’re gunning for, to provide the brunch music. Shhhh. It’s still a secret…

Odom’s return to ‘Hamilton’ fuels grosses

“Hamilton” continues to sit atop the weekly Broadway grosses, with $3.8 million earned for the week ending Nov. 16. The performance is fueled by Leslie Odom Jr.’s limited 12-week return to the cast in his Tony-winning Aaron Burr role.

“Harry Potter and the Cursed Child” zoomed to No. 2, toppling “Wicked” to No. 3:

The Top 10:

1 – “Hamilton,” $3.852 million

2 –- “Harry Potter and the Cursed- Child,” $2.594 million

3 –- “Wicked,” $2.389 million

4 –- “Chess,” $1.779 million

5 — “The Lion King,” $1.760 million

6 –- “Mamma Mia!,” $1.582 million

7 –- “Waiting for Godot,” $1.539 million

8 –- “ART,” $1.535 million

9 — “Just in Time,” $1.426 million

10 –- “Death Becomes Her,” $1.286 million

The complete list for the week, courtesy the Broadway League:

And that’s Show Biz…

‘PRISCILLA:’ MORE SEATS+PLAYBILL

“Priscilla, Queen of the Desert,” now playing through Dec. 14 at the Manoa Valley Theatre, is a lively, robust but often campy jukebox musical. It’s a stunning exploration of drag queens, boasting spirited casting and characters, a non-stop cache of pop and disco tunes, splendid costumes, and energy to spare.

Good news, for only the “Priscilla” run: MVT has splendidly updated and expanded its capacity to 282 from 150,  by adding extra rows of seats hugging both sides of the stage; and despite the cutback of seats — making the performance space smaller –the theater utilizes the floor space as extension of the stage, putting the action right in your face.

Further, a balcony above the stage set provides superior performance space, and houses a nine-piece orchestra with elbow room to deliver the volley of thumping, dance-centric live-band music.

The most welcome plus: MVT has reinstated the traditional playbill, making it possible to restore cast photos and bios, credits for the tech crew, director notes, roster of song titles and credits of all music played, and even in-house advertisements. All valuable innards, restored in playbills that herald back overdue rewards for playgoers, actors, and backstage artistry. So, all together now, a shout-out of  thanks! (OK, we’ve cheered for a comeback of the playbill).

Woosome threesome: Henry Hawes (Adam), Greg Zane (Bernadette), and Andrew Simmons (Tick).

Despite its giddy and flamboyant overtones, “Priscilla” upholds serious real-life issues dealing with relationships. The tale here is about the trio of lead characters: Greg Zane as Bernadette, Andrew Simmons as Tick/Mitzi, and Henry Hawes as Adam/Felicia and their quest to find work and maybe some life pleasures in the Australian outback. Bernadette is the sane, sensible leader who drives a bus named Priscilla – a metaphor of the drag queens’ battered situation – in hopes of landing a job of sheen and propriety.

Zane is irresistible and irrepressible as Bernadette; in his real life, he was a ballet dancer who turned to acting, and transitioned to directing and choreographing musicals later in his career. He was inspired by his mentor, the late Tommy Aguilar of “A Chorus Line” fame. With his wig and makeup and attractive gowns, Zane represents a figure of courage and leadership — and while it’s hurtful, he’s been enduring the high heels, too.

Simmons and Hawes are like mismatched bookends, who play off each other and turn in supportve and touching performances in drag (wigs, sequins, feathers, and heels) and as gents with LGBTQ readiness.

One of their memorable number with Zane is “MacArthur Park,” delivered with earnest warmth, validating the emotional chemistry between Bernadette, Tick and Adam.

There’s a lot to praise, like the Divas, Nicole Villejo, Marie Chiyo Staples and Aurielle Polynice, who are splendid as a spotlighted trio on the main stage as well as from the overhead balcony.

There’s even a cutie pie in the ranks. Braeden Dillabaugh is making his MVT debut as Benji, the son of queer dad Tick. He delivers his lines as a youngster would, with proper articulation, and he’s got full acceptance of his dad’s choice in life. He even sings with the adults on “Always on My Mind,” late in the show, and has a couple of moments in gay garb, which surely must be fodder for conversation with his school chums.

If you’re a nostalgia fanatic, “Priscilla”  is for you. The score boasts nearly 30 hits from the past, such as “It’s Raining Men,” “What’s Love Got to Do with It,” “I Will Survive,” “True Colors,”  “I Love the Nightlife,” “Venus” and “Hot Stuff.” In ensemble numbers, it won’t be a crime to sing-along from your seat. And don your disco duds, and you’ll be in vogue, for “Girls Just Wanna Have Fun.”

Director David Weaver and set designer Willie Sabel must have worked hand-in-hand, to create the performance space – a tighter and abbreviated stage, to open up more seating – and redefine the entrances and exits for the actors. There are no doors, just a single silver curtain befitting a disco at the back of the stage.

There’s Priscilla the bus to reckon with, too, since it is a huge set piece with mobility issues. The turnarounds have been swift. Priscilla does its duty well.

Precision is the operative word – Weaver co-choreographed with Ahnya Chang, known for her lively, rigorous and candid vision – and their best work is in the vivid and even volatile prancing and dancing scenes amid Jenny Shiroma’s superb orchestral support, in the celebratory disco moments.

All this action is supported by spot-on lighting by Chris Gouveia, even with an extra burst or two of colorful twinkles overhead, and clear sound by Sarah Velasco and Timothy Manamtam, a treasure for the disco vibes.

And the vivid costumes by Emily Lane provide the flash and dash of kaleidoscopic hues for the queens, supported by Lisa Ponce De Lion’s trademark artistic power and tower in hair and makeup …

And that’s Show Biz…

‘Priscilla, Queen of the Desert’

A musical with book by Stephan Elliott and Allan Scott, based on the film by the same name

What: A musical comprising disco tunes supporting a story of drag queens seeking a better life in the Australian outback; pop hits of the 1990s dominate the soundtrack

Where: Manoa Valley Theatre

When: Performances through Dec. 14, with shows at 7:30 p.m. Thursdays, Fridays and Sundays; at 3 p.m. Saturdays and 4 p.m. Sundays; no performance on Thanksgiving

Tickets: $25 to $55,  at (808) 988-6131, www.manoavalleythreater.com

READY FOR HALLOWEEN 2025?

The assortment of Halloween pins — of ghouls, goblins, jack o’ lanterns and witches — has been distributed over the past month, so if you’ve got ’em, wear ’em for your trick-or-treating outings or at your Halloween parties this Friday.

Happy Halloween!

FULL STORY ON FACIAL RECOGNITION

OK, this will be – hopefully – the final continuation of a story on the half-face-only depiction of singer Kevin I.’s face on his new EP recording.

The image is on his new EP, “My Continuum,” now in release with five tracks demonstrating the power of romance in Kevin’s voice, now as well as then. You might recall, this release arrived some 40 years after Kevin shelved his musical career and current notion to jumpstart this journey of recovery.

Lance Jyo

Lance Jyo, Kevin’s Hawaii-based producer and composer (and new friend), says unceremoniously that the idea was his to go with the half-face cover art. “Let’s just show half of your face,” the boss told the vocalist.

“It wasn’t about hiding. It was symbolic,” said Jyo, a reflection of Kevin’s journey. “Half represents the part of him the world remembers, and the other half – unseen – represent the years of growth, reflection, and rediscovery that brought him back.”

Kevin’s half-face

Kevin felt and understood the situation and Jyo explained the overview thusly: “The other half of Kevin’s face isn’t missing because of acne – it’s missing because it tells a story. A story of  a man who found his way back to the music he loves, and who now shares the journey  — one song, and one half-face, at a time.”

Half-truths can add up to a logical conclusion…

Shorts of sorts

Glenn Medeiros will be at a book-signing event at 2 p.m.  today (Oct. 25) at Barnes & Noble to celebrate the release of his autobiography, “From One Stage to Another.” Dr.  Medeiros, of course, is the president Saint Louis School who was a teen idol balladeer with a national hit song, “Nothing’s Gonna Change My Love for You” back in the day…

Ho‘okena is in talks to do a Christmas concert on Dec. 13 on Kauai, and leader Horace Dudoit is working on a confirmation. “But I’ll be busy almost every weekend in December,  touring with four-time Grammy winner Kalani Pe‘a,” he said. The Pe‘a gigs will visit Portland and Seattle, in the Pacific Northwest, and at Kahilu Theatre on the Big  and Hawaii Theatre in Honolulu…

And that’s Show Biz…