Category: Updates

Two Hawaiian music superstars – Keali‘i Reichel and Robert Cazimero –will headline this year’s Hawaiian Airlines Lei Day concert on May 1 at the Great Lawn of the Bishop Museum.

It will be the first May Day teaming of Reichel and Cazimero, who are known for their respective decades of island recordings comprising original music they have written and shared in concerts.

Keauhou also will be featured, but other specifics have not been disclosed but it’s likely that both Reichel and Cazimero will enlist their hula halau dancers. Reichel is kumu hula of the Maui-based Halau Ke‘alaokamaile, comprising wahine dancers and Cazimero is kumu hula of Honolulu-base of Na Kamalei O Lililehua comprising kane dancers.

Pre-concert music will be staged from 5 to 7 p.m., followed by the main show from 7 to. 9 p.m.

General admission lawn seating is $39.19; food vendors will be selling food and drink refreshments. Table seating is $60.54, and a Hawaiian plate will be available. Reservations: www.mele.com …

At the Moffatt Waikiki Shell

“Beneath Our Hawaiian Skies: May Day Is Lei Day in Hawaii” will be presented from 7 to 10 p.m. on May 1 at the Tom Moffatt Waikiki Shell.

Doors open at 5:30 p.m.

Kumu hula Karl Veto Baker and Michael Lanakila Casupang and their Halau I Ka Wekiu are show presenters. Participants include Ikaika Blackburn, Natalie and Iolani Kamauu and Maile Lyman.

Tickets $41 to $63, available at www.ticketmaster.com and the Blaisdell Center box office.

At the Hawaii Theatre

Kalani Pea will stage his May Day concert at 4:30 p.m. May 3 at the Hawaii Theatre. Doors open at 3:30 p.m.

An all-star slate of guest talent includes Makana, Horace Dudoit, Chris Kamaka, Glen Smith, Louis “Moon” Kauakahi, Eric Lee, kumu hula Nani Dudoit and  Hālau Kaleilehuaikealoonālani, kumu hula Kunewa Mook and  Kau’ionālani Kamana’o and hālau ‘O Kamuela, kumu hula Chinky Māhoe and Kawailiʻūla, Greg Juan, Kapua Kalua, Malie Lyman and Miss Aloha Hula 2025 Jaedyn Pavao. Mele Apana will host. Tickets are $60.50 to $165.50, available at the box office at www.hawaiitheatre.com …

And that’s Show Biz…

“Spring Awakening,” now at the Manoa Valley Theatre, is storytelling at its very best — seductive, soul-shaking, stunning but occasionally shocking.

(Advisory: Remaining performances are on April 4, 5, 11 and 12; best seats are for the extension dates, April 11 and 12).

It’s a 19^th century exploration, with 21^th century sensibility, with extraordinary, vigorous choreography unifying the powerful laments in the text, punctuated with non-stop expressions of sex, love,  and yep, rock ‘n’ roll. The ensemble seem to be in a whirling world of dance-centric movement.

The story deals with  Germanic youths struggling with mental health, sexual drive, gay love;  the constant uncertainty and obsession with s-e-x plays out meaningfully, meaning this is material for mature audiences. Not porn.

The issue of gay love lacks parental support and understanding, but consider the timetable.

 Director Lurana Donnels O’Malley connects the dots in Frank Wede Kind’s play, with book by Steven Sater and music by Duncan Sheik and Sater. As she states in her director’s notes, “At its core, this musical is about the need for all kinds of genuine connects. Between parents and children. Between lovers. Between friends.”

 And sensibly, the cast of 19 render expression of connectivity, in voice and in dance, which occasionally seem like now. Jonathan Clarke Sypert’s immersive choreography requires constant twists and twirls, physically and vocally, to bring life and a modern spirit to the music.

And the titles tell the tale: “The Bitch of Living,”  “Touch Me,” “The Word of Your Body,” “My Junk,” “Totally Fucked.” Surely, adolescence is not easy.

The principal roles are  Melchior (Isaiah Guendermann Graham, sweet voice, tears in his eyes, gentle romantic leading-man presence), Wendla (Ainsley Shearer, delicate personality, delicate singer, sensitive, projects innocence) and Moritz (Kyle Conner, energetic, emotional, unsteady, often like fireworks ready to explode). They portray normal students, filled with valid questions, seeking answers and satisfaction.

The lads are clad in private-school uniforms including snappy Bermuda-length pants with sock clips; the ladies don colorful dresses and frocks evocative of an era past;  all designed by costumer Ka‘iulapu Baker with a flair.

Teia O’Malley’s stark and simple set design – two bare mini-stages of different sizes, on which the action unwinds – enabling closeness in everything. The connection theory thrives: Hand-to-hand, body-to-body, head-to-head, all in syncopation.

I vaguely remember the original Broadway version in 2006 – with Jonathon Groff as Melchior, Lea Michele as Wendla, and John Gallagher Jr. as Moritz – and some of the audience sat in low bleachers on the stage, possibly to simulate a school classroom. MVT’s in-the-round seating, much like New York’s Circle in the Square, provides intimacy and beaucoup traffic, as actors enter and exit from up to six locations. It’s the configuration utilized in MVT’s recent “Dial M for Murder” production, but this show brings the actors very close to the spectators.

There’s the cunning and welcoming element of including old-fashioned hand mikes in one scene, which makes the cast appear to be current rockstars in a concert. And the use of black eye masks worn by the Adult Woman and Adult Man projected a sense of  cynicism, and they make recurring peeks through effective glass-less window frames held by an actor.

The techies – Janine Myers (lights), Sarah Velasco and Timothy Manamtam (sound), Lesa Ponce De Leon (hair and makeup) – are spot-on with their crafts, answering the “Awakening” call, and adding much to the viewing experience.

And bravo to Jenny Shiroma, the music director, who does an awesome job as maestro and keyboardist as part of a seven-member ork featuring violin, viola and cello, tucked in a wee upper corner of the house. It’s joyous, then, that the musicians come down to take a curtain bow centerstage, amid the acting ensemble. It’s the essence of the final connection in a show with many linkages…

And that’s Show Biz…

‘Spring Awakening’

What: A historical work, about Germanic youths with sexual concerns, with origins in the 19^th century, with 21^st century sensitivity, plus a rock score.

Where: Manoa Valley Theatre

When: Final shows on April 4 and 5; extension shows at 7:30 p.m. April 11 and 3 p.m. April 12 offer better seats

Tickets: $25 to $52 at (808) 988-6131 or ovationtix.com

..

“Spring Awakening,” now at the Manoa Valley Theatre, is storytelling at its very best — seductive, soul-shaking, stunning but occasionally shocking.

(Advisory: Remaining performances are on April 4, 5, 11 and 12; best seats are for the extension dates, April 11 and 12).

It’s a 19^th century exploration, with 21^th century sensibility, with extraordinary, vigorous choreography unifying the powerful laments in the text, punctuated with non-stop expressions of sex, love,  and yep, rock ‘n’ roll. The ensemble seem to be in a whirling world of dance-centric movement.

The story deals with  Germanic youths struggling with mental health, sexual drive, gay love;  the constant uncertainty and obsession with s-e-x plays out meaningfully, meaning this is material for mature audiences. Not porn.

The issue of gay love lacks parental support and understanding, but consider the timetable.

 Director Lurana Donnels O’Malley connects the dots in Frank Wede Kind’s play, with book by Steven Sater and music by Duncan Sheik and Sater. As she states in her director’s notes, “At its core, this musical is about the need for all kinds of genuine connects. Between parents and children. Between lovers. Between friends.”

 And sensibly, the cast of 19 render expression of connectivity, in voice and in dance, which occasionally seem like now. Jonathan Clarke Sypert’s immersive choreography requires constant twists and twirls, physically and vocally, to bring life and a modern spirit to the music.

And the titles tell the tale: “The Bitch of Living,”  “Touch Me,” “The Word of Your Body,” “My Junk,” “Totally Fucked.” Surely, adolescence is not easy.

The principal roles are  Melchior (Isaiah Guendermann Graham, sweet voice, tears in his eyes, gentle romantic leading-man presence), Wendla (Ainsley Shearer, delicate personality, delicate singer, sensitive, projects innocence) and Moritz (Kyle Conner, energetic, emotional, unsteady, often like fireworks ready to explode). They portray normal students, filled with valid questions, seeking answers and satisfaction.

The lads are clad in private-school uniforms including snappy Bermuda-length pants with sock clips; the ladies don colorful dresses and frocks evocative of an era past;  all designed by costumer Ka‘iulapu Baker with a flair.

Teia O’Malley’s stark and simple set design – two bare mini-stages of different sizes, on which the action unwinds – enabling closeness in everything. The connection theory thrives: Hand-to-hand, body-to-body, head-to-head, all in syncopation.

I vaguely remember the original Broadway version in 2006 – with Jonathon Groff as Melchior, Lea Michele as Wendla, and John Gallagher Jr. as Moritz – and some of the audience sat in low bleachers on the stage, possibly to simulate a school classroom. MVT’s in-the-round seating, much like New York’s Circle in the Square, provides intimacy and beaucoup traffic, as actors enter and exit from up to six locations. It’s the configuration utilized in MVT’s recent “Dial M for Murder” production, but this show brings the actors very close to the spectators.

There’s the cunning and welcoming element of including old-fashioned hand mikes in one scene, which makes the cast appear to be current rockstars in a concert. And the use of black eye masks worn by the Adult Woman and Adult Man projected a sense of  cynicism, and they make recurring peeks through effective glass-less window frames held by an actor.

The techies – Janine Myers (lights), Sarah Velasco and Timothy Manamtam (sound), Lesa Ponce De Leon (hair and makeup) – are spot-on with their crafts, answering the “Awakening” call, and adding much to the viewing experience.

And bravo to Jenny Shiroma, the music director, who does an awesome job as maestro and keyboardist as part of a seven-member ork featring violin, viola and cello, tucked in a wee upper corner of the house. It’s joyous, then, that the musicians come down to take a curtain bow centerstage, amid the acting ensemble. It’s the essence of the final connection in a show with many linkages…

And that’s Show Biz…

‘Spring Awakening’

What: A historical work, about Germanic youths with sexual concerns, with origins in the 19^th century, with 21^st century sensitivity, plus a rock score.

Where: Manoa Valley Theatre

When: Final shows on April 4 and 5; extension shows at 7:30 p.m. April 11 and 3 p.m. April 12 offer better seats

Tickets: $25 to $52 at (808) 988-6131 or ovationtix.com

..

“The Book of Mormon” and “Mamma Mia,” two hot attractions on the Broadway roster of hits, will be the attractions of the next “Broadway in Hawaii” season, beginning this winter and continuing next summer at Blaisdell Concert Hall.

Only two shows – instead of the customary three – will be on the agenda

The details:

• “The Book of Mormon,” the musical comedy still running in its 15^th year at the Eugene O’Neil Theatre on Broadway, will be in residency Nov. 25 to Dec. 6. It is returning to Blaisdell by popular demand, after more than a decade-long absence; it had a sold-out three week run here back in 2016.

• “Mamma Mia,” the riotous  romantic comedy featuring a cache of ABBA musical classics that had lines around the Winter Garden Theatre in New York for nearly a decade, will be the attraction from July 6 to 18 2027.

Both shows are notable touring favorites nationally and internationally, their popularity fueled by diehard fans who commonly are hardcore repeaters in terms of securing tickets.

“We are thrilled to follow up the success of our sold-out engagement of ‘Chicago’ last December with a 2026-2027 season featuring two of the most popular musicals in Broadway history,” said Kristy Maple, president of Magic Space Entertainment and Broadway in Hawaii. Thanks to the support of Mayor Rick Blangiardi and the Blaisdell team, Broadway is back at Blaisdell Concert Hall.”

Season tickets – including both “Mormon” and “Mamma” —  range from $137 to $427 and are on sale, starting today (March 30)  at www.broadwayinhawaii.com.. Patrons have the option of using a six-payment plan which works out to less than $25 per payment.

But why only a two-show season, when three has been the tradition? Apparently, there has been a shortage of open playdates at Blaisdell. However, officials familiar with the dilemma are hoping the city might clear a spot for a third production, but availability of a suitable show addition to the lineup could be another challenge, since the touring agenda has limitation. A show, a cast, a venue at possibly some dates, though considerations involving housing for the cast plus transportation are prevailing pieces of the puzzle.

“The Book of Mormon” is no ordinary musical. It is strictly for adult and mature audiences, because of its unabashedly explicit and foul language. The satirical story is about Elders Price and Cunningham, two Mormon missionaries sent to a remote village in Uganda to convert the locals. An oppressive warlord, injustice and poverty have made the villagers lose faith in God, but the elders are keen on success, even if it means bending the teachings of the holy book. And Uganda certainly  is not the destination of Orlando, Florida, where Elder Price was anticipating.

“Mormon” won an astonishing nine Tony Awards in 2011, including Best Musical, Best Book of a Musical, Best Original Score and Best Director. And no doubt, it is not for everyone but is utterly hilarious

“Mamma Mia” also is an extraordinary entity, set on a Greek island paradise, where the sun always shine. It was nominated for five Tony Awards, but failed to win a trophy. However, it ran for nine years at the Winter Garden Theatre, and made a comeback residency a few years ago, in the same venue. An audience of more than 2 billion globally has seen the show, and “Mamma Mia” also has been a cinematic hit with an sequel, too.

 The tale – blessed with the chart hits by ABBA which progress the story — is all about love and family,  involving a mom on vacation with her daughter, who assembles three suitors in a quest to help solve a mystery that one of the gents might be the dad she’s never known. The show may not have artistic creds, but it’s unabashedly a commercial hit…

And that’s Show Biz…