Only one adult island actress — as I recall –has brought her talent to the beloved story of Victor Hugo’s wartime drama, “Les Misérables,” back in the day.
As Diamond Head Theatre launches its weekend premiere of “Les Mis” today (July 31), tomorrow (Aug.1) and Sunday (Aug. 3) – despite several performances last week (holdover shows staged before the premiere party which constitutes “add-on” playdates – it might be proper to salute the young troupers from Hawaii whose participation in the classic still bring back memories.
The alumni of child actors in the “Les Mis” hall of fame:
Janelle Parrish – who was cast as Young Cosette. Well before she gained fame in “Pretty Little Liars,” Janelle excelled as Cosette in the National Tour of “Les Mis” in 1996. Her beloved performance was highly celebrated when the Broadway touring company visited Blaisdell Concert Hall in Honolulu, enabling her to slip on the costume and shoes of Cosette at the Imperial Theatre, to bring down the house by singing her signature tune, “Castle in the Cloud.” (She was a super fan of Broadway music, and could sing all arias of Christine in “The Phantom of the Opera.”)
Janelle Parrish
Jason Tam – who was cast as Gavroche. He lived in Aina Haina, graduated from Punahou School, and was his era’s most popular urchin of the musical. When the national tour visited Honolulu, it was his gate to the Gavroche He subsequently made Gavroche astepping stone to a fantastic and luminous career, with a portfolio that now includes the lead role of Paul San Marco in “A Chorus Life,” in which he delivered a show-stopping monologue setting up the musical’s “One Singular Sensation;” and further, he was heard but not seen doing voice-over participation in ”Dear Evan Hansen,” plus roles in such plays as “Be More Chill,” among others.
Jason Tam
Ryan Rumbaugh — another local from Hawaii, who wound up in the pivotal barricade scene, performing the character’s send-off tune, “Little People,” in the Broadway company’s original run.
Milo Maharlika – a youngster from Ewa Beach and an alumnus of DHT, made his own history in 2023 when he became the first Gavroche ofFilipino-American at age 9 to perform the role in an American Broadway tour.
Ann Harada is sort of a Lone Ranger when it comes to “Les Misérables.” As far as we could determine, she’s the only adult actor from Hawaii to inhabit a “Les Miserable” character.
Ann Harada
A Punahou grad, Harada portrayed the mischievous Madame Thenardier, in the last Broadway revival of the popular show. I saw and remember her performance — proof she can handle any role.
Otherwise, Harada has amassed a remarkable range of roles, perhaps because she goes for character roles, not ethnic (Asian) parts, relying on her versatility as both singer and actress.
She currently is featured in the wildly successful “Schmigadoon” musical, at the Nederlander Theatre, where she is having tons of fun and curtain calls, without the comedic of the Thenardier character. Her enviable, wide-ranging credits, include the part of Christmas Eve in the Tony Award-winning “Avenue Q,” “Cinderella,” “9 to 5,” “M. Butterfly” and “Seussical.”
On my 11-hour return from New York earlier this month, I didn’t quite find the proper leg position in my first class seat. So several days after getting home, I had an excruciating bout with my problematic right leg afflicted with sciatica.
The lack of sleep, triggered by a family in coach right behind me, added to the horror. Two howling, screeching, screaming and noisy daughters, around 3 to 4 and perhaps 5 to 6, were highly temperamental and agitated, with parents unable to quell the noise to show respect to the rest of the flight. I asked a flight attendant if there was a possible solution, and she rolled her eyes. Interfering to the chaos could put the airliner in jeopardy.
So yes, I tried to find refuge after the flight, but wound up visiting Queen’s ER department, desperate for some kind of relief to halt or at least diminish the worst leg and feet pain I had, even more sore than my chronic lower back pain.
New pain, new treatment, new experience.
I discovered I had severe vascular calcification in my right leg – with soreness that my usual go-to pain relief pills, Tylenol extra-strength, didn’t have the power of healing.
I could not stand on my right leg – I regularly rely on a walker for strength and support – I named the device Mr. Walker, some years ago – but this time, Mr. Walker could not do its trick. When I placed my foot down for the doctor monitoring my discomfort, it was so painful, like stepping on cracked glass.
The only way I could stand up on the painful leg was when the doctor prescribed a lesser-strength (2.5 mg) dose of oxycodone. Within a quick moment, I was able stand up straight, without experiencing the earlier pain.
It’s a pain killer that rarely is prescribed, for obvious reasons. The reality, however, is that it works. I have not taken the remaining minimal prescription Queen’s ordered for me at Longs.
I since have ordered a mail-order magnesium gel that supposedly targets sciatic pain, but it’s hit and miss. I also utilize another rub-on treatment, with on-and-off satisfaction.
Meanwhile, I’ve had blood tests to address the severe vascular calcification, which was not in my vocabulary before, and I have regular physical therapy sessions at Ortho Sport to strengthen the sciatic leg. The PT has been beneficial, perhaps more emotionally that actually, but I don’t expect a quick-fix of the sore leg.
I realize any kind of ailment and treatment have mixed results, just as surgery can be a plus or a minus.
I’m still looking for that magic – and legal – pain killer that would ease the hurt and reduce the aches, perhaps a day at a time. I have a friend in Mr. Walker – who, by the way, has flown first class three times since he entered my life – and no matter what, I treasure his support and confidence.
I’m also at the crossroads to possibly resume acupuncture treatment. Something’s got to work.
NEW YORK — Broadway’s end-of-the-season fare – the fall arrivals are a month away– offered rocking vampires in “Lost Boys,” and cats who sang and danced and competed in a fashion runway, in “Cats: the Jellicle Ball.” ‘Twas a fun trip!
The best parody-heavy musical entitled “Schmigadoon,” celebrating all that’s great about the musical theater tradition, was clever, hilarious and inventive, worthy of the 2026 Best Musical laurel. A Hawaii native was among the superb cast, a bonus if you take in the hit show.
A Celine Dion spoof — “Titanique’ – brought out the laughs, too, with the big musical turn in “My Heart Will Go On.”
“Harry Potter” is holding up, thanks to the wizardry of quick scene changes in darkness. But it’s not quite the hybrid of several seasons ago.
“Oh! Mary” introduced Maya Rudolph as Lincoln’s First Lady, and she sizzled – oodles of musical pokes to Honest Abe.
“Moulin Rouge,” the prevailing juke box musical champ, offers so many familiar tunes you’ve been singing for decades – numbers close to your heart.
Not so likeable: “Stranger Things, the First Shadow,” a sci-fi play with concerning identity issues. It’s not a musical, but it’s loaded with songs, it has two choreographers, in charge of movement, but apparently not dances.
Here are capsule reviews of the eight shows I saw:
“Lost Boys,” at the Palace Theatre. A musical spectacle with vampires and more, and notable for new angles in staging a show. Ongoing.
Winner of four Tonys in 2026:
Best Performance by an Actor in a Featured Role in a Musical: Ali Louis Bourzgui, as vampire leader David.
Best Performance by an Actress in a Featured Role in a Musical: Shoshan Bean, as mother Lucy.
Best Scenic Design of a Musical: Dane Laffrey.
Best Lighting Design of a Musical: Jen Schriever and Michael Arden.
The show is based on a 1987 film about a family unknowingly moving to a California inhabited by vampires. Thus, Santa Clara gains fame and notoriety. More than fang bites, the show’s eye-filling set with improbable angles steals the attention.
A rock band/score appeals to the young, but for a musical of this dimension, there’s no lingering song to hum as you exit.
“Oh! Mary,” at the Lyceum Theatre. Secrets and music a-plenty, with Mary Todd Lincoln. Closes Jan. 3 2026 but Maya Rudolph’s run is over.
Honestly Abe: This Mary sings! Considering her popularity on NBC’s “Saturday Night Live,” Maya Rudolph’s Broadway debut as Mary Todd Lincoln in the closing weeks of Cole Escola’s outrageous tour-de-force camp comedy, there was star power when Rudolph brought her signature to this project, and wound up owning it, sort of. She was the eighth actor to portray the illustrious First Lady to Abraham Lincoln’s presidency, beginning with a somewhat timid mood, but unloaded the rockets and power of her artistry in a carnival of charades and the performance evolves into one of Rudolph’s signatures, even if she didn’t invent the show. Costumes are masterful, and the frantic physical comedy speeds through red light with everything from Shakespearean accents to suave vocalizing. I laughed like crazy.
“Cats: The Jellicle Ball,” at the Broadhurst Theatre. The cat’s out of the bag, competing in drag-show, fashion-plate pace, and emphatically proves a cat has more than nine livelihoods, for which we thank Andrew Lloyd Webber, who recycles with whimsy. Closes Aug. 8.
Winner of three 2026 Tonys: Best Direction of a Musical (Zhailon Levingston and Bill Rouch), Choreography (Omari Wiles and Arturo Lyons) and Costume design (Qween Jean; first openly transgender woman to win a competitive Tony Award).
“Cats” remains virtually with no plot or at least a lean plot, but “Jellicle” transposes the cat energy into the world of Harmen’s Black and Latin Queer Ballroom Culture, where Old Deuteronomy (Andre DeShields, known for “Hadestown”) rules, with a bunch of felines (Magical Mister Mistoffelees, Gus the Theater Cat, Skimbleshanks, the Railway Cat, Grizabella, Macavity the Mystery Cat, etc.) still hang out, with digs and jigs notably in Act 2, when the cats, thin, short, or huge are reborn to compete in drag shows and soar with new vibrance in the whirl of voguing and undressing, with male cats – surprise!—show more skin than lady cats.
It’s a beaut of an idea, to have the litter prance, dance, and compete for ballroom glamor and fame. All the dancing, the costuming, the vocalizing and the prancing yield one big heck of a “Memory” finale. So what’s a Jellicle Ball? Ask a cat.
“Schmigadoon,” at the Nederlander Theatre.” A parody of “Brigadoon” with homages to “Oklahoma” and more. The year’s Best Musical Tony winner, and the most fun. Doesn’t get dizzier of giddier than this. Closes Jan. 3 2027.
Winner of four 2026 Tonys: Best Musical, Best Book of a Musical (Cinco Paul), Best Original Score (Cinco Paul), Best Orchestrations (Doug Besterman and Mike Morris). (As the producer of “Schmigadoon,” Cinco Paul is the recipient of win includes the Best Musical trophy).
“Schmigadoon” has roots in the original Apple TV series and it oozes with laughter and is bright and colorful as the cast’s costumes. It pokes gentle fun to the Golden Age of Broadway classics, notably the homage to “Oklahoma” and “Carousel” in its merry-go-round of mirthful magic and memories.
The cast includes Sara Chase as Melissa Gimble, Alex Brightman as Josh cSkinner (he despises musicals), McKenzie Kurtz as the flirty Betsy, Ana Gasteyer as severe Mildred Layton.
Ann Harada, left, invited Wayne Harada (no relation) and grandnephew John Rhoades and wife Vi Harada for a post-show chat at the Nederlander Theatre, where “Schmigadoon:” is playing through Jan. 3 2027.
Of special note, Ann Harada (no relation), appears as Florence Menlove, the spouse of Mayor Menlove, played by Brad Oscar. Harada is a Broadway notable, with a string of stage credits ranging from “Avenue Q to “Les Misérables,” from “M. Butterfly” to “Into the Woods,” from “Cinderella” to “Seussical.”
She was kind enough to invite me, wife Vi and grandnephew John Roades, to share a theater “moment,” taking photos after a performance of “Shmigadoon.” She also said the show’s cast album will be released in August, and the closing date for the successful run will be Jan. 3, 2027.
“Shmigadoon” succeeds because it has a style, sound and look of its own, but borrows conventional musical signature and stamps on its own indelible identity in moments like the “Oklahoma” parody, the dream ballet, and a vigorous tap dance number. The costumes immediate ID the country kingdom that is “Shmigadoon” through and through, like that signature rural flavor of warm hues and simple architecture.
“Harry Potter and the Cursed Child,” at the Lyric Theatre. The magic is not magnified in this drama about Albus Severus Potter, son of Harry and Ginny, who strives to maintain and live up to the fame of his father’s legacy. Ongoing.
OK, I did see the original two-part “Harry Potter” dramas, when the legacy of the genius magician and his pals were in the height with the wonders of wizardry. The best thing element of this abridged exploration is the fascinating appearances and disappearances of the wizards, in a swift gust of wind or twirl of an overcoat. The fanship is keeping the show floating. The lighting and quick scene changes are still intriguing.
John Skelley is Harry Potter, Rachel Christopher is Hermione Granger, Daniel Frederick is Ron Weasley, and Tom Feldon is Draco Malfoy. The play, by Jack Thorne, retains ties with Potter creator J.K. Rowling, but perhaps the production is cursed with somewhat detached interest largely because much of the action unwinds in mood-setting darkness.
“Moulin Rouge,” at the Al Hirschfeld Theatre. A jukebox musical, loaded with 70 disco and boogie music, embraces a tragic star-crossed romance between songwriter Christian and chanteuse Satine, set at the Montmartre Quarter of Paris.
Let’s start with good news/bad news: Aaron Tveit, who “owned” the Christian lead role (saw him, back in the day), has returned to the production for a limited 15-performance gig Aug. 18 to 29, to join Kelsie Watts as the courtesan Satine. Tveit, with his typo-prone surname, dusts off his charismatic soaring voice prior to the final curtain Aug. 30, but the symbolic finale performance of Christian will be tendered by Christian Douglas, who toured with a company in “Moulin Rouge,” prior to making his Broadway debut and stamping his ownership of sort. Saw him, and he’s a handsome charmer, and likely will become a Broadway first-stringer in the months to come.
Oh, “Moulin Rouge” remains a solid disco-tempoed jukebox musical that showcases medleys of hot numbers by the likes of Madonna, Beyonce, Tina Turner and Dolly Parton, and the playlist has changed over time. Thus, a rundown of the tracks never appear in the Playbill. The one everlasting title is “Lady Marmalade,” which receives multiple publicity so you can practice your French: “Voulez-vous couche avec moi,” remember?
“Titanique,” at the St. James Theatre. A parody of “Titanic” and vocalist Celine Dion. And of course, The Song goes on and on.
Here’s a project with absurd laughs, defined as a jukebox musical because its score is dotted with known tunes. Clearly, this was a little engine that could – and did. Originally a scaled down cabaret show, it emerged and sailed the waters of off-Broadway, but finally sailed to the Great White Way.
It was skedded for a 16-week run, but attracted meaningful followers, so instead of ending July 12, it’s been extended to Sept. 20, 2026. If there’s more demand, it has to set sail at another venue, since the St. James Theatre has a new tenant.
The absurdity here is that Celine Dion would hijack a Titanic tour about the ill-fated liner in 1912 and start singing some of her hits, including, natch, “My Heart Will Go On,” with Marla Mindelle, one of the show’s writers, thumping her heart in assuming the Celine style. It’s tongue-in-cheek frivolity complete with patter-chatter about romance between Jack and Rose (played by Constantine Rousouli and Melissa Barrerra, respectively), the duo immortalized in the mammoth blockbuster film.
And don’t ask why Tina Turner is on the ship tour prancing through “River High, Mountain Deep.”
“Stranger Things: The First Shadow:” Talk about strange things; this is a strange play that features songs and dances but is not a musical. It was the worst show among eight that I saw earlier this summer, and longest-running play, clocking in at 2:45. Closes Jan. 3 2027.
It boasts a choreographer, and acknowledges the dancing, but while the actors sing, they are not credited for their vocal work as in a conventional musical. This is a sci-fi play, and not ashamed of the variants among the performance art.
It’s a prequel to the Netflix streamer, whose audiences admire the tale of how a boy becomes a villain. The Duffer Brothers, Jack Thorne and Kate Trefry are collaborators of this outing, and they at best know their audience; the show I took in attracted throngs of very young people, viewing a play that clearly has R-rated elements, including brutalities that could explain its peculiar appeal.
I daresay, Victor De Paula Rocha, as the intense but villainous Henry Creel, turns in a mind-blowing performance in his Broadway debut. It’s not your usual entrée, but clearly one jammed with passion and power, like a loaded pistol or keg of dynamite. Boom!
NEW YORK — Remember when you bought tickets to a Broadway show, and simply watched the performance?
Alas, Broadway theaters have adopted the movie mojo, hawking concessions once exclusive with film-going.
I have a frank confession about concessions. No, no. no. If you book seats for a Broadway show, you don’t go there to eat. Or drink. Or share snacks.
You go, supposedly, to watch, to be entertained, to witness a musical and sing your way out, or cherish a chuckle about a hilarious moment or character in a comedy, or wipe off tears if you experience a heart-tugging or impactful chicken-skin scene element in a drama.
Leave the food in your hotel room. Eat it before or after the show, please.
We need to restore the dignity and respect for theater performers. Please?
There was a time –back in the day when with shows featuring legendary and outspoken actors like Patti LuPone — would halt her show if someone was eating or chatting during her performance. Ballsy LuPone would stop her show, if faced with distractions from the stage. She would find you to shame and yes, shame on you… so you don’t mix eating and chatting during a performance.
Similarly, I recall Glen Close halting her performance and pinpointing a spectator in a Los Angeles theater, when a cell phone rang.
Popcorn, candy and munchies are not suitable for theater. Ditto, iPhones. Theaters become circuses and ballparks when viewers bring food to the table. To me, that’s a worrisome wrinkle on Broadway.
Perhaps it’s too late, to sound off the alarm, since the flood of food at Broadway shows apparently began as far back as the 2000s, when you could only buy a drink with a tight lid to sip and watch a performance. How the movement has changed. I noticed this year, folks were hauling in gigantic soft drinks, and kids were carrying drinks with sealed lids, as if there’s a drought outside. Many theaters allow wrapped candies and soft drinks and sealed wine glasses, and I haven’t seen spilled drinkables. Yet.
Remember, Broadway theater seats don’t have cupholders on the arms, which means that a careless drinker could kick and spill a filled cup left on the floor. Messy and sticky, if this happens.
The Shubert organization, which operates 17 Broadway theaters (nearly half of the show houses), used to be the strictest in the snack parade, allowing only quiet-opening candies like Kit-Kats and M&M. Times have altered operations; theater owners know concession sales will make the proverbial cash registers ring and jingle and yield more bucks to combat rising costs.
The Nederlander chain embraces the movie-style, too, with common candy, chips and popcorn, normally at shows with family and kiddie audiences.
The volume of snack sales go up with family shows like “The Lion King,” “Aladdin,” and “Lost Boys,” and “Harry Potter and the Cursed Child” and perhaps fewer sales in dramas like “Giant,” and “Death of a Salesman.”
I didn’t see it at the abridged “Harry Potter” this year, but several years ago, when “Harry Potter” was a twofer Part 1 and Part 2 – there were snack and drink menus at the theater seats. So if you ordered before intermission, the bounty of orders was delivered at the break.
The theater fare so far excludes pizza, a concerning edible since it can be messy and it smells. But some shows approve popcorn, which of course signals whiffs of buttered popcorn as the lights go down.
All theaters now have that standard plastic cup for soda and booze, and special promotions boasts logos of the show, a means to charge even more. But you get to take home a souvenir.
At a “Harry Potter” performance I was at the Lyric Theatre in early July, a boy’s phone rang, with bonus of bright lights shining, but he was quick to shut down the phone, wisely without answering. But it gave him an op to share candy with his girlfriend.
Alas, LuPone was not in the cast. That’s food for thought…
Bruno Mars, Hawaii’s favorite musical son, gives the islands’ Zippy’s restaurants a sweet boost in the current People magazine. It’s the issue with Jon Bon Jovi on the cover, in the magazine’s summer June 29 issue exploring favorite food and destinations in the 50 states.
The “Risk It All” singer – and constant chartbuster, as a soloist, as a duet-with-divas, and a co-star with Anderson. Paak in Silk Sonic — heads straight for Zippy’s when comes home.
So what’s his favorite? It’s the Korean chicken plate. Hmmm, so maybe you’ll see him when you’re in line waiting for your Korean chicken plate, too… but the People item didn’t list which branch Mars seeks his take-out. Hey, Bruno—the Zippy’s in Kahala has reopened after a three-month renovation….
Lyric’s on ‘Big Brother’
Lyric Medeiros
Another local – and future star – is singer-actress Lyric Medeiros, one of the featured faces and talents on CBS’ “Big Brother” this summer. You know her musical father Glenn Medeiros, who became a superstar singer as a youth, when he recorded “Nothing’s Gonna Change My Love for You.” Now he’s president of Saint Louis School, but his children – Lyric’s brother’s name is Chord – are unsurprisingly musically inclined.
Said Mediros: “I told my kids (Lyric and Chord) growing up that they can reach for any dream they have, but they first need to attain their education to prepare them for a job that will give them a comfortable life in case their first option does not come to fruition,” said dad Glenn. “Both my kids have done that. In the case of Lyric, her dream has always been to be an actress, She loves to sing and dance but she is an amazing actor. After attaining both her law degree and MBA, she is now ready to follow her dream by getting herself out there for all to see on TV and other forms of forms of media.”
Lyric will be in the show until she gets eliminated…
When Robert’s ‘Moon’ shines
Robert Cazimero
It’s not precisely when there’s a full moon, but Robert Cazimero’s done one “Full Moon Concert” at Chef Chai’s on July 12, and plans more serenades Aug. 16, Sept. 6, Oct. 25 and Nov. 15.
Then he goes into Christmas mode, Dec. 21, 22, 23 and 24.
Dinner is served at 5:30 p.m., with Cazimero serenading from 6:30 p.m.
Cost is $125, and reservations may be made at Open Table or Chai’s at (808) 333-0279…
Ann Harada, left, invited Wayne Harada (no relation) and grandnephew John Rhoades and wife Vi Harada for a post-show chat at the Nederlander Theatre, where “Schmigadoon:” is playing through Jan. 3 2027.
