There’s a reason why they call it Heavenly, with its sofa seating with coffee tables, facing the marina at the Koko Marina center in Hawaii Kai.
It was a heavenly meal, as far as I was concerned, when I ordered the kal bi special which arrived on a sizzling cast-iron plate, the meat-with-the-bone hiding a mound of rice, sharing a cozy bed atop corn. Remove the decorative greens atop the kal bi, and whoa, there’s ample to enjoy.
The kal bi plate: lots of meat, sitting on a mound of rice in a cast-iron platter,
Because the kal bi is grilled in the kitchen, you don’t really smell like you’ve been in a Korean restaurant. Besides, this is a Japanese-owned eatery, anyway, so gomen (sorry) if I offended anyone. Had munched on half of the entrée, so enjoyed the leftovers for lunch. Only then did I realize that the sauce seemed slightly over-salted, but it was still a joy.
Our party of five sat in one of those roomy, U-shaped booth seating inside the restaurant, a first for me. The booths were reminders from the past, with retro lamps shaped like palms overhead, and glassy art on the walls. Remembered the tiny battery-operated copper candle on the table, from earlier visits, and this zone of tables is a wholly different experience than the sofa and living room sector facing the waterfront. And likely more comfy, for those with aging back aches, Me, included.
For dessert, a bountiful fruit sundae with custard and ice cream, too.
Tried, too, for the first time, Heavenly’s sundae dessert, a compilation of custard cream topped with a cherry, a mini scoop of vanilla ice cream on the side, surrounded by a sea of fruits: banana, Mandarin orange slices, a wedge of fresh strawberry, thinly sliced apples…all arranged like ikebana in an old-fashioned fountain sundae dish. Yummy.
Brother Noland staged a spirited, luminous performance last night (March 6) — his first-ever concert at Blue Note Hawaii at the Outrigger Waikiki resort and a relaunch of his brand,
Noland, 68, has been somewhat nomadic in recent decades, mostly invisible to his fans; but he’s been a responsible, quiet, viable and vigorous musician, storyteller and guitarist on the Hawaii scene. In the 1980s, he was deemed to be the Father of Jawaiian Music, with a rhythmic “Coconut Girl” signature hit.
Noland’s back! …
So the unveiling of the Noland now was awesome, nostalgic and a fascinating catch-up of his musical and cultural intersections he’s crossed over time. He fronted an incredibly powerful ensemble of eight, dubbed the Island Incredibles, sharing a few old tunes, a batch of new ones, and atmospheric acoustic revivals of pure Hawaiian mele, updating his profile of the 1980s or thereabouts, when Noland was a budding and prolific trendsetter.
… and in action
If you hadn’t seen Noland in eons, you might not have anticipated his snow white hair, his dark glasses motif, and his (and his band’s) flurry of colorful Jam’s World-print garb.
The revelation of “Las Vegas,” an unexpected potion of pop tones, was his blast of cultural expression in the music bin, a goofy and giggly exploration of the exodus of beaucoup Hawaii folks relocating to the Ninth Island because of cost of living is way too expensive here. Since families and clans of friends make frequent jaunts to Las Vegas and staying at California Hotel or Fremont, where they hope and pray to score a major jackpot on the slots, the tune has purpose. Finally, there is an anthem for the mad movement to a new ZIP code.
Noland’s voice is not the best in the industry, but he is skillful in channeling his tones to deliver any kind of music. His vintage Hawaiiana was as charming as they come, with a throaty voice articulating the spirit of the era, on “Ka Ipo Lei Manu,” a Queen Kapiolani mele written for her husband, King David Kalakaua, who had traveled to the mainland where he died. The lamentation is quite evident, in Noland’s moody delivery.
Brother Noland: Crisscrossing in multiple song styles.
In his Hawaiian sector, Noland also shared a “place song,” or “mele pana,” entitled “Mauna Kea,” the mountain on the Big Island where he resides part of the year. The tune showcases the beauty and vista of the region, and living in the elevated heights means he enjoys the serenity and isolation of being “close to God.”
Thus, his musicianship reflects these life choices, crisscrossing in multiple song styles and residency experiences, like toiling in the Outback of Australia, represented in a tune he wrote called “Walkabout.”
He truly is a keiki o ka ‘aina, or child of the land, born in the Palama region, and perhaps that’s why he favors uncommon passions like authoring books via his Ho‘ea Initiative, experiencing and embracing the tropical jungles, sharks, and wilderness survival. This positioning has produced some revealing postures in his music, too, advocating the appreciation of life and culture. on “Are You Native,” “Harbor Town,” and “Signs.”
With this gig, recurring one more time tonight (March 7), Brother Noland (last name, Conjugacion), showcases a loud, proud band of buddies, featuring some of the town’s best instrumentalists and voices, pictured here, from left to right: Tavana on guitar, Gaylord Holomalia on keyboards, David Garibaldi on drums, Kata Maduli on bass, Michael Ruff on keyboards, Fred Schreuders on guitars, and Lila Chris and Olivia Ruff on vocals.
Noland also strums rock guitar and ki hoalu (slack key) and because he allows numerous solo riffs from all musicians on many numbers, the opening performance was an extended show running nearly two hours, cancelling the originally planned second show. That format will continue for tonight’s (March 7) gig – one lone show at 6:30 p.m.
Rumors surfaced that there would be another two-night stand at Blue Note next week, but that’s not true. Instead, Noland’s team is contemplating Neighbor Island concerts on Maui and the Big Island next week…
And that’s Show Biz…
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Brother Nolandand the Island Incredibles
Who: Brother Noland and the Island Incredibles, first time in Waikiki in eons
Where: Blue Note Hawaii at the Outrigger Waikiki resort
When: Opened last night (March 6); final show at 6:30 p.m. today (March 7); doors open at 5 p.m. for beverage and food service
Here’s a first look at the Easter pins I’ve created for 2025. This year, Easter will be on April 20, so there’s a month to prep for the event. Some Easter pins are in the mail now; doing an early roll-out and distribution, since the pins were finished last month. Mailings will continue for the next few days, so hope recipients will be a bit patient
“Rent,” Jonathan Larson’s autobiographical rock opera inspired by Puccini’s “La Boheme,” is a perfect vehicle for collegian actors at the University of Hawaii.
With ease and affection, the two-dozen youthful singers and actors comprise a company that has embraced the riches of the Larson score and style, while connecting with an enthusiastic and receptive viewership, if the sellout opening-night crowd last Friday night (Feb. 28) was an indication.
The charmed audience unleashed hoots and howls and hearty applause following favored tunes in the show. The joy culminated in a spontaneous standing ovation at the finale. If “Rent” at its best is all about the seasons of love, the adoration was mutual with the crowd.
“Feel the love,” the company sings late in the show. “Feel the love.”
And the folks did. But such appreciation raises a valid question: why has the Department of Theatre and Dance been neglectful so long, in staging contemporary musical comedy? For decades, Kennedy Theatre was the fountain to quench the thirst for cultural Japanese kabuki and bunraku puppetry, Peking opera productions periodic Shakespearean classics, plus a Great Plays cycle of notable drama.
Such programming is worthy, of course, when aligned to the academic theater cherished in Manoa, because of the plethora of pioneering directorial treasures in yesteryear’s faculty. Think Earle Ernst and James Brandon, for Asian/kabuki, Elizabeth Wichmann-Waltczak for Peking/Beijing opera, and Terence Knapp for Shakespeare.
Enter, “Rent,” repeating this weekend, but held over with one more show tomorrow night (7:30 p.m. Thursday March 6) and playing three sold outs Friday (March 7) through Sunday (March 9).
Josh “Baba” Mamoani’ala Tavares
Credit director Joshua “Baba” Kamoani‘ala Tavares, now a UH professor who portrayed the Angel character in a touring company of the Larson show, that happened to pause in Honolulu.
It’s Kismet. Not certain who steered “Rent” to Tavares, but happily, he lured a splendid crew of singing actors, nurturing the production with his insider experience. At last, a modern show with contemporary themes, songs, lifestyle choices and challenges…clearly packaging an explosive sense of wow in the delivery.
There’s no immediate assurance of a future star in the making here, but “Rent” produced notables. Adam Pascal, Anthony Rappand Idina Menzel were in the original Broadway company, and they frequently pop up in theatrical roles now. That’s the cycle of life in theatre.
Ikaika Mendez is Roger Davis, Jack Romans is Mark Cohen are best buddies.
Numerous leads stand out in “Rent,” amid constant camaraderie and connections and you possibly need a cheat-sheet to figure out the clusters. Casey Kekoa Lauti, as Angel Dumott Schunard, the gay cutie in a red Christmas outfit, has caught the eye of Keanu Roe, as Tom Collins, an academic figure; Jack Romans, as Mark Cohen, is a film-making buff never without a camera, and he’s Roger Davis’ best friend, played by Ikaika Mendez, who also is an ex-junkie, who falls in love with Ainsley Shearer as Maureen Johnson, who’s moved on to Daniella Addeo-Cortes as Joanne Jefferson; and Ka‘enaaloha Watson, as Mimi Marquez, is a strip club worker who has AIDS, and is the former girlfriend of Dean So‘oalo, played by “Benny” Coffin III, who’s not interested to commit.
Casey Kokoa Lauti is the Christmas cutie Angel.
Whew! Lots of motion and commotion abound, and you almost need a love chart to remember who’s who free available, who’s in a relationship, who’s battling AIDS, who’s got a job, who’s making music and movies.
The common ground here is a drab but serviceable two-floor warehouse space owned by the aforementioned “Benny,” whose luckless and broke tenants owe him back payment for rent. Hence, the show’s “Rent” title tune, with the battle cry, “We’re never gonna pay!”
Antonio Hernandez’s set design is a bit spartan, though serviceable, but lacks graffiti or signage that might “place” the East Village location in New York’s Lower Manhattan, where these bohemian artists convene, circa 1980s and ’90s. Caitlin Chavis’ costumes fit the era, and ditto the hair and makeup of Kevin Murata. Sound and audio by Timothy Mahamat works for the gritty tunes to heighten the ensemble moments. Aubrey Lee Staley’s choreography is minimal and natural, notable for the engaging group numbers like “Seasons of Love.” Kelli Finnegan’s lighting design is a skosh too dark but suits the bleak the N.Y. zone. Taisamasama Kaiminaauao-Eteuati’s music direction is expansive work, since there are live vocals and instruments on stage and unseen supplemental melodics off stage.
The “Rent”ensemble is brimming with love. Photos by Christine Lamborn.
While Larson’s score doesn’t provide songs you hum as you exit, except for the emotional and harmonic “Seasons of Love” — the show’s key anthem, performed at the opening of Act 2 (and twice more later) — was a moment to savor, with the cast forming a chorus line that felt like that singular sensation moment depicted in another classic Broadway favorite.
Advisory: the show has mature themes, dealing with sexual abuse and sexuality, plus strong language, so parental guidance is suggested.
“RENT”
A musical by Jonathan Larson, playwright, composer, and lyricist
What: An autobiographical rock-opera, based on the Puccini opera, “La Boheme,” which explores life and challenges of bohemian youths, in New York City at the height of the AIDS crisis
When: By popular demand, a performance has been added at 7:30 p.m. tomorrow (March 6). Remaining shows (all sold out) are at 7:30 p.m. Friday (March 7), at 7:30 p.m. Saturday (March 8) and at 2 p.m. Sunday (March 9); pre-show chat at 6:45 p.m. prior to Saturday’ shows
Tickets: $25, adults; $22, UH faculty and staff, military and seniors; $10, other discount groups; $15, non-UH Manoa students, youths; $8, UHM
“Othello,” a new Shakespearen tragedy starring Denzel Washington and Jake Gyllenhaal, zoomed up to the No. 1 slot in the weekly grosses ending March 3, denying “Wicked” the throne it’s held for weeks.
The production still is in previews, formally opening March 23, in a limited 15-week run only.
Washington plays the title character, the Moor of Venice, and Jake Gyllenhaal is Iago. With average tickets priced at $361 at the smallish Barrymore Theatre that seats1, 041 — compared to the $153.72 average for “Wicked,” at the larger Gershwin Theatre venue — the grosses will be astronomical. Add high voltage of star power, a key factor attracting audiences.
In the juggling, “Hamilton” also bypassed “The Lion King” in the step ladder of success.
Diamond Head Theatre will launch its 2025-26 stage season this fall, with the Hawaii premiere of the Tony-nominated “Come From Away,” a sentimental show with 9/11 roots, debuting Sept.12, 2025. It brings down the curtain with a popular finale, the Tony-winning “Les Misérables,” the world’s most beloved musical based on Victor Hugo’s iconic novel, bowing July 31, 2026.
Trevor Tamashiro
“Next season, we focus on presenting powerful, inspirational stories with an eclectic lineup of shows that offer entertainment for all ages, from keiki to kupuna,” said Trevor Tamashiro, DHT executive director.
For the first time in recent memory, DHT will host an all-musical season, answering the wishes of most season ticket holders. No dramas, no comedies…just four major melodic treasures and two newbies tucked in between the bookend shows. But the fresh pair of shows will be surprises – one is making its Broadway debut this month, the other will be a fresh, celebratory, fueling a feel-good Christmas! season.
The show lineup is as follows:
Come From Away, Sept. 12, 2025 through Oct. 5, 2025. The production is based on true events of Sept. 11, 2001, when 38 aircrafts transporting thousands of passengers, were diverted to Gander, Newfoundland, because of the tragedy happening in New York City’s Twin Towers, the Pentagon in Washington D.C., and in Pennsylvania. The small town welcomed the thousands of passenters diverted to its community, since plane traffic, landings and departures, were halted. The Newfoundlanders provided food, music, and bunks, opening their hearts and doors overcoming cultural and language barriers, in an extraordinary act of kindness and aloha, demonstrating resilience, hospitality and humanity in a time of dire need. The show’s creators, Irene Sankoff and David Hein, were nominated for a Tony.
“Piney Needlesmith and the Road Less Traveled,” Nov. 21, 2025 to Dec. 7, 2025 — This whimsical production is a heartwarming holiday show – a feel-good Christmas gift! – about a misfit pine tree, an 8-year-old girl named Piney in search of her place in the world. With the help of a charismatic polar bear, Piney embarks on an unforgettable adventure. The score (music and lyrics) is by Hawaii’s Roslyn Catracchia (of Lisa Matsumoto’s “Once Upon One Time” trilogy) and Utah’s Peter Seibert (“Captain Marvel”), her new collaborator. The show reflects the spirit of the holidays and maintains an uplifting tone, capturing the wonders of the holidays and targets all ages, including children of all ages.
“The Last Five Years,” Jan. 23, 2026 through Feb. 8, 2026 — This contemporary musical follows two New Yorkers, rising author Jamie and aspiring actress Cathy, as they fall in and out of love as they navigate the complexities of their relationship over a five-year span. The heralded score, by acclaimed Tony-winning Jason Robert Brown, is a draw, and talk about fresh and new … this show, winner of two Drama Desk Awards, is pegged for a March 18 to May 4 run on Broadway this year.
“West Side Story,” March 20, 2026 through April 5, 2026 — This is the classic that has everything: a love story coupled with gang warfare inspired by Shakespeare’s “Romeo and Juliet,” Leonard Bernstein’s iconic, soaring score, Stephen Sondheim’s memorable, moving lyrics, the stunning choreography of Jerome Robbins. The tunes are indelible, including “Maria” “Tonight,” “America,” “I Feel Pretty,” “Somewhere.”
“Funny Girl,” May 22, 2026 to June 7, 2026.– This beloved evergreen explores the rise and radiance of Fanny Brice, the aspiring girl with can-do determination, from New York’s Lower East Side. She succeeds in becoming one of Broadway’s brightest stars; the role unofficially is “owned” by Barbra Streisand, who originated the part on Broadway and recreated the role in the movie, elevating such signature hits as “I’m the Greatest Star,” “Don’t Rain on My Parade,” and “People.” The songs are by Jule Styne (music) and Bob Merrill (lyrics) with book by Isobel Lennart.
“Les Misérables,” July 31, 2026 through Aug. 9, 2026 – History is on the side of “Les Misérables,” aka “Les Mis,” winner of more than 100 international awards and enjoyed by more than 130 million people globally and fifth in the Top 10 most-viewed Broadway shows. Based on Victor Hugo’s novel and set in 19th century France, this is a powerful tale of passion, redemption and revolution, about Jean Valjean, his unjust imprisonment for 19 years and his enduring life of mistrust and mistreatment. With book by Alain Boublil and Claude-Michel Schonberg, music by Schonberg and lyrics by Herbert Kretzmer, the entire score is loaded with major jewels as “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “Do You Hear the People Sing,” “One Day More,” “Castle on a Cloud,” “In My Life,” “Master of the House” and “Stars.” “Les Mis” was nominated for 12 Tony Awards in 1987, and won eight, including Best Musical.
Season subscriptions start at $174, guaranteeing seats to the entire season of shows. Subscriptions begin this summer; single tickets go on sale later, date to be announced.
