Archive for the ‘Entertainment’ Category

Five things to consider for ‘Five-0’s’ fifth season

June 16th, 2014




 Michelle Borth, Alex O'Loughlin on CBS' "Hawaii Five-0:" While she bid aloha at the end of Season 4, should Borth as Catherine return again as a recurring character/love-interest for Steve McGarrett?






With CBS’ “Hawaii Five-0” poised to launch Season 5 filming in July, the show’s writers already are at work to produce new scripts.

Four are aboard the creative team to create about 24 episodes, led by script coordinator Sue Palmer whose team includes Kenny Kyle, Sarah Byrd and Akeba Gaddis.

Mum’s the word, of course, on the specifics of the plots but the storylines will embrace the “Five-0” team including Alex O’Loughlin as Steve McGarrett, Daniel Dae Kim as Chin Ho Kelly, Scott Caan as Danny “Danno” Williams and Grace Park as Kono Kalakaua.

This will be the first season that the series will be headquartered at the Hawaii Film Studios on the slopes of Diamond Head. While a fall kick-off is yet to be formally announced, the show will return to the Friday lineup at 8 p.m. Hawaii time (9 p.m. Mainland), preceding CBS’ “Blue Bloods” starring Tom Selleck, the network’s previous “Magnum P.I.” headliner.

No word yet if the traditional Sunset on the Beach premiere screening, on the beach at Waikik, will be a go.

The show’s treasury of characters has enlarge and expanded over the four seasons, with recurring secondary characters anchored in story arcs that likely will continue, hopefully with less frequency and with a better sense of reality.

Here are five things we’d like to see:

  • The return of the Catherine Rollins character played by Michelle Borth. Surely, her part was magnified in the brief absence of actress Park, whose real-life motherhood was shielded in an on-the-lam story tapping her on-screen boyfriend.  The likelihood of Borth’s return seems logical: she was not killed off, audiences adored her, depending on what she might land on TV, she just may be the trump card “Five-0” needs somewhere during the season. Further, McG has no object of his affection going into the new season.
  • Shelve  Doris McGarrett (Christine Lahti), mother of McG,  and retired Navy commander Joe White (Terry O’Quinn), who brought aboard more luggage and despair in their cloudy, confused demeanors, triggering far too many loose ends and conspiracy theories. Each time either returned, there was clutter and tangle to impede the “Five-0” storytelling rhythm. Pau, already.
  • Wo Fat, now disfigured, also has outlived his usefulness as McG’s nemesis; let him disappear, too, to some destination. If the series needs him in its hip pocket, he could be summoned back. And please: do we need segments on Wo Fat’s mother and father, to fill in the blanks of his family tree? Fans of actor Mark Decascos can still view him as The Chairman on The Food Network’s “Iron Chef, ” after all.
  • Eliminate those far-flung reaches with foreign destination storylines; Borth’s dedication, to seek a conclusion and closure in an Afghan segment in the Season 4 finale, was a whimper of a finish for the show — not a ratings leader. Indeed, the tale was as drab as the desert landscape. Shelve, too, any intention to fly a chopper to Korea for McG (remember?) — if there’s a foreign tie, at least make it believable.
  • Build up the secondary figures in the “Five-0” ohana; Chi McBride, as SWAT ace Lou Grover; has found his niche and audience base, from a competitor/foe of McG, to a buddy-buddy;  Jorge Garcia, as conspiracy theorist Jerry Ortega, has built-in oddity to hold interest and command, with equal parts seriousness and comedy — in short, he brings extra value and creds; Dennis Chun, as Officer Duke Lukela in the Honolulu Police Department, continues to land meatier roles thanks to his symbolic. historic tie to the original Jack Lord “Five-0,” where his late dad was Kam Fong Chun who originated the Chin Ho Kelly role; Kamekona (Taylor Wily), the shrimp truck operator, is  in an awkward place, recurring as a caricature of local culture and manners so if he continues, the writers should instill dignity and humanity to his presence.

Is this too much to ask for, for Season 5?






Many 'senior moments' in 'Cabaret III' at Hawaii Theatre

June 6th, 2014












                    Arcadia cast performs "Gangnam Style." Bruce Asato photo

Note: This is an expanded version of a story published today (June 6) in the Today section of the Star-Advertiser.

Entrepreneur Jack Cione has had an illustrious producing-directing career spanning  nearly six decades here, but one project — his signature “Mardi Gras Follies,” which just completed a three-weekend run (June 1 closing) at the Arcadia Senior Residence — remains his passion and pet project.

He gets the most jollies working with his “Follies” senior citizens, where his enthusiasm and dedication rub off on his fellow retirees. The endeavor has become the focus of his personal golden years — and his dazzling revue staged without charge expressly for the Arcadia ohana has evoked a lot of “senior moments” to remember and cherish.  Not just for him but for his cast, too.

Now the public can see his seniors lip-synch, dance, and frolic — in Bill Doherty’full theatrical regalia that includes feather boas, sequins and frou frou costumes — when  38 Arcadians, including seven troupers from sister senior residence 15 Craigside — will be joined by 45 ballroom dancers representing 12 chapters of the Hawaii Ballroom Dance Assn. The expanded “Follies” production  is dubbed “Cabaret III,” and will unfold at 7 p.m.  Saturday (June 7) at the Hawaii Theatre.

It will be Cione’s third  collaboration with the HBDA to support the dance organization.  A last-minute addition to the lineup is Randy Smith, a Frank Sinatra sound-alike; the finale is a salute to world traveler King Kalakaua and the precious gems he introduced to Hawaii from his global jaunts, in lavish Las Vegas-style glitter and finery.

“All told, I’ve done about 35 ‘Follies’ shows,” said Cione. He launched the concept at Pearl Harbor, initially tapping military brass and their families, to stage elaborately-costumed romantic and comedic numbers to raise funds and esprit for the Navy for 25 years. There have been variations of the show at the Waikiki Shell, Blaisdell Arena,  and even the Hawaii Theatre  before anchoring at the Arcadia.

“I’ll do one more next year,” he said of a milestone 10th at the Arcadia, a tradition that has raised not only the profile of the senior living institution in Manoa but also the performance-savvy of the retirees who never thought they’d get bitten by the show biz bug.  Some troupers have had community stage experience, but most are newbies dealing with the challenges of theater: makeup, wigs, costumes, rehearsals,  learning lyrics to lip-synch, conquering dance steps, and in some instances, act. In front of an audience.

Turns out the journey has a fountain of youth side effect.

As Edna Yonaoshi, 89, the eldest in the performing company, said, “This year is my first show; I saw it last year and I couldn’t resist (participating). I think I have two minutes and 30 seconds on stage, part of a bon dance. ”

It’s been a gratifying and fulfilling new experience for the former tour escort for Royal Adventure Travel for 36 years.  “I am having fun,” said Yonaoshi. “Makes me feel younger.”

Her pal, Edith  Tan, 75, already is a veteran of two productions and admitted, “I was railroaded to do it the first time … but I was curious. I’ve met so many professional dancers; it’s good fellowship.”

For director Cione, who turns 88 this year, the bottom line has been to bring out the actor and dancer in his elderly cast, and nurture confidence as well as  a sense of pride. Some years, he’s had mid-90s folks traipsing all over the stage.

“It takes six months, from the time I do a script, assemble music, plan costumes, cast and then rehearse the show,” he said. “And New York provides the inspiration.”

Personal health issues have forced him to prioritize and reduce his activities somewhat, but he’s not ready to give up his “Follies” ship.

“I move slower now,” he said. “I quit giving tap dance classes several years ago because of health. My doctor thinks I need to cut back my trips. But I want to go to Tahiti and Samoa … but there are no hospitals there, but I could travel to Las Vegas and the West Coast, in case I need care.”

The production traditionally is a pastiche of Cione’s show biz past. Cione, of course, is the venerable nightclub operator when naughty was enticing; his foray into adult shows at the old Forbidden City and other strip joints put him on the map. He’s booked such acts as Liza Minnelli and Sarah Vaughan, introduced the naked waiter revue at the Dunes nightclub and occasionally produced Waikiki spectacles at Le Boom Boom Club and the Royal Hawaiian’s Monarch Room.

Not surprisingly, he taps his past to influence his present.  For the current show, Cione chose  “Magic To Do,” as his opening number borrowed from the Tony Award-winning “Pippin,” which he saw last year with its circus-magic remake on Broadway. “Be a Clown” and “Comedy Tonight” continue the theme, anthems from previous musicals he’s seen.

There are vaudevillean shticks, and even a mild strip tease —a segment that is family-friendly and senior-sensitive.

“The show becomes part of their lives,” he said of his performers, some of whom who have patronized Cione’s various nightlife presentations of decades past.

Marcie Taylor-Kaneshige, 82, has been a “Follies” volunteer and participant for 30 years, initially through her job ties with American Savings, which sponsored a dance event at Blaisdell Arena which involved Cione. She took the stage in the Pearl Harbor era of the event and regularly and willingly assumes solos and ensemble numbers with flair now.

She’s the one who takes off some of her clothes, but there’s nothing risqué or demeaning. Her outer kimono-type garb comes off, to display some intimate apparel. “I do and bring my own costumes,” said Taylor-Kaneshige. “I love theater and dance is theater. And the show addresses my interests. Jack has such a positive attitude;he tells you how it’s done, and it’s hard to say no.”

Benny and Faith Agbayani, dance directors at HBDA, can’t imagine their lives without dance — they were novices under the tutelage of the late Eugene Ichinose more than three decades ago and have been instrumental in securing dancers to carry on the HBDA tradition. “I used to bowl,” said Benny, who’ll be 75 in November. “But Mr. Ichinose said that it’s bad for the posture. So now I dance.”
It was Faith, 64, who first got immersed in ballroom dancing  — “the rhythm keeps me young,,” she said — but Benny ultimately succumbed to the rhythm of the dance. “It’s my only exercise now,” he said.

And yes, the Agbayanis are parents of baseball star Bennie Agbayani.

Both said the emergence of reality shows like “Dancing With the Stars,”
which cast celebrity dancers with skilled tutors, have sent a loyal fanship to the Ala Wai Clubhouse, the flagship ballroom site for dance lessons, to learn swing, tango and waltz. Couples and singles show up and instructors become partners when needed.

“It’s really reasonable — $20 for eight weeks,” said Faith. “We show them etiquette.”

Shirley Ota, 74, is current HBDA president and is a retired teacher and principal in Southern California.  On an ocean cruise, she found her calling — ballroom dancing — and now admits “it seems like I belong. It’s a great way to meet people, it’s good for the brain, and my husband’s dancing again.” Herb Ota collapsed on a ship tour last fall but has recovered and joined his wife in the “Follies” production.

John Kotake, a dentist by trade, and his wife Karen typify the volunteerism and twosomeness in the history of the “Follies.” They have been a featured duo in 10 Pearl Harbor shows, two at the Hawaii, and six at Arcadia. He now is treasurer of HBDA, she is its corresponding secretary.

“We do things together,” said John Kotake, who admits he often contemplates dance steps while involved in his dentistry. Not surprisingly, he’s become Cione’s dentist in the process.

At 33, Allyson Doherty is the youngest  cast member. By day, she’s a curriculum coordinator at Stevenson Middle School, so dancing is a tension reliever. “My day job is stressful; when I dance, I don’t think about work. I love working with the seniors, and who give out as much energy as I do. They call me The Kid and they take care of me, and dancing in the show with them is a joy.”




Featuring: Arcadia “Mardi Gras Follies” cast, Hawaii Ballroom Dance Assn. performers, guest-singer Randy Smith

When: 7 p.m. Saturday (June 7)

Where: Hawaii Theatre

Tickets: $30, general admission; at or 753-8673;   also at the Hawaii Theatre box office, 528-0506,

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REVIEW: Makuakane a master of hula innovation

May 12th, 2014

 Adaptation leads to innovation in the performing arts.

Consider: We wouldn’t have “West Side Story,” based on “Romeo and Juliet,” if it didn’t serve a dollop of  jazz dancing and story-progressing tunes rendered by conflicted teens from two opposides sides of the tracks. Similarly, “Rent” added a rock core to Puccini’s “La Boheme” opera, speaking a new language targeting a contemporary audience not commonly considered for the Broadway genre.


In this spirit, this past weekend’s visit of Patrick Makuakane’s San Francisco-based halau, Na Lei Hulu I Ka Wekiu — in two sellout performances at the Hawaii — discovered resources for reinterpretation with uncanny and unexpected results. Makuakane, a former Oahu dancer-kumu hula with roots in Robert Cazimero’s Halau Na Kamalei, is a prolific craftsman without boundaries. His joyous, inventive, adaptation element created flash and wattage for a changing audience of Hawaiiana fans; his was a halau of a performance (I attended Saturday night’s show), laden with genuine,creative bursts, with a foundation trackable to tradition.

Makuakane’s latest production, exploring mele extracted from and inspired by vintage Hawaiian newspapers of the past 100 years, had solid island ties, embracing history but served with his keen sense of adventure and exploration. His daring, bold style and manner have stunned and, yes,  even offended Hawaiian purists in the past (think Merrie Monarch Festival) but there’s no denying: Makuakane is onto something vivid and vibrant and immensely refreshing. Advance alert: Kumu Cazimero will join Makuakane’s halau in a San Francisco dance-out in October; should be visual fireworks and fun.

If there was any fault in “Ka Leo Kanaka (Voice of the People),” theme of the endeavor, it might simply be the inert, limp, prolonged  opening narrative, done in the darkness with the theater’s curtain still down, doing precious little for anticipation of the launch. However, Once the lights went on and the narration pau, there was the energy and physicality of hula, of course, about the legend of Pele, her sister Hiiaka, and their relationship with the handsome Lohiau … fodder for  hula ‘auana. Yes, a rousing opening dance, despite the awkward and turtle-paced prelude.

The heart of the evening embraced visuals of vintage nupepa (newspapers) and stylized drawings of Pele and ‘ohana, providing the backdrop, but the party didn’t reach sizzle level until the pre-intermission montage of Hawaiian jazz and soul, with a stunning hula solo to “Embraceable You” featuring Desiree Woodward Lee in a willowing rose gown. Then joyful syncopation started popping and pounding, with halau ensemble members jitterbugging to “I’ve Got Rhythm” and resorting to flash-dancing spontaneity supported by audience applause.

Before the curtain fell, “Ta-Hu-Wa-Hu-Wa-I,” aka “Hawaiian War Chant,” provided the cherry on the cake: razzmatazz with contagious hand-and-foot-and-body action. It was the essence of adaptation with ideology, elevating dance to an art form that transcends Hawaiiana and sashays into the realm of the iconic. Merrie, but perhaps not for Monarchs.

It was all incredibly ingenious, with dashes of hip-hop and boogie-woogie, recalling the  era of big-band dancing and prancing. Clearly, an intermission was needed.

The second act included more samplings of newspaper-originated nibbles — personal messages from commoners, lamenting the vagaries and challenges of life and relationships; a hula about papers with dancers hoisting newspapers; and a emotional and powerful lament about the death of a royal child.

Just when you think the newspaper homage was overstaying its welcome, a nimble and nuanced coupling of two unrelated modern songs, Michael Jackson’s “Dangerous” and Spandau Ballet’s “True.” The juxtaposition of a hip-hop hit with a romantic ballad provided contrast and challenged the dance couple, Kahala Bishaw-Fisher and Jason Laskey, to be frisky with the upbeat and smooth with the balladry, and they killed it with formidable chemistry and artistry. Again, it was Makuakane, thinking and reacting outside of the box.

Kupaoa, the Honolulu duo featuring Kihau Hannahs-Paik and Kellen Palk, were house musicians in live portions as well as on their solo newspaper-originated mele, ”Water Lily.” Kris Lee also was an accompaniment.

As a kumu, Makuakane is a do-all dude. With his huggable-bear demeanor, he is at once lordly but accessible, very conversational in his intros, passionate about his craft, and takes an occasional turn as a chanter as well as a singer. His pride emanates from his accomplished company of nearly 30 of both genders.

So: Stop the presses! Makuakane may not be a Merrie Monarch winnah (he acknowledged this) but he knows how to adapt and turn the familiar into the fabulous. He is a master of innovation, bar none.








Spirit of 'ohana prevails in 'Hawaii Five-0' season finale

May 10th, 2014











 McGarrett (Alex O'Loughlin) and Grover (Chi McBride) bond in finale. CBS photo

Family bonding and the spirit of  ‘ohana were the underlying roots of the finale of the fourth season of “Hawaii Five-0.”

The show, themed “‘Oka Pili ‘Ohana ka ‘Oi (Family Comes First),” focuses on the kidnapping of the Samantha (Paige Hurd), the daughter of  SWAT team member Lt. Lou Grover (Chi McBride), who literally weeps with  agony of pain that he’s unable to rescue her. Grover was to be the reluctant insider to a theft of $100 million being shipped, forcing him to bypass good conduct of an honorable Honolulu police officer, ultimately leading to his dismissal from the force. Bottom line: a dad would do anything for his daughter — the family-comes-first commitment in full display.

Two villains — not particularly welcome, since they bring unwanted baggage, but necessary for plot advancement from the file folders — emerge in this episode —Ian Wright (Nick Jonas, from the singing-acting Jonas Brothers ‘ohana, as the computer wizard) and none other than Wo Fat (Mark Dacascos, channeling more menace with his burn-scarred face).

The homecoming, however, gave the island-based CBS show a nice boot up in the preliminary overnight ratings,  with 9.09 million viewers in its 8 p.m. (9 p.m. Mainland) time slot, and a 1.3 rating in the 18 to 49 adult demographics. The show had the most viewers in its hour, but ABC’s “Shark Tank” topped the demos with a 1.9 rating with 7.20  million viewers.  “Five-0’s” demos tied NBC’s “Grimm,” which pulled in 4.8 million viewers. So “Five-0” won in viewers,  but was second in adults 18 to 49, the coveted advertising price-setter. As the lead-in show to "Blue Bloods," "Five-0" has made Friday a  payday, a night that traditionally meant a place where a series went to die.

The thing about kidnapping plots: you know, for the most part, the victim will be saved. How, and under what circumstances, shape the storytelling.

With Jonas’ return, you knew there would be some nasty computer/video hacking and halting and bomb threats that challenge airport security forces; with Dacascos, he creates an exploding device, allowing him to escape from prison) and — spoiler alert — is the unexpected soul who shoots Jonas’ character. But with Wo Fat back, the buzz about his ties with Mama McGarrett (Christine Lahti) recurs.

Further, you knew that the “Five-0” team would bond and support each other.

Of course, Steve McGarrett (Alex O’Loughlin) and Danno Williams (Scott Caan), would have one more cargument, aboard what they called a "clown car" (a rental with three wheels) but there was a touching scene, too, in a real Chevy car, between Chin Ho Kelly (Daniel Dae Kim) and Kono Kalakaua (Grace Park).  The chatter was intimate and revealing, McG yearning and wondering about the extended leave of Catherine (Michelle Borth), opining, “She’s not coming home till the job’s done”), referring to her mission of finding that kidnapped Afghan child. Kono and Chin’s serious patter (they are cousins, remember) includes her revelation of her uncertainty to link with her b.f. Adam, though she wants marriage and kids; Chin ponders of the uncertainty of life, with the unexpected death of his Malia.

Danno also offers comfort to Grover, regarding his hostage child, sharing his personal feelings about the time his daughter Grace was taken, but ultimately recovered. The advice: “Stay focused.”

I could do without Ian’s comparison of the Five-0  with the Fabulous Four, with Ian declaring he’s the Beatles’ Brian Epstein.  Betcha today’s young viewers don’t even know who Epstein was.

With Grover bounced from the force, he has time for leisurely golf, but policing has been his life. So not surprisingly, McG hands him a “Five-0” badge and welcomes the ex-Chicagoan to his team. “It’s not a hand-out, Lou,” McG tells Grover. “We need you.”

Indeed. I knew, from the time McBride was announced to be a recurring character, that he’d evolve into a key player in crimefighting in Hawaii. That initial McG/Grover growling likely will recur, but hey, differing styles and opinions only can solidify the family relationship. You go, guys.

Overall, ABC topped the demos with a 1.5 rating and 5 share, CBS had the most viewers, with 5.93 million and a 1.2 adult demo. And true to the script, CBS’ “Blue Bloods” logged the most viewers (11.50 million viewers) and
“Shark Tank” had the best adult demos (1.9 rating).


REVIEW: ‘Te Moana Nui’ elevates Tihati’s Polynesian legacy

May 5th, 2014

“Te Moana Nui,” Tihati Productions’ exquisite flagship Waikiki show, brings authentic Hawaiiana to a new home, the Grand Ballroom of the Pacific Beach Hotel.

It heralds a major chapter in the changing and expanding Tihati ‘ohana legacy in Waikiki over the past four decades. It’s the first vehicle — and the fourth Tihati entity on Oahu — overseen by the next-generation show creators, Misty Tufono and Afatia Thompson, the daughter and the son of pioneering Tihati founders Jack and Cha Thompson.

ET_Te_Moana_Nui_01_0317 (1)



This is a vivid and vibrant postcard of the future of the Tihati brand, teeming with company’s longstanding trademark trinity of show production: entertainment, education and elevation.

“Te Moana Nui” — which loosely translates to “the vast ocean” —  is high on history and sizzling with showmanship, with Tufono’s writing and choreographic skills channeling and unlocking  traditional tales in a smooth, almost conversational script, framed with her brother Thompson’s flair for experimentation with modern elements including high-definition LED video to enhance the storytelling. He also composed the show’s title song.

The show explores the storied history, the colorful people, and the authentic costumes of the fertile South Seas. Images of the vast oceans and verdant islands provide the backdrop of seafaring voyagers who share tales and traditions of the Polynesian culture, the serious alternating with the comic, the simple with the spectacular, the intimate with the lavish.

Throughout, it upholds the rules of theater to keep it flowing, the secret of education to keep it valid and real, and the edginess of innovation to raise the bar on this genre of Polynesian syncopation and exposition.


This is not a typical luau show. The Samoan fire knife dance is the nightcap, as always, but there is uncompromising care to preserve the stories of a generation past with drumbeats, guitars and chorale singing, which elevates “Te Moana Nui” to folklorico levels.  As a fixture previously under the Starwood/Sheraton umbrella —  before relocating to the Pacific Beach located in a sector of Waikiki not previously known for a visitor-oriented attraction — Tihati is planting new seeds on fertile new grounds.

The transition from the Sheraton Princess Kaiulani Hotel’s Ainahau Ballroom, where the Tihati spectacle had been anchored for three decades, succeeds though the Pacific Beach only recently has realized that a sleeping giant is under its roof.  Challenged to retain tradition but also reach out for new paths, both the younger Thompson offspring as well as the hotel — which hasn’t quite grasped the potential in its new tenant — are jockeying for market share. The show has been running for two months, with scanty advertising to build visibility and accessibility. On-premise posters aside, wholesalers are still weighing options to elevate buy-and-sell options to the changing flock of Mainland and foreign clientele hungry for a taste of Polynesia while on Oahu.

Surely, this is the go-to show if you have out-of-town visitors. Or just go, for a cultural night out.

With an ensemble of alluring women and athletic men who sing and dance with ease and flair, it’s like watching a National Geographic spectacle leaping to life with visuals that pan the mountains and seas. The artistry is vibrant and the panorama resonates with the rhythms and rhetoric of the peoples of Hawaii, Fiji, Tonga, Maori New Zealand, Samoa and Tahiti. The drumming defines heartbeat and spirit; a musical ensemble provides instrumentation and sweet harmonies; but the performers also vocalize and move with impeccable precision and exhilarating passion.

And you don’t need a passport to navigate this Pacific treasure.

The opening otea features dancers on a double-hulled canoe, journeying from Raiatea to Hawaii. The climactic Samoan siva ahi (fire knife dance) features Mikaele Oloia, a four-time fire dance winner, whose feats bring spectators to their feet with roaring approval.

In-between, the numbers range from a solemn Fijian dance called the Meke, about a high chief venturing a journey into the unknown, to a Maori sequence  honoring seagoers savvy about canoe-building, ocean currents, and reading the “maps” provided by stars. And yes, the women whirl Maori poi balls and the gents engage in tongue-wagging gyrations of the spirited warrior.

The popular Samoan maulu‘ulu (women’s dance) and siva fa‘ataupati (men’s slap dance) are party-hearty and provoke fun, while the taualuga (dance of the virgin princess) is celebratory with hopes for a fruitful life in a new world, with Eden Annendale as the centerpiece.


ET_Te_Moana_Nui_01_0247A Waikiki stop assembles hapa haole songs in a nostalgic look at the distant past, with hula soloist Nicole Thompson exuding dreamy sweetness.  The show’s title song emerges in the dance of Tahiti, the ahuroa, where a woman’s attributes are compared to the syncopation of the rolling waves, with lithe Heather Ruth as the soloist.

Micah Tiedemann, a versatile dancer, doubles as a conversational emcee; he also designed and created many of the show’s lavish and vivid costumes with a palate boasting more hues than a rainbow.

There are four staging areas: the central mainstage, two auxiliary platforms boasting sailboats to the left and right, and a middle spot front and center. This crossfire movement provides variety, challenging viewers to remain alert on where  the action might be for solo dancing or a brief monologue setting up a centerstage moment.

Arrive early, and participate in pre-show festivities ranging from storytelling to stamping kapa to make bookmarks, from floral crafts to Polynesian tattooing.

This is Tihati’s fourth Oahu endeavor — others are at the Royal Hawaiian Hotel, the Hilton Hawaiian Village, and most recently the Marriott resort at Ko Olina — which makes the company the most prolific of local show producers.



Where: Grand Ballroom, Pacific Beach Hotel

When: Mondays, Wednesdays and Thursdays

Time: Pre-show festivities from 5:30 to 6:30 p.m., buffet service from 6:30 to 7:30 p.m.; show at 7:30 p.m.

Cost: Dinner show package, includes a bountiful prime rib buffet feast with one Mai Tai or soft drink: adults (13 and older), $115; children (5-12) , $82; infants (4 and under), free; cocktails-only includes two standard drinks or one exotic (fruit punch for children):

adults (13 and older), $68; children (5 to 12), $50.

Information: 922-1233,





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