HM September 2022

What Is Hula and What Is Not?

Art Classes Are Back at HoMA Hot Accessories for Fall

Hokkaido scallops, green apple, pistachio nuts, calamansi and wasabi from Bar Maze

30 What Is Hula, and What Is Not?

A controversial declaration stating what it takes to be considered kumu hula made waves last year. And while it’s gained support, not everyone agrees with its strict protocols.

by carlyn l. tani

34 2022 Hale ‘Aina Awards

HONOLULU readers have been naming their favorite restaurants in Hawai‘i for more than 30 years. This year we highlight the Best New Restaurant winners, spotlight our first motherdaughter Restaurateurs of the Year and their marquee Laotian food focus, go behind the scenes at local dim sum spots and more. Find the full list of winners after page 48.

by martha cheng, mari taketa, catherine toth fox and katrina valcourt

10 Editor’s Page

The Spirit of the Hale ‘Aina Awards

Celebrating the passion and perseverance of our city’s chefs and restaurateurs.

by diane seo

13 Calabash

14 September Picks

15 Ka Leo’s 100th anniversary

16 Art classes are back at HoMA!

16 Da Meter

17 Crunchy local cookies

18 From Our Files

25 Style

The hottest accessories for fall. by stacey makiya and brie thalmann

88 Afterthoughts Picture This

An impromptu quest to figure out film photography. by james charisma

CELEBRATING 100 YEARS

Page 59

➸ Changing trends, threat of demolition, a pandemic: The iconic Hawai‘i Theatre has weathered them all—and proven she’s here to stay. Now, a century later, we celebrate this precious piece of Honolulu history.

Photo: Olivier Koning

BECAUSE F o o d is f u n

For inquiries, contact our circulation department: Phone: (808) 534-7520

Email: circulation@pacificbasin.net

Publisher: Scott Schumaker (808) 534-7541 | scotts@pacificbasin.net

WE ASKED OUR STAFF

“What fi ctional family would you belong to?”

The Simpsons! I grew up watching them and feel like I would have been a good middle sibling to Bart and Lisa—since I’m a bit of both. And doughnuts!

editorial

Editorial Director Diane Seo | (808) 534-7105 dianes@honolulumagazine.com

Executive Editor

Katrina Valcourt

Editor at Large

Robbie Dingeman

Food & Culture Editor

Martha Cheng

Food & Dining Managing Editor

Mari Taketa

Digital Dining Editor

Maria Burke

Contributing Dining Editor

Thomas Obungen

design

Creative Director James Nakamura | (808) 534-7151 jnakamura@honolulumagazine.com

Senior Art Director Christine Labrador

Art Director Kayla Rivera

marketing

Marketing Director Christy Davis | (808) 534-7503 christyd@honolulumagazine.com

Branded Content Creator Marisa Heung | (808) 534-7152 marisah@honolulumagazine.com

The Ewings. I’d hang out at the Southfork pool waiting for something nuts to happen. And for Pam to get home, of course.

Managing Style Editor

Brie Thalmann

Senior Style Editor

Stacey Makiya

Contributing Editor

Don Wallace

Copy Editor

Elroy Garcia

Editorial Intern

Emily Smith

Contributors

James Charisma

Olivier Koning

Carlyn L. Tani

Catherine Toth Fox

Special Projects Coordinator

Chloe Tomomi

advertising representative

East Coast Je Greif (212) 213-1155 je @freeagentmedia.com

15 Maiden Lane, Suite 1001 New York, NY 10038

The Addams family: I’d be Wednesday’s sister, Thursday, who loves Fridays and listens to The Cure every day.

The Addams family, as the one disappointing child who only turned out quasi-evil.

I would love to be a part of the Simpsons because, with troublemaking Bart as my brother, there would never be a boring day.

advertising

Associate Publisher/Advertising Director

Donna Kodama-Yee | (808) 534-7501 donnaky@honolulumagazine.com

Strategic Partnerships

Michelle Stofle | (808) 534-7532 michelles@honolulumagazine.com

Client Relationship Specialist Janelle You | (808) 534-7533 janelley@honolulumagazine.com

President Scott Schumaker

Audience Development Director

Chuck Tindle

Audience Development Manager

Gaylyn Laikona

Advertising Executive Donnie Ford | (808) 534-7131 donnief@honolulumagazine.com

Advertising Project Manager Pui-Heng Tang | (808) 534-7147 puiheng@honolulumagazine.com

Maybe Malcolm in the Middle’s family?

I think I have a little of all three boys in me.

Circulation Manager Kim Koki

Creative Services Director Wes Funai

Staff Photographer Aaron K. Yoshino

Chairman and Chief Executive Officer

Duane Kurisu

President and Chief Operating Officer

Susan Eichor

Chief Financial and Administrative Officer

Ken Miyasato

Chief Revenue Officer

Patrick Klein

For subscriptions call (800) 788-4230 I fax: (808) 537-6455 honolulumagazine.com/contact-us

WE ARE PLEASED THAT A. BERNARD BAYS HAS JOINED OUR LAW FIRM AS A DIRECTOR. MR. BAYS’ PRACTICE WILL FOCUS ON COMPLEX LITIGATION AND REAL ESTATE LITIGATION MATTERS.

We are proud to have 14 lawyers included in the Best Lawyers in America© (2022), 6 lawyers included in Best Lawyers: Ones to Watch List, and 29 “Lawyer of the Year” Recognitions (2011-2022)

Ranked Tier 1 in 21 Specialties in Hawaii, 2022 Edition of US News, Best Lawyers® “Best Law Firms”

The Spirit of the Hale ‘Aina Awards

Celebrating the passion and perseverance of our city’s chefs and restaurateurs.

EARLY THIS SUMMER, HONOLULU held a reception for the winners of this year’s Hale ‘Aina Awards. It was the first time in two years we were able to host the event, and the gathering of chefs, restaurant owners and their supporters took place at Ho‘okupu Center, a lovely open-air venue overlooking Kewalo Basin. In all honesty, I was a bit out of sorts that day. For weeks, I had been seeing floaters and flashes of light out of my right eye, possible signs of a detached retina. So earlier in the day, I went to get it checked, and sure enough, my retina was tearing and required immediate laser surgery. Being told how close I was to vision loss rattled me. Nevertheless, after the threehour visit, I made my way home, put on a dress and headed to the event. I couldn’t wear contacts, so everything literally was a blur, and I was slated to speak that night—my first official speaking role as HONOLULU’s editorial director. I tried to remain calm, but inside, I was an unsettled mess.

After arriving, however, I looked around (as best I could), saw people happily mingling, and my unease dissipated. I felt the energy in the room—a palpable spirit among restaurant industry veterans who were being acknowledged for their work. It took me back to the days when I ran Nonstop Honolulu, a dining and entertainment website a group of us launched in 2010, and ultimately rebranded to Frolic Hawai‘i. During those Nonstop years, I attended a lot of food-related events— media tastings, restaurant openings, festivals, food truck rallies. Like many of the eateries that had been operating at the time, we were a feisty startup, scrambling, experimenting, connecting. As such, we were aligned with the chefs and restaurant owners we covered, who were likewise hustling to offer Honolulu innovative foods and dining concepts, all while staying afloat. I remember their fierce desire to push the city’s dining scene forward, and how this has led over the years to an ever-expanding array of eateries, even during a prolonged pandemic.

As I was standing in that room, with awards being handed out, I realized this was what the night was celebrating—excellent cuisine

and well-executed restaurants, of course, but also the tenacious spirit of our city’s chefs and restaurateurs. Running a restaurant involves far more than preparing dishes. It requires stamina, resilience, creativity, teamwork, an indefatigable work ethic and true passion for an industry that has only become more difficult these past few years. Opening a restaurant in Honolulu is now equated to a high-stakes gamble. Yet, the people who pursue it go at it with plucky determination, and we, as diners, are the beneficiaries.

It was great to see our Hale ‘Aina Award recipients being honored in person at an event that has a 39-year history at HONOLULU. Yet, I am well aware that they represent only a fraction of the people in the industry who deserve to be acknowledged. Recognition really should go out to everyone who makes a living preparing food and drinks in this city, and that includes chefs, owners and their teams. Honolulu has a unique, evolving and growing food scene, and our hope with this issue, announcing this year’s Hale ‘Aina Award winners and sharing some of their stories, is to celebrate the industry’s collective efforts that continue to elevate our city to new dining heights.

DIANE SEO EDITORIAL DIRECTOR DIANES@HONOLULUMAGAZINE.COM

Chef Nae Ogawa (center) and her team from Nature Waikīkī at this year’s Hale ‘Aina Chef’s Reception. Nature won Gold in the Best New Restaurant category.

Ocean’s Alive

➸ O‘AHU PHOTOGRAPHER CLARK LITTLE’S STUNNING COLLECTION OF OCEAN PHOTOGRAPHY has been an Amazon bestseller in the landscape photography category since its release in April. Clark Little: The Art of Waves presents a dreamy kaleidoscope of more than 150 images shot from inside and above breaking waves. This photo, “Sky Blue,” was shot on the North Shore in 2019. “I was swimming in and noticed some beautiful waves. I shot a few and didn’t think anything of it until I got home,” Little says. “Turned out the shot was really good, and it was selected as the cover.” Available at amazon.com, the Clark Little Gallery Hale‘iwa, Honolulu Museum of Art and other locations.

The 74th Annual Floral Parade will be held on Saturday, Sept. 24. alohafestivals.com/floral-parade

September Picks

From comedy to festivals and even a powwow, there’s a lot to check out this month.

BY EMILY SMITH

COMEDY

Gabriel “Fluffy”

Iglesias: Back on Tour

Sept. 24 / 8 p.m.

$45.50–$75.50 / Blaisdell Arena

One of Hawai‘i’s favorite visiting comedians returns to perform in the Islands for the first time since 2019. Expect to hear some new jokes along with his riffs on local culture that have endeared him to many. There doesn’t look to be a bad seat in the house: The stage is in the center of the arena, which we can only imagine means he’ll be turning in every direction throughout the show. blaisdellcenter.com

FESTIVAL

2022 Okinawan Festival

Sept. 3–4

Hawai‘i Convention Center

After a pandemic postponement, the Okinawan Festival returns for a two-day in-person event with the theme of “Sharing Uchinanchu Aloha.” Indulge yourself in everything Okinawan through food, arts and crafts, a bonsai exhibit and more. okinawanfestival.com

FESTIVAL

46th Annual Honolulu Intertribal Powwow

Sept. 10-11 / 10 a.m.–5 p.m.

Free admission / Bishop Museum

Join the O‘ahu Inter-Tribal Council at its annual Intertribal Powwow, a festival created to educate people on Indigenous traditions and practices. There will be workshops, fundraisers and Indigenous performers and speakers. After hosting its first Honolulu Intertribal Powwow in 1974 at Ala Moana Beach Park with drummers, round dancing and a picnic potluck, the powwow has since evolved to include hundreds of participants, drummers, dancers and vendors. oichawaii.org

CONCERT

Eric Nam: There and Back

Again World Tour

Sept. 1–2 / 8 p.m.

$40–$140 / The Republik

Named GQ Korea’s 2016 Man of the Year, Eric Nam will be holding two concerts in Honolulu. The Korean American singer is known for his catchy K-pop beats. All ages are welcome; minors are required to be accompanied by an adult. bampproject.com

FILM

Napoleon Dynamite

Screening and Q&A

Sept. 16 / 7 p.m.

$35–$85 / Hawai‘i Theatre

Napoleon Dynamite, a 2004 movie that became a classic for its endearing and relatable characters, will be screened, followed by a question-and-answer session with cast member Jon Heder, who played Napoleon Dynamite. hawaiitheatre.com

PETS

Aloha Pet and Family Fair

Sept. 10–11 / 10 a.m.–3 p.m.

Free admission / Ward Village

Treat your pup to Hawai‘i’s favorite pet event, featuring activities, workshops, meetups and more for you and your furry friends. Past fairs have included pet obstacle courses, a charcuterie board for dogs (a “pawcuterie”) and vendors selling pet accessories. hawaiipetdirectory.com/ alohapetfair.html

FESTIVAL Oktoberfest

Hawai‘i Beer Fest

Sept. 24–25 / 12:15–9 p.m.

$65–$375 / Aloha Stadium

Celebrate Oktoberfest in Hawai‘i at a two-day beer tasting. In addition to enjoying more than 15 German-style beers and food from vendors, there will be live music, outdoor lawn games and daily prize giveaways. You can also take home commemorative mugs. oktoberfesthawaii.com

➸ Looking to get the word out about your upcoming event or activity? Email info@honolulumagazine.com.

photos: courtesy of hawai‘i united okinawa association/gregory yamamoto, allan amato, courtesy of i-c photography/ikaika anderson; opposite page: aaron k. yoshino

For more things to do visithonolulumagazine.com/ things-to-do

Ka Leo Celebrates Centennial

Over the past 100 years, the University of Hawai‘i publication has displayed a fearless drive for truth.

BY EMILY SMITH

ACENTURY AGO, HENRY BINDT, A VISUALLY IMPAIRED STUDENT AT THE UNIVERSITY OF HAWAI‘I AT MĀNOA, was discussing the need for a student newspaper with others in his English class. Inspired, Bindt went on to create what was initially called The Hawai‘i Mirror, now known as Ka Leo

Ka Leo O Hawai‘i celebrates its 100th anniversary this year, with a storied legacy of coverage. “It gives students an opportunity to tell stories that are important to their peers and hold accountable the administration and faculty who run those schools,” says Jay Hartwell, who served as the publication’s adviser from 1997 to 2017.

Over the past century, Ka Leo has published numerous groundbreaking stories and scooped up national awards. Here’s a roundup of five of Ka Leo’s most influential articles, according to Hartwell. When considering the most impactful articles, he says fearlessness seems to be a common thread. “This is evident in the success of their alumni who continue to be trailblazers within the journalism industry,” he says.

APRIL 22, 1958

Golden Rule and the Issue of an Era?

In 1958, a series of nuclear weapons tests took place in the Pacific. While newspapers in Hawai‘i and across the United States expressed support for the testing, Ka Leo’s staff published a front-page piece explaining why the crew of the Golden Rule, a U.S. ship known as the first peace vessel, intended to sail into a testing zone to protest the action. Historian Helen Chapin was particularly impressed with Ka Leo’s decision to present alternative views. “Ka Leo was among the few local newspapers to let divergent voices speak in the news pages and reserve opinion for the editorial page,” she wrote in her book, Shaping History: The Role of Newspapers in Hawai‘i.

JAN. 30, 1991

Two professors found in violation of UH’s sexual harassment policy

When the late K. Mark Takai, who represented Hawai‘i in the U.S. House of Representatives, was the editor-in-chief of Ka Leo, he published the names of two UH professors being investigated for sexually harassing two female students. Although the university administration decided against releasing their names, citing an attorney general’s opinion and a court order, Ka Leo chose to reveal their identities. “Ka Leo believes the university community has an absolute right to information about proven misconduct of UH employees,” Takai wrote. “We hope that publication of the names … will make other professors think twice before they commit acts of sexual harassment.” Hartwell describes Takai’s decision as an outstanding example of bravery among Ka Leo’s editorial staff and showed how it operated independently from the school administration.

APRIL 6, 2000

Donor policy questioned: Blood Bank of Hawai‘i refuses donations from homosexual men

After being tipped by sources, Ka Leo reporter Karen Iwamoto raised questions about the Blood Bank of Hawai‘i’s policy of rejecting donations from gay men who had indicated on questionnaires that they had been sexually active with a man in the past year. (The Blood Bank still does not accept donations from gay men who have been sexually active in the past year, although it has plans to lower the time frame to three months based on FDA guidelines.) “I thought the reporting was exceptional and an example of a newspaper’s responsibility to provide the facts to the community so they can make their own determination,” Hartwell says.

MAY 25, 2011

John Boehner’s original Tea Party recipe

In an editorial cartoon, former Ka Leo editor-in-chief Will Caron depicted Republican John Boehner, who served as speaker of the U.S. House of Representatives from 2011 to 2015, as a puppet of the Mad Hatter’s political Tea Party machine. Caron earned top honors for his work by the Associated Collegiate Press organization. “Editorial cartoons are a journalism tradition for which artists share their view on current events,” Hartwell says. “The best win Pulitzer Prizes, awarded for exceptional originality, editorial effectiveness, quality of drawing and pictorial effect. I thought Will Caron’s work was that good.”

MAY 13, 2016

Former UH Foundation employee claims he was fired after raising alarm about a $165,000 website that didn’t work

Four Ka Leo reporters investigated the firing of Alvin Katahara, who oversaw payments for the University of Hawai‘i Foundation, a central nonprofit fundraising organization for the UH System. Katahara had raised concerns about a $165,000 payment to a marketing firm owned by the husband of Janet Bullard, who then served as the foundation’s vice president. After questioning the quality of work produced by the marketing company, Katahara was terminated. He later sued the foundation, claiming he was wrongfully fired. In its multimedia package that included articles, photos and a video, Ka Leo boldly held the university and its staff accountable, Hartwell says. “Their reporting required diligence and patience to go through court documents, collect new information, put it all together in story form and with graphics that could make understandable the complexity of the suit and the foundation’s operations.”

calabash | ARTS

Artistic Transformation

When the Honolulu Museum of Art School welcomes students back to its historic halls this month, it will be with a new sense of purpose, a communityforward approach—and a lot of firsts for the decades-old institution.

BY KATRINA VALCOURT

THERE AREN’T MANY PLACES IN HONOLULU where full-time art teachers not only have the opportunity to connect with the art community, but are encouraged to shape it—and then given the resources to do so. This fall, the Honolulu Museum of Art School reopens to do just that.

Part of the museum family since the late ’80s, the art school has o ered classes since 1990. Now, after almost a year of renovations, members of the learning and engagement team say they’re excited to o er courses that are more purposefully focused to provide experiences that tie in with the museum’s permanent collection.

One of the most exciting changes is the transformation of a former storage room in the basement into the school’s first dedicated space for fiber arts, with 12 new Saori looms that are smaller and easier to use than the school’s former looms. Plus, they’re wheelchair accessible.

Across the courtyard, the ceramics studio has doubled in size, with an additional structure reserved for glazing and surface decoration. The former Honolulu Printmakers space on the ground floor of the main building is now a printing studio with separate rooms for a large printmaking press and a silk-screening station. At the opposite end of the hall is a new community room—a kind of teachers lounge—where the school’s first full-time instructors work, discuss how to integrate their courses and develop

curricula with a more holistic approach to various disciplines. “Now there’s a unified pedagogy of teaching,” says Joseph Smeraldi, the studio programs manager for HoMA. Each of the 10 instructors teaches two courses a day, four days a week, in threehour blocks. “They can really take ownership of the space.”

Smeraldi says that classes will have a more focused and intentional approach to connect with the collections at HoMA, including its collection of more than 5,000 items that instructors can borrow. A portion of class time will also take place at the main museum campus. Registration for the next quarter (Jan. 5 to March 12) opens in November.

This is only phase one of the school’s transformation as it strives to meet the museum’s education mission. More upgrades to the building, along with increased capacity and more teachers, will be forthcoming.

Gauging what’s hot and what’s not in Honolulu.

CHEE HOO!

We’re stoked

The late Hawaiian cultural icon, kumu hula and composer Edith Kanaka‘ole is selected to appear on a U.S. quarter in 2023, one of five female trailblazers honored. Priceless.

The late Cumulina, history’s first cloned mouse the work of professor Ryuzo Yanagimachi and his research team at UH Mānoa—is deemed a national treasure and displayed at the Smithsonian. Tiny but powerful.

A new company offers gondola rides along the much-maligned Ala Wai Canal with the tagline: “From Venice with Aloha.” Delightful or doomed?

Ted’s Bakery stops selling its famous pies to supermarkets across the state after 26 years, citing a lack of starch, but keeps its Hale‘iwa bakery going. Bittersweet.

Honolulu’s 12th police chief, Arthur “Joe” Logan, vows transparency then stumbles in his first month with a closed-door swearing-in amid questions about the arrest of his adult son. Take 3?

Former Honolulu Prosecuting Attorney Keith Kaneshiro is indicted on federal charges of conspiracy and bribery, the latest in a series of public officials accused in a sprawling corruption investigation. Troubling.

Sad, yeah?

photos and illustrations: aaron k. yoshino, courtesy of edith kanaka‘ole foundation/kanaka‘ole family; deborah manog dimaya, courtesy of uh medical school; getty images; opposite page: aaron k. yoshino

For early access to registration, become a contributing member of the museum.

Large windows on the second floor let plenty of natural light in to one of the new drawing and painting studios.

Crunch Time

BY ROBBIE DINGEMAN

THE COOKIE LADY HAWAI‘I

We can’t resist a light crisp cookie, which The Cookie Lady Hawai‘i had baked in Waipahu since 2009. This year, loyal customer Maiko Ushijima bought the business, vowing to maintain the legacy in a new Honolulu shop. Favorites lemon, cornflake and furikake are now joined by matcha and liliko‘i.

$10.35 for 5-ounce package.

808 Sheridan St., Suite 309C, cookieladyhawaii.com, @thecookieladyhawaii

BETTY’S BEST

Betty’s Best cookies remind us that humble exteriors often reveal hidden treasures. Wholesale Unlimited, run by the Honma family with multiple stores and goodies, is a go-to for gift boxes for loved ones. These budget conscious, Waipahu-baked cookies come in 20-plus flavors. And the salty-sweet shortbread arare cookies prove damn near irresistible.

$6.25–$7.25, multiple locations, wholesaleunlimitedhi.com, @wholesaleunlimitedhi

‘OHANA NUI

In 2018, Tom Walker started ‘Ohana Nui, baking li hing pineapple, ginger macadamia nut and mocha chip cookies, with a zing from chewy intense pops of pineapple and ginger within the crisp, buttery cookie. The omiyage newcomer donates a portion of monthly profits to Surfrider Foundation, Walker says. We’re looking forward to a holiday chocolate-filled cookie rolling out this year.

$16 for 7-ounce box, ohananui.shop

EVER CHOCOLATE

Malynne Simeon works in city government by day and bakes at night and on weekends, sharing her love of Filipino treats with her two daughters. Ever Chocolate began as an online pandemic business with chocolate bombs and polvoron, a crumbly Filipino shortbread that packs a depth of flavor. Popular combos include matcha with white chocolate, ube with pinipig (toasted rice), strawberry with chocolate, and mac nut toffee.

$11 for a sleeve of eight cookies plus 25 cents for each dipped in chocolate. everchoco.com, @evercho.co

BIG ISLAND CANDIES

Hilo-based Big Island Candies long ago earned all-star status in the omiyage hall of fame for great taste in elegant packaging. A collab with Japanese celeb Harumi Kurihara adds another star with Harumi’s Hawaiian Salt Cookies. These buttery, flower-shaped treats balance sweet and salty. We’ll always have the shortbread but, happily, this business never stops innovating.

$21.50 for 6.5-ounce box. Multiple locations, bigislandcandies.com, @bigislandcandies

As of June, Big Island Candies baked more than two dozen flavors of cookies.

We tasted dozens of locally made packaged cookies to select five you’ll want to try. You’re welcome!

calabash | FROM OUR FILES

September

HONOLULU Magazine emerged from predecessor Paradise of the Pacific, which began in 1888, fulfilling a commission by King Kalākaua. That makes this the oldest continually publishing magazine west of the Mississippi, with an enviable archive worth diving into each month.

BY KATRINA VALCOURT

Paradise chronicles the Dole Derby, the first airplane race from California to Hawai‘i. Inspired by Charles Lindbergh’s groundbreaking triumph in May 1927—the first nonstop flight from New York to Paris—Hawaiian Pineapple Co. President James D. Dole announced four days later the launch of an “aerial conquest of the Pacific, the greater ocean,” with prizes of $25,000 and $10,000 for first and second place, respectively. Between 25,000 and 30,000 people gathered at Wheeler Field, anticipating the first planes from Oakland, California, around 3:30 a.m. on Aug. 17. “There was a grandstand for officials and their ladies; bleachers for many hundreds of spectators; thrilling stunts by daring Army aviators to entertain the orderly waiting multitude; occasional band music,” Paradise writes. Santa Monica’s Arthur C. Goebel and his navigator, then-Navy Lt. j.g. W. V. Davis, in a monoplane called Woolaroc, completed the flight in 26 hours, winning first place. In second place, Martin Jensen of Honolulu (with navigator Paul Schluter) finished the flight in 28 hours and 17 minutes, an impressive feat since they had no radio. Two other planes that took part in the race never made it and are missing to this day.

September has been recognized in Hawai‘i as Hawaiian History Month since 2020.

In June 2022 it was announced that Fort Elizabeth State Historical Park on Kaua‘i will be renamed Pā‘ula‘ula State Historic Site, but in 1937, Paradise referred to it only as the “old Russian Fort” or “Waimea Fort.”

“A visit to the Hawaiian Islands is not complete without viewing this historic fort,” the magazine writes, including a brief history of how it came to be. “Doctor Scheffer ... was selected by Baranoff (governor of the Russian-American Company) to carry out the Russian colonization schemes,” sailing from Sitka, Alaska, in October of 1815 ostensibly “to look after the property of the Atahualpa (Bering) that was wrecked at Waimea, Kauai, which was in [the] charge of King Kaumuali‘i of Kauai.” Many believe Kaumuali‘i formed an alliance with the Russians to help him reclaim power over Kaua‘i, which had recently joined the kingdom of Hawai‘i. “At King Kaumuali‘i’s request Dr. Scheffer superintended the building of the fort at Waimea, on which a number of guns were mounted and the Russian colors displayed.”

1967

Most of this issue of Paradise of the Pacific is dedicated to the upcoming restoration of ‘Iolani Palace, which “will shortly become an empty edifice. The lawmakers and chiefs of state who have occupied its regal rooms since the beginning of the century will, in the coming biennium, move to new quarters across the street. … State officials and private citizens—particularly the Friends of Iolani Palace and the Honolulu Junior League—want to make the palace the way it was.”

It’s a difficult undertaking, as “there are no known architectural building plans of the palace,” Paradise writes. As for décor, much of it was auctioned off after the overthrow: “[B]edsteads, wardrobes and dressing cases in good condition went for from $60 to $250 (equivalent to a few thousand dollars today); glass decanters with monogram and crown sold for $18; wine glasses brought $2.50 to $3.50; and china with the royal coat of arms brought $6.50 and $7.50.”

The search for original palace pieces continues, with the mostwanted items listed on iolanipalace.org

Learn more about the evolution of covers in HONOLULU Magazine and Paradise of the Pacific: 125 Years of Covers, available at shop.honolulumagazine.com.

Find more photos from Honolulu’s past every Thursday on Instagram @honolulumag

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EWA

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John Peterson (R) 808.220.5555 john@residencehawaii.com | RB-12469

HONOLULU  |  $799,000 FS

2br/2ba Unit w/lanai & motorized shutters. Built-ins in closets, bedrooms & bathrooms w/2 secure storage units! Guest parking & car wash available.

Maila Gibson-Bandmann (RA) 808.295.4494 maila.gibson@cbrealty.com | RS-68821

WAHIAWA  |  $1,375,000 FS

4br/3ba Gorgeously renovated, island styled infused home w/back patio, wet bar, beverage cooler, TV & garden of lushness.

Lynn Young Soldat (RA) 808.255.3477 LynnS@cbrealty.com | RS-74656

EWA BEACH  |  $1,050,000 FS

Beautiful 4BR/3BA home in desirable location w/open concept floor plan, hardwood floors, solar power & an ideal outdoor entertaining space.

Suzette Leal (RA) 808.282.6941 suzette.leal@cbrealty.com | RS-77659

HONOLULU  |  $895,000 FS

Welcome to this 2br/2ba updated highly preferred corner "01" Diamond Head unit w/expansive views, granite counters & GE appliances.

Maria Kawananakoa (RA) 808.497.7967 mk@mkluxuryproperties.com | RS-72884

KAILUA  |  $725,000 FS

2br/2ba 3rd Floor unit located at the crossroads of Kailua Town and Kailua Beach. Enjoy spectacular mountain, treetop & sunrise views from the lanai.

Donna Gutierrez (RA) 808.722.1018 donna.gutierrez@cbrealty.com | RS-84689

KAILUA  |  $1,595,000 FS

7br/4ba near Kailua town. Upstairs w/4br/2ba & mountain views. Downstairs w/3br/2ba, kitchenette, backyard garden & patio.

Kathie Wells (R) 808.225.2621

Mark Pillori (RA) 808.721.1810

RB-16168 | RS-56590

WAIPAHU  |  $1,350,000 FS

Immaculate 10br/4ba Waipahu home in a great location features an open floor plan, 3 different entrances & 3+ parking spaces.

Amelita Bing Provido Purpura (RA)

808.853.7423 | AmelitaP@cbrealty.com

RS-72847

MILILANI  |  $1,250,000 FS

3br/2.1ba Well maintained home w/spacious den/office. Private, fenced & landscaped backyard w/no neighboring property.

Clarissa Claire Agliam Mori (RA) 808.228.4449 | Clarissa.Mori@cbrealty.com

RS-38359

WAIPAHU  |  $1,150,000 FS

4br/3ba Royal Kunia home w/renovated kitchen, upgraded flooring, split ACs and landscaped yard.

Leslie-Ann Wills (R) 808.375.6626 | lesliew@cbpacific.com

RB-22181

EWA BEACH  |  $1,100,000 FS

Beautiful 4br/3ba w/two-car garage, fresh interior & exterior paint & beautiful views of Waianae Mountains.

Shaun G. Fergueson (R)

808.397.8361 | shaunf@cbpacific.com

RB-23087

EWA BEACH  |  $1,088,000 FS

3br/2ba Ekolu model 3R home w/2 car garage awaits you to call it home. Enjoy the breeze or play with your pets in your own yard.

Cora Agliam (RA)

808.780.7226 | coraa@cbrealty.com

RS-71106

KAPOLEI  |  $988,000 FS

4br/3ba Home in Kakuna at Mehana w/high ceilings, modern kitchen downstairs, fully fenced in backyard & much more!

Edgar Cervantes (RA)

808.800.1757 | edgar.cervantes@cbrealty.com

RS-82516

HONOLULU  |  $985,000 FS

3br/2ba Beautiful condo w/amenities including infinity pool, theater room, barbecue area, dog park & meeting room w/grand piano.

Jessica Brenhaug (RA)

808.391.4202 | jessica.brenhaug@cbrealty.com

RS-83425

WAIPAHU  |  $950,000 FS

5br/2.5ba Unique and spacious single story home located in Village Park w/½ bath out back for outside entertaining.

Sabrina Takeda (RA)

808.451.9073 | sabrina.takeda@cbrealty.com

RS-82033

KANEOHE  |  $910,000 FS

Spacious 3br/2ba unit w/panoramic views of the enchanting Ko’olau Mountain Range & the sparkling waters of Kaneohe Bay.

Tiffany Kanoa (RA)

858.692.8647 | tiffany.kanoa@cbrealty.com

RS-83352

EWA

BEACH  |  $905,000 FS

Desirable 2-story 4 bedroom, 3 bath recently renovated Sun Terra home. Conveniently located near shopping centers.

Edgar Cervantes (RA)

808.800.1757 | edgar.cervantes@cbrealty.com

RS-82516

WAIPAHU  |  $897,777

Welcome to this 4 bedroom, 2 bath home in a highly desirable location in Village Park with city and Diamond Head views.

Leila C. Corpuz (RA)

808.679.6878 | leila.corpuz@cbrealty.com

RS-66224

HONOLULU  |  $799,000

FS

3br/2ba condo over 1,300 sqft. Top quality finishes & fixtures will dazzle you! Close to beach. Pets OK. Low maintenance fees.

James E. Lewis (R)

808.225.0569 | j.lewis@realtor.com

RB-14807

KAPOLEI  |  $799,000

FS

Gorgeous & well-maintained 3BR/2.5BA townhome. Features include vinyl plank flooring, garage converted into a gym & so much more!

Fran Magbual (RA)

808.368.7386 | franm@cbrealty.com

RS-78148

KAPOLEI  |  $730,000

FS

Beautiful 3r/2.5 townhome w/babmboo

flooring & AC. A private fenced-in yard & two parking stalls.

Sam Paltikian (RA)

808.265.1450 | sam.paltikian@cbrealty.com

RS-79996

HONOLULU  |  $675,000

FS

3 bedroom Horizon View Tower home with golf course views features laminate floors, freshly painted rooms & open floor plan.

Sally Palafox (R)

808.391.8813 | sally@sallypalafox.com

RB-20713

FS

EWA

BEACH  |  $660,000 FS

2br/2.5ba w/ a 2-car detached garage, stainless steel appliances, private courtyard, vinyl plank flooring, HVAC system & more.

Ciel Pia (RA) 808.634.8777 | ciel.pia@cbrealty.com

RS-81021

HONOLULU  |  Price

Upon Request FS

Breezy corner-end-unit in the Honolulu.

Unit features a spacious floor plan with ocean, city, & mountain views!

Hsiao Mon Alison Soong (RA) 808.330.3968 | alisons@cbrealty.com

RS-57772

HONOLULU  |  $569,000

FS

Highly desirable and spacious 2 bedroom, 2 bath unit in the Salt Lake neighborhood with gorgeous golf course views.

Heather Leong (RA) 808.741.2701 | heather.leong@cbrealty.com

RS-77952

KAPOLEI  |  $535,000

FS

2BR/2BA ground floor unit in upper Makakilo! It features a sparkling kitchen, plank flooring, fenced-in yard & a great a view!

Fran Magbual (RA) 808.368.7386 | franm@cbrealty.com

RS-78148

HONOLULU  |  $510,000

FS

Charming studio offers 2 lanais, new air-conditioning unit, updated flooring & windows, updated kitchen & assigned parking stall.

Gloria C. Brasuel (RA) 808.352.8278 | gloriab@cbpacific.com

RS-73388

HONOLULU  |  $480,000 FS

1br/1ba Fully furnished corner unit comes move in ready w/rarely available enclosed lanai & covered secured parking stall.

Tiffany Kanoa (RA) 858.692.8647 | tiffany.kanoa@cbrealty.com

RS-83352

EWA BEACH  |  $470,000 FS

2bedroom in Ewa Beach offers elegant finishes, upgraded kitchen, new washer/dryer, luxury vinyl plank flooring & updated lighting.

Christine Heu (RA) 808.551.9811

Fran Magbual (RA) 808.368.7386

RS-83920 | RS-78148

GUIDING YOU HOME SINCE 1906

PEARL CITY  |  $335,000 FS

Welcome home to Century Park Plaza! This freshly painted 1 bedroom, 1 bath w/sweeping mountain & ocean views from the bedroom.

Gloria C. Brasuel (RA)

808.352.8278 | gloriab@cbpacific.com

RS-73388

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Although Hōkūlani Holt has a deep-rooted hula lineage (her mother, grandmother and aunts were master hula teachers), she was stunned when she was pulled aside 45 years ago by her mother and aunt and told it was time for her to become a kumu hula. “I said I don’t want to,” she recalls with a chuckle. “I was just 25, and I wasn’t finished dancing.” She also knew the stakes. “To be a kumu hula is to be responsible to the generations of kumu hula who have taught you and to the students you will teach.”

As kumu hula of Hula Pā‘ū O Hi‘iaka on Maui, Holt is a galvanizing leader among her peers. In 2020, she helped convene kumu hula to develop culturally based health protocols for the pandemic. During discussions, however, the kumu voiced long-simmering concerns about the state of hula itself. Hula, they felt, was being irreparably harmed by widespread ignorance, misappropriation and exploitation. From performances that feature Tahitian dance described as “hula” to purported teachers who lack the requisite training, the group felt an urgent need to educate others about hula’s cultural significance and elevate kumu hula as stewards of an esteemed tradition.

In August 2021, more than 160 kumu hula from across Hawai‘i, the continental U.S., France, French Polynesia, Japan, Spain and New Zealand unanimously approved the Huamakahikina Declaration, a 17-page call to action that reinforces the “integrity, stewardship and protection of hula.” While kumu hula had organized before, this was the first gathering to focus on what hula is and is not in the 21st century. The declaration, among other things, states that “any individual who has not been lineally acknowledged as a kumu hula … is not a kumu hula.” Furthermore, any performance not sanctioned by a lineally acknowledged kumu should not be labeled as “hula.” It drew a bold, and controversial, line in the sand.

Rooted in Hawaiian mythology, hula once flourished throughout the Islands under the patronage of the ruling ali‘i. In

THE NAME “HUAMAKAHIKINA”

comes from a line of a common hula prayer: “Kupu ka lālā, hua ma ka hikina (The branch sprouts, and fruits in the east).”

the 1830s, however, the kingdom banned public performances of hula, which missionaries decried as promoting “lasciviousness.” But the practice survived because kumu hula never stopped teaching and students never stopped wanting to learn. “Hula doesn’t only maintain dance; it maintains flower-making, lau hala-weaving, mele and oli,” Holt says. “It maintains many of the other Hawaiian cultural practices, such as health, dyes and fabric.”

The role of kumu hula is traditionally bestowed upon a student by his or her teacher or approved within a family. Students often study for 10 to 20 years with their kumu before ‘ūniki, or graduation, but the process is not the same for all hālau hula, or hula schools, and some forgo the ‘ūniki altogether. “A kumu hula decides what the process is; there is not just one process to becoming a kumu hula,” explains Holt, who learned hula as a young child from her mother, Leiana Long Woodside, and aunt, Kahili Long Cummings, before studying hula kahiko, or traditional hula, with Hoakalei Kamau‘u.

Over the past decades, hula has exploded in popularity globally. It’s taught in 44 U.S. states and 22 countries, according to mele.com, prompting the emergence of some instructors who lack critical cultural knowledge and training. While Huamakahikina welcomes all hula lineages, candidates for membership must submit their lineage for vetting by the Leo Kāhoa steering committee, composed of kumu hula from O‘ahu, Maui and Hawai‘i Island. “The eight of us come from diverse lineages,” says Cody Pueo Pata of Hālau Hula ‘o ka Malama Mahilani. “So when an application comes in, it’s pretty easy for at least one of us to to say, ‘Oh yeah, I know who this is.’” If not, the committee turns to the web and social media for verification. This process has rankled some in the hula community.

“The only person that can ‘āpono, affirm or verify or proclaim, my students is me. No one else has the authority to say who is and who isn’t a kumu hula,” says Kawaikapu Frank Hewett of Kuhai Hālau Ō Kawaikapuokalani Pā ‘Ōlapa Kahiko. “There is no need for a panel of people to affirm anyone. We already have that role and responsibility.”

Hewett, a former student of Emma DeFries and Edith Kanaka‘ole, believes that “no one should be handing out any kind of palapala or certificate because that’s not the way it was done before.” (Other kumu I spoke with voiced similar concerns but did not want to go on record.)

Holt acknowledges that some kumu hula may disagree with the tenets of Huamakahikina. “If they don’t believe in some of the things in the declaration, that’s OK,” she says. “We’re not the hula police. Are we going to take out an ad that says ‘so and so is not lineally connected?’

Absolutely not.”

As to Huamakahikina’s aims to offer funding and support to kumu hula, Hewett says he’d rather stand on his own. “I am always going to be independent, and I (teach hula) because it is my kuleana, my responsibility. I don’t want anybody telling me what to do, why to do, when to do and how to do,” he says. However, one thing he can agree on is that kumu hula who have dedicated their lives to teaching have not been uplifted to the level that they all should be.

Many of the declaration’s finer points still need to be worked out. For example, how would Huamakahikina monitor and correct instances of cultural misrepresentation in film, TV and social media? How might they bolster the financial stability of kumu hula? Volunteers have propelled Huamakahikina’s work until now, but the coalition soon plans to file for nonprofit status and hire an executive director to continue raising awareness of hula’s cultural importance in the Islands.

Already, the rise of Huamakahikina has led to increased support for hula in the community. In February 2022, Maui County Mayor Michael Victorino announced initial approval for a hula center to be built in Wailuku. The estimated $53 million facility, named Hālau of ‘Ōiwi Art, or HOA, will be the first permanent space in Hawai‘i dedicated to hula, the state’s official dance. Plans call for a three-story structure that will house classes and rehearsal spaces for hula and its associated arts, helping to alleviate the difficulties kumu face in finding affordable spaces for teaching.

“Public support for this center is a direct reflection on what was said in the declaration,” Holt says. She envisions that HOA can be a model for the rest of Maui and Hawai‘i. “We want a hula center in every community, because there is hula in every community.”

Huamakahikina is also gaining key support within state government. On Jan. 20, 2022, the coalition gave an informational briefing

TO SEE THE FULL HUAMAKAHIKINA DECLARATION,

to the Hawai‘i state Legislature. Sen. Jarrett Keohokalole, vice-chair of the Committee on Hawaiian Affairs, describes the declaration as a remarkable effort by a native community to “assert their right to self-determination in these traditional practices.” It also serves as a valuable legislative resource. “Now we have a concrete document and framework that people can point to, so when organizations and companies want to legitimately engage with cultural practitioners, they know where to go.”

He understands that some kumu hula may disagree with the declaration, but he says there’s far greater risk in doing nothing. “If they do not take action, tomorrow we’ll see a new generation of people on TikTok who decide they want to call themselves kumu hula and teach classes, to the detriment of legitimate practitioners who have deeply held spiritual and cultural connections to this practice,” he says.

U‘ilani Tanigawa Lum is a young attorney who helped draft the declaration. Last year, Kumu Hula Nāpua Greig of Hālau Nā Lei Kaumaka O Uka on Maui presided over her ‘ūniki as ho‘opa‘a, or chanter. “What’s really important about this declaration is the fact that kumu hula are starting the conversation,” Lum says. “They’re articulating what the challenges are, what hula is and how it’s practiced, which lays the groundwork for advocacy, discussion and understanding. They’re articulating who holds the kuleana—the responsibility and the privilege—of stewarding this practice of hula.”

HALE ‘AINA → AWARDS

HONOLULU READERS HAVE BEEN NAMING THEIR FAVORITE RESTAURANTS IN HAWAI‘I FOR MORE THAN 30 YEARS. THIS YEAR WE HIGHLIGHT THE BEST NEW RESTAURANT WINNERS, SPOTLIGHT OUR FIRST MOTHER-DAUGHTER RESTAURATEURS OF THE YEAR AND THEIR MARQUEE LAOTIAN FOOD FOCUS, GO BEHIND THE SCENES AT LOCAL DIM SUM SPOTS AND MORE.

↑ Shrimp and chive bun from Jade Dynasty, being made above, and after frying →

B ack To Nature

BY MARTHA CHENG PHOTOGRAPHY BY OLIVIER KONING

NAE OGAWA, THE CHEF OF NATURE WAIKĪKĪ, WANTS A RESTAURANT BEYOND FARM TO TABLE.

A RECENT EVENING AT NATURE WAIKĪKĪ, a Red Bull salesman sits at the bar, waiting for an audience with the manager. He offers to bring a case of the energy drink for Nature to sell or supply to its employees. The manager, Yoshiaki Kuno, politely declines. We’re not that kind of restaurant, he says. The salesman leaves, and Kuno and the bartender, Jacob Cedeno, share a laugh before Kuno returns to the 10-seat chef’s table to serve a tasting menu centered on local ingredients, and Cedeno continues mixing his original cocktails and brewing māmaki tea for a nonalcoholic pairing.

“I want to save nature,” says Nae Ogawa, the 30-year-old chef of Nature (stylized as NatuRe and pronounced the French way). Before the pandemic hit, she had been the sous chef at Paris.Hawai‘i, where Nature is now. “I had time to think about what I want, and Hawai‘i told me the important thing is being in nature or connecting with nature. I want to save it.” English is Ogawa’s second language, and I wonder if the direct simplicity of her words is a result of that. But her earnestness is palpable. It shows on the QR-code accessed menu, the only one I’ve ever seen that in addition to menu descriptions, like a crispy ta‘ape with a pomelo and olive tapenade, dusted with moringa powder, includes links to research and magazine articles—in this case, on the invasive bluestripe snapper.

All the dishes in her tasting menus, and most of the à la carte items, feature locally grown ingredients, from a tofu made with mac nuts to a Small Kine Farm portobello lau lau pithivier—a pastry crust encasing a slab of portobello mushroom and stuffing made of taro leaves and more mushrooms. “Focusing on local ingredients is important, but I also want to work with farmers who care about the land,” Ogawa says. “I want to be beyond farm to table.” That means using local venison and buying whole cows from Mahiki Ranch in Waimea on Hawai‘i Island, and including links in the menu that

↑ Crispy ta‘ape with a pomelo and olive tapenade and dusting of moringa powder

point to Mahiki Ranch’s pasture management practices and the destructiveness of invasive deer. She’s always on the hunt for new ingredients. When we talk, she’s excited about the advent of mountain apple season and her first shipment of rabbit from Pu‘u Pale farm in Waimea that she’ll make into a galantine. And sometimes, that hunt is literal, as in when she tracked and killed a deer. “I wanted to have that experience as a chef, to kill an animal. It was hard. It was so sad. But that’s the part of eating meat.”

Ogawa has worked in internationally lauded kitchens for more than a decade, starting at Narisawa in Tokyo, and later at Bouley (now closed) in New York, and La Bourse et La Vie in Paris, before coming to Honolulu five years ago to cook at Paris.Hawai‘i. At Narisawa, she learned discipline in the form of 18-hour days and strict instructions on how to cut ingredients, how to clean, how to organize. “It was like a machine,” she says of cooking in the Tokyo kitchen. While in New York, “it was more like art. Chef brought in all the ingredients and put everything on the table and said, ‘Go.’” And then at the classic bistro La Bourse et La Vie, it was just her and the head chef in the kitchen, and he “allowed me to do everything that I want.” In Nature, she has melded all those experiences, along with a deep love for the natural world (“If I tried to make a menu in the kitchen, I can’t, I don’t have any idea, but if I go on a hike or the ocean or the farm, I always get inspired”) into a modern French menu executed with exacting technique.

She is also a trailblazer—the first female executive chef at any of Zetton Hawai‘i’s six restaurants, which include Zigu downstairs. (Zetton Hawai‘i is part of a Tokyo-based restaurant group with more than 70 restaurants primarily in Japan.) She says she has always worked under male chefs who perpetuated a culture of machismo. They would tell

“I wanted to have that experience as a chef, to kill an animal. It was hard. It was so sad. But that’s the part of eating meat.”

— Nae Ogawa

HALE ‘AINA AWARDS

↑ A tomato and cucumber gazpacho with shio koji and served with kiawe-smoked marlin tartare

2022

MAHALO for voting us BEST BRUNCH!

We believe that Brunch is the most important meal of the day, and that is why we make it our priority to consistently deliver food from the heart and service with Aloha!

Cafe Kaila appreciates our loyal guests who have become a part of our ‘Ohana throughout the years. For those of you we have not met yet, please come on by and experience our award winning Brunch for yourself!

Mahalo and see you all soon!

HAWAI‘I’S BEST NEW RESTAURANTS

THIS CATEGORY IS ONE OF THE MOST SIGNIFICANT AMONG THE HALE ‘AINA AWARDS, SINCE RESTAURANTS ARE ONLY ELIGIBLE ONCE, WITHIN THEIR FIRST YEAR OF OPENING. HERE ARE THIS YEAR’S SILVER, BRONZE AND FINALIST WINNERS CHOSEN BY OUR READERS.

Bar Maze

IT’S ALL ABOUT THE DETAILS.

With Bar Leather Apron, Justin Park and Tom Park proved they could imbue a tiny, unassuming space with sophistication while serving Hawai‘i’s best cocktails. With the equally compact Bar Maze, they raised the bar even higher by enlisting chef Ki Chung, formerly the chef de cuisine of Michelin-starred Aubergine in Carmel, California, to collaborate with Justin Park on a cocktail-paired menu. The ever-evolving omakase often evokes the ocean—recently, with coins of raw, thinly sliced Hokkaido scallops, made tart with calamansi and green apple and paired with a light cocktail of shochu, mango, elderflower and a citrusy froth reminiscent of sea foam. At Bar Maze, every detail is obsessed over, down to the salt that Chung uses in his all-local banchan that accompany the meat course (pictured above)—the flaky grains made by evaporating seawater collected via a surfboard paddled out from the east side of O‘ahu.

Cheng

The Collection, 604 Ala Moana Blvd., barmaze.com, @bar.maze

Queensbreak

DRINKS WITH A VIEW.

An eclectic menu, locally sourced cocktails and a chill open-air vibe on a 1-acre pool deck across the street from Kūhiō Beach: Queensbreak debuted last fall as part of an $80 million refurbishment of the Waikīkī Beach Marriott Resort & Spa. Best part: glimpses of peachy-pink sunsets silhouetting coconut palms as you sip on a cocktail. Most fun: the names of those cocktails—like Golden Hour, Anotha One, and Ooh Bae (yes, it’s made with ube, pictured above)—and their use of locally made spirits and ingredients including Kula Rum, Ko‘olau Distillery’s Old Pali Road Whiskey and ‘ōhi‘a honey.

—Mari Taketa

2552 Kalākaua Ave., (808) 922-6611, queensbreak.com, @queensbreakwaikiki

Huihui Restaurant

GUIDED BY THE ‘ĀINA.

The Kā‘anapali Beach Hotel unveiled a $75 million property-wide renovation in 2021, and with it a new signature restaurant helmed by longtime local chef and former pro surfer Tom Muromoto. Huihui offers a modern take on classic Hawaiian food using Hawai‘i-grown ingredients. Standouts include poke with wok-seared smoked wild venison culled from Moloka‘i with pickled ogo, onions and Hawaiian chile pepper; fish lāwalu, a traditional dish of local fish wrapped in banana leaves and grilled; and the Chef’s Laulau (pictured above) made with local pork and served with lomi salmon, fresh poi, steamed Moloka‘i sweet potatoes, and a pohole (fiddlehead fern) and ogo salad. The oceanfront restaurant—its name means “constellation” and its décor pays homage to the Hawaiian tradition of voyaging—boasts an inventive cocktail menu, too, focused on Hawai‘i spirits and ingredients, including an Old Fashioned made with māmaki tea.

—Catherine Toth Fox

2525 Kā‘anapali Parkway, Lahaina, Maui, (808) 667-0124, huihuirestaurant.com, @huihuirestaurant

Best New Restaurant SILVER

Best New Restaurant BRONZE

Best New Restaurant FINALIST

PHOTOS: OLIVIER KONING, AARON. K. YOSHINO, MIEKO HORIKOSHI

Crossing Borders

BY MARI TAKETA | PHOTOS BY OLIVIER KONING

↑ Tum Tahd or Laotian salad platter of green papaya salad with sai oua sausages, beef jerky and other Lao pūpū

THEMENU AT OLAY’S THAI-LAO CUISINE mirrors Olay Somsanith’s life in professional kitchens: 60 Thai dishes up front, followed by 20 from her native Laos at the back. It’s not unusual for Honolulu’s Laotian cooks to spend decades cooking the pad thai, panang curries and other Thai dishes that have become part of the local dining vernacular. What is unusual is that amid Hotel Street’s gentrified eateries, Olay’s Thai-Lao gives marquee treatment to the Laotian home cooking and street foods closest to Somsanith’s heart; and that with her daughter, Olay’s own-

↑ Olay Somsanith (left) and Macy Khounkeo

er Macy Khounkeo, she opened this restaurant as the capstone of a multifaceted and growing Thai-Lao food business at age 63. The achievements make Somsanith and Khounkeo the first mother-daughter team awarded the only Hale ‘Aina prize decided this year not by readers’ votes, but by a unanimous decision by HONOLULU Magazine editors: the 2022 Restaurateurs of the Year.

Somsanith’s cooking résumé reads like a who’s who of Honolulu’s top Thai eateries going back 15 years: Keo’s Thai Cuisine, Keoni by Keo’s, Ploi Thai, Siam Garden, Maile’s Thai Bistro. All but Siam Garden were opened by Laotians. Sticky rice is not Thai, Somsanith says, smiling gently at my surprise; it’s a Laotian staple. It’s an inkling of how intertwined the two cuisines have become—Laotian dishes like laab and green papaya salad crossing the Mekong River with generations of Laotian migrants and making their way to Bangkok and into the Thai lexicon; their funkier, saltier Laotian profiles tempered to suit Thai tastes. Then Somsanith begins talking about her own path out of Laos.

Her first memory of food is watching her mother making kapoon, a Laotian curry noodle soup: hands grinding lemongrass, galangal and makrut lime leaves with mortar and pestle; boiling catfish or tilapia from the nearby Mekong; pouring the rich soup over fresh rice noodles and chopping cabbage, long beans and banana blossoms for the toppings. As the Vietnam War escalated, close enough that they could see bombs falling, Somsanith and her brother sold bowls of kapoon to help support their family of 13. Then, an arranged marriage at 18. Her husband fleeing Laos and its new Communist regime. Discovering she was pregnant. Her baby dying. Swimming across the Mekong to reunite with her husband in a Thai refugee camp. Resettling in the United States.

Delivered in her soft-spoken Laotian, with Khounkeo translating, the magnitude and tenacity of Somsanith’s story—crossing borders and picking herself up again and again—seem incongruous as we sit by a willow-shaded koi pond in the courtyard of their restaurant. Parts of it are new even to Khounkeo. The third of Somsanith’s five surviving children and her only daughter, Khounkeo was born in Fresno, California, in the ’80s to parents who farmed vegetables and worked in factories. After Khounkeo’s father died and Somsanith remarried, the family moved to Hawai‘i and started over again. This time the path was entrepreneurial, beginning at the swap meet where Somsanith sold vegetables she bought from small farmers, and ending with her own

“She thought about it in previous years, but she didn’t have the courage. I told her everyone wants explorations of the palate. Your Thai food sells, I think Lao food will sell too.”

— Macy Khounkeo

↑ Kapoon curry noodle soup with crunchy vegetable garnishes

Ba-Le Sandwich Shop franchise near Costco in Salt Lake. That hard-earned triumph lasted until Costco moved to Iwilei in 2002. The dried-up foot traffic led her to close her shop and cook full-time in other people’s restaurants. By this point the story is empathetically exhausting, but here’s where it turns. Somsanith used her days off at Maile’s Thai Bistro to launch Olay’s Thai at farmers markets. It was a family affair, with Somsanith’s husband and younger sons helping out at the Kaiser High School PTSA market on Tuesdays, Windward Mall on Wednesdays, and St. Clement’s in Makiki on Thursdays. Sensing the potential, Khounkeo quit her job as a cocktail waitress at the MGM Grand and flew home from Las Vegas. That move would decide her mother’s legacy.

In the early 2010s it wasn’t only farmers markets that were taking off. The culture of food trucks that swept the country was spawning local events like Eat the Street and Honolulu Night Market. Khounkeo anchored her mother’s expansion by opening Olay’s Thai Express in Hālawa, a mini-restaurant that doubled as a central kitchen. At street festivals and farmers markets, the sight of Olay’s Thai pumpkin curry and basil chicken, drunken noodles and stuffed chicken wings became ubiquitous. “I just knew her stuff sells, and I’m a huge believer,” Khounkeo says. “We went everywhere. We’re still going everywhere.”

When it came to Laotian food, the millennial Khounkeo bore none of the shackles of her parents’ generation. In Thailand, emigrants from socialist, less developed Laos often face widespread discrimination. And in Honolulu, where much of the populace can sit down at a neighborhood Thai eatery and confidently order a curry and pad thai, almost no one can name a single Laotian dish. Sai oua, nam khao, tom khem: For Khounkeo there was no reason why the fried sausages of lightly fermented pork and lemongrass, crispy rice salads tossed with fresh herbs, and sweet-salty braise of pork belly and eggs shouldn’t feature as prominently as Thai cuisine. The discussion came to the fore when Khounkeo and her mother started eyeing locations for a flagship restaurant. “She thought about it in previous

years, but she didn’t have the courage. I told her everyone wants explorations of the palate. Your Thai food sells, I think Lao food will sell too,” Khounkeo says. “I kept telling her, pushing it to her, giving her the idea: Let’s do it. It’s good stuff. People need to know what it is.”

That’s how the 80-seat eatery, originally envisioned as Olay’s Thai Cuisine, got its Laotian identity. For the first time since she started cooking professionally, Olay’s Thai-Lao Cuisine lets Somsanith point her culinary compass to her own true north. Nor is the Laotian menu mostly easy gateway dishes like the sausages and crispy rice salad. Guided largely by Khounkeo, based on her childhood favorites, it features dishes like gaeng nor mai, a deeply earthy bamboo stew that for most is an acquired taste. Two and a half years after opening in March 2020, Thai pad thai is still the top seller. But it’s the menu’s Laotian pad thai, or kua mee lao—layered with notes of dark soy, palm sugar and oyster sauce under a spritz of fresh lemon—that I like better.

Somsanith’s story is still being written. In addition to events, catering gigs, seven weekly farmers markets and two restaurants, there are plans to sell frozen foods, like the sai oua sausages, and launch a food truck. “Everything busy, I’m happy now,” Somsanith says. “Everything OK now. My dream come true right now.”

66 N. Hotel St., (808) 536-5300, olaysthaihawaii.com, @olays_thai_lao_cuisine

↓ Nam khao, Laotian crispy rice salad

The biggest triumphs come out of life’s toughest challenges. Such was the case for Istanbul, Kaka‘ako’s chic Turkish restaurant. When Ahu Hettema found herself stuck in Hawai‘i due to immigration issues, she—later joined by her mother, Nilli Yildrem, who has more than 30 years of experience in Turkish cuisine—chose to turn her hardship into an opportunity.

When it opened in 2020, a time when the pandemic’s e ects were still in full force, Istanbul blazed into the restaurant scene with the nurturing & nourishing flavors and aromas that the mother-daughter team found comfort in while away from their home country. Today, as a business that’s both woman and immigrant

owned and operated, it has become one of Honolulu’s biggest success stories.

Istanbul’s lineup of dishes reflect the flavors that lie in Anatolia’s 13,000-year history, brought to life through Turkish spices, farm-totable ingredients and homegrown cra smanship. It’s also the only place in the state where guests can enjoy 100-day-aged USDA Prime ribeye, which is aged in-house and o ers an unmatched tender bite and distinctly complex flavor. Its cocktail program is one of the island’s best-kept secrets: Chef Ahu creates unique, Turkish-influenced cra cocktails unlike any others you’ll find on the island. Each is a complex creation that takes the team time, e ort and specialized ingredients.

Istanbul is proud to be named the WomenOwned Business of the Year for the State of Hawai‘i by the Small Business Administration.

CONGRATULATIONS

TO THE 39 TH ANNUAL

HALE ʻAINA AWARD WINNERS

We are grateful to all of Hawaiʻi’s restaurants who work hard to make our beautiful State a world class culinary destination.

Into

1 ROAST DUCK

A roast duck quarter is available on the dim sum menu. The restaurant makes 24 roast ducks daily, a process that takes the whole day: It involves marinating the birds, then hanging them to dry (resulting in a crispier skin), and then baking them in an oven the size of a closet. From the same oven emerges Jade’s char siu, which goes into the bao and is also available as a dish.

2 HAR GOW

the Fold

BY MARTHA CHENG

WE VENTURE INTO THE KITCHENS OF TWO OF OUR HALE ‘AINA AWARD-WINNING DIM SUM RESTAURANTS FOR SECRETS ON HOW FAVORITES LIKE HAR GOW AND BAKED CHAR SIU BAO ARE MADE.

JADE DYNASTY SEAFOOD

BEST DIM SUM GOLD

BEST CHINESE GOLD

INJADE DYNASTY’S KITCHEN , the engine room of one of Honolulu’s largest Chinese restaurants, six dedicated dim sum cooks on weekdays and nine on weekends steam and fry dishes to order and fold dumplings and bao. It’s organized chaos: Two cooks stuff meat into fat siu mai while wedged against a wall of refrigerators; two others fold char siu filling into rounds of dough at a butcher block in the middle of the kitchen; and next to them, tray after tray of mango pudding is poured. And along the back wall: a line of steamers, fryers, woks and ovens, near hanging racks of duck. Yi-Bin Liu, Jade Dynasty’s dim sum chef, is from China’s Guangdong province, where dim sum originated, and he helms a crew mostly from southern China who prepare the 80 dim sum selections on the menu.

Ala Moana Center, Ho‘okipa Terrace, (808) 947-8818, jadedynastyhawaii.com, @jadedynastyseafoodrestaurant

Without hesitation, Liu says the hardest dim sum dish to make is the shrimp dumpling. The rounds of dough are not rolled out but smeared into circles with the broad side of a cleaver. They must be thin, but not so thin they tear when folded around the filling. They’re folded only on one side, with a minimum of 10 pleats— more pleats signal the skill of the dim sum chef.

3 SHRIMP AND CHIVE BUNS

These green buns, which use a wheat starch dough similar to the har gow but rolled out with a wood rolling pin, are tinted with spinach juice and a touch of food coloring. Then they’re deep-fried, yielding a crisp and slightly chewy exterior.

4 SEAFOOD DUMPLING IN GINSENG SOUP

Made with the same dough as har gow, a single dumpling is filled with shrimp and scallops and served in a delicate broth infused with ginseng.

5 DEEP-FRIED TARO PUFFS

Taro is cooked and mashed and mixed with liquid chicken fat, then formed into a football shape around ground chicken and shrimp, placed on a rack and carefully lowered into the deep fryer, forming a lacy netting.

6 SNOW MOUNTAIN CHAR SIU BUN

This is Jade Dynasty’s bestselling item, with more than 150 buns (three per order) served a day. This newer style of baked char siu bao features a bun frosted with powdered sugar and cream before baking. It emerges from the oven with a crumbly sugar crust.

PHOTOGRAPHY BY OLIVIER KONING AND AARON K. YOSHINO

TIM HO WAN

HO WAN, A CHAIN THAT ORIGINATED IN HONG KONG, offers a tightly edited menu specializing in dim sum only, served from morning to night. The details shine here, from the suppleness of the wrappers to the slightly sweetened soy sauce available at the table. Jean-Pierre Choy oversees all the Tim Ho Wan kitchens around the country (and soon, Europe), opened by Japanese conglomerate WDI Group. The cooks at Tim Ho Wan Waikīkī are primarily from mainland China.

Royal Hawaiian Center, Suite B-303, (808) 888-6088, timhowanusa.com, @timhowanwaikiki

BEST DIM SUM BRONZE

Special THANK YOU to all of our vendors and suppliers. And a big MAHALO to all those who voted for us at this year’s Hale Aina Awards!

MAHALO NUI LOA

(808) 212-9282

naturewaikiki@zetton-inc.com

1 PAN-FRIED RICE ROLL WITH XO SAUCE

Unfilled rice rolls are stir-fried with a house-made XO sauce, a dried seafood and chile condiment.

2 STEAMED RICE ROLL

For these, a thin sheet of rice flour batter is poured onto a moistened cloth and placed in a special steamer. Immediately after steaming, and while still hot, the sheet is peeled off the cloth and tightly rolled around any fillings—beef, pork or shrimp—or left plain.

3 HAR GOW

The cooks at Tim Ho Wan, like at Jade Dynasty, say the deceptively simple har gow is the most difficult dumpling, requiring the most technique, from the flattening of the wrappers to the folding. The filling, made with just shrimp and pork fat, is whipped for 30 minutes with ice cubes in an industrial-sized mixer to create a crisp succulence once the dumpling is steamed. The wrappers are made with a ratio of 14-to-1 wheat starch (not flour) to cornstarch.

Different wrappers for different dumplings are carefully calibrated to create the right texture—the har gow dough, for example, is chewier than the softer shrimp and chive dumpling.

4 BLANCHED LETTUCE

Chinese people don’t traditionally eat a lot of raw vegetables—this preparation will open your eyes to iceberg lettuce outside of the bun and wedge salads.

5 BAKED BARBECUE PORK BUN

Tim Ho Wan’s pork bun also features a filling made with a house-made char siu that’s glazed with honey. The buns are crowned with a swirl of butter, sugar and eggs before baking—it melts over the entire baked bao, encasing it in a thin sugar cookie crust.

6 PAN-FRIED NOODLES

While almost everything is made inhouse, Tim Ho Wan sources these thin noodles from Yat Tung Chow Noodle Factory in Chinatown.

Gold - Best New Restaurant

Silver - Best Cocktail Program

2022

2022

Designer Beer Takes Flight

FROM A SURFING SKELETON TO A PSYCHEDELIC TOAD, HANA KOA BREWING CO.’S BEER LABELS STAND OUT FROM THE CROWD.

BY KATRINA VALCOURT

BEST BREW PUB

IT'S

EASY TO RECOGNIZE Hana Koa Brewing Co.’s beer cans in grocery stores—look for the labels with bold colors and playful designs, like a Chewbacca with a head of hops drinking a pint, a dinosaur smoking a pipe or a guava-powered cyborg.

Many of these designs are from the minds of marketing director Riley Johnson, who is Hana Koa’s in-house graphic designer, and tattoo artist Xavier Urbano, who has done more than 50 labels for Hana Koa in the past two years. They take turns creating designs for new beers every week—Hana Koa is nothing if not prolific—which includes labels for monthly collaborations with other businesses and nonprofit organizations, as well as internal graphics and merchandise. That’s a pretty high turnover, but “honestly I love it,” Johnson says. “The pace pushes your creativity.”

For each new beer, head brewer Josh Kopp comes up with some descriptors and briefs the team on the concept. “Josh gets super creative with the styles of beer that he chooses to make,” Johnson says. “I can’t even imagine being up in his head.” She and Urbano decide whose style would fit each design better, then they split up the work. Kopp gives the pair a lot of flexibility, and they often work together to help with the name or description. The process usually takes about a month, though this summer they decided to change the concept of one beer at the last minute, to help pay the medical bills of a team member’s daughter who was in a moped accident. Despite the late change, they were able to redo the artwork for Rollin’ With the Homies that day—one of the perks of having a designer on staff.

Since she started working at Hana Koa in July 2021, Johnson has designed 21 cans. “This might be biased because I am a graphic designer, but I know that I buy beer based on the label,” she says. “Initially when I first found out about Hana Koa, right away I was like, oh my God, I’ve never seen cans like these before. No other brewery in Hawai‘i is producing this style of work or beer.”

962 Kawaiaha‘o St., (808) 591-2337, hanakoabrewing.com, @hanakoabrewing

Here are some of Johnson and Urbano’s favorites:

Feels Like Summer

If you look closely, you’ll see images of ‘Iolani Palace and Aloha Tower on the can. “The color scheme and the Corvette melting the pavement represent the heat that summer brings,” says designer Xavier Urbano.

The Longest Wave

“This is my favorite design I’ve done so far,” says marketing director Riley Johnson. “I really got to lean into my personal style and have fun with it. We were playing with ideas of the skeleton hanging 10 on the ‘longest wave’ for eternity.”

BRONZE WINNER

Snoop Pogg

“We came up with the name last year and were waiting for the perfect time,” Johnson says. “The design pulls on passionfruitorange-guava illustrations with the infamous Snoop smoking an orange peel.”

Shine a Light

“I created this design with creative direction from Chrissie [Kopp, director of operations]. She wanted to represent a beacon of hope for the victims of sexual harassment and misconduct,” Urbano says. “The simplicity of the design represents my traditional tattoo background.”

Cheehoo Chongers

This beer was brewed in honor of Camille Chong, who has been living with Stage 4 metastatic breast cancer for more than five years. “Brewing her own beer was on Camille’s bucket list,” Johnson says. A portion of proceeds went to the nonprofit cancer research organization Metavivor.

Slo Chill Pils

“With this design I wanted to make it so that anyone who looked at the can long enough would have a glimpse of what it’s like to have that psychedelic feeling,” Urbano says. “The toad and the mushrooms guide you into your slow and chill journey.”

Gyotaku Japanese Restaurants

Pearl City | King St/McCully | Niu Valley gyotakuhawaii.com

Gyotaku is THE ‘go-to’ place where locals & kama’aina gather for authentic Japanese cuisine and ‘oishii’ hapa recipes like Nattochos, Crab Cake Lettuce Wraps, and Okinawan Sweet Potato Pie. Great for important events or pauhana pupus, beer, wine, & sake. One bite, and we know you’ll be back for more.

Vons Chicken

O‘ahu: Pensacola, Makaloa, Waimalu, Downtown, Waikiki, Kaimuki, Ewa Beach, Mililani (newly open), Waianae(newly open), Hawaii Kai (newly open)

Maui: Kahului, Kihei (newly open) @vonschickenhawaii

What is Vons Chicken? Vons Chicken is the REAL K.F.C. (KOREAN FRIED CHICKEN) franchise from Korea. There are a variety of flavors from regular fried, shoyu, korean seasoned (mild/spicy) honey butter, snow, and garlic to satisfy any cravings.

From food festivals to virtual events to concerts, each week we’ll share our top picks for fun things to do on your downtime. Say goodbye to boredom and start living your best life ever.

MAHALO TO:

HAWAII

photos: courtesy of hawai‘i theatre center

A special message from the PRESIDENT

AND CEO

Aloha,

On September 6, 1922, Mr. John Magoon and Mr. Joel Cohen of the Consolidated Amusement Company opened the doors to the Hawai‘i Theatre for the very first time. First-night theatregoers were dazzled by the spectacular interior of gilded Corinthian columns, the magnificent dome with delicately carved molding, and an allegorical mural of the goddess of drama wearing no more than Eve. It was the words of Lorrin Thurston, editor of The Honolulu Advertiser, who wrote “A THING OF BEAUTY IS A JOY FOREVER and never more true than when applied to the new Hawai‘i Theatre.”

From then on, you could say resilience, strength, innovation, and community would be the ideal words of describing the last 100 years of the Hawai‘i Theatre. Remaining a cornerstone of the community, the Theatre would face adversity, yet through the generosity and support of so many, the iconic Theatre would stand tall with pride. With a renewed sense of commitment, the Hawai‘i Theatre Center will continue the preservation of this treasure while presenting world-class entertainment, increasing access to the arts, and expanding educational programming for Hawai‘i’s keiki.

Today, we celebrate the work of Mr. Magoon, Mr. Cohen, the Consolidated Amusement Company, and the many others who paved the pathway before us. The Hawai‘i Theatre Center board of directors, staff, and volunteers have made a commitment to ensuring the iconic Hawai‘i Theatre remains right here on the corner of Bethel and Pauahi streets for the next century and beyond.

This remarkable achievement of the restoration, renovation, and continuous operation of the historic Hawai‘i Theatre is a tribute to those who focused on a single goal to leave a legacy to enrich the cultural life of Honolulu for future generations to come. We welcome you to celebrate 100 years with us as we look to preserve the past, perform today and prepare for tomorrow. Until then, we look forward to welcoming you at the Hawai‘i Theatre.

Gregory D. Dunn President and Chief Executive Officer Hawai‘i

Mahalo,

Theatre Center

CONTENTS

THE BEGINNING

How a century-old icon came to be.

by marisa heung

ENRICHING EDUCATING ENGAGING

How Hawai‘i Theatre Center’s Educational Program series makes the arts more accessible for keiki.

by maria kanai

PARTNERS FOR THE ARTS

How Hawai‘i Theatre Center’s program helps local nonprofits.

by maria kanai

THE NEXT YEARS

Only with a resilient spirit, and the support of our community, can Hawai‘i Theatre remain for the Islands’ future generations.

by marisa heung

STAFF BOARD OF DIRECTORS

PHONE: (808) 537-9500 FAX: (808) 537-9500 honolulumagazine.com

PUBLISHER Scott Schumaker scotts@pacificbasin.net (808) 534-7541

ASSOCIATE PUBLISHER

Donna Kodama-Yee donnaky@honolulumagazine.com (808) 534-7501

STRATEGIC PARTNERSHIPS

Michelle Stofle

MARKETING DIRECTOR

Christy Davis

BRANDED CONTENT MANAGER

Marisa Heung

SPECIAL PROJECTS COORDINATOR

Chloe Tomomi

PROJECT WRITER

Maria Kanai

CONTRIBUTING WRITER

Terri Inefuku

CREATIVE DIRECTOR

James Nakamura

SENIOR ART DIRECTOR

Christine Labrador

ART DIRECTOR

Kayla Rivera

ON THE COVER

Photo by Aaron K. Yoshino Design by Christine Labrador

WRITTEN, DESIGNED AND PUBLISHED BY:

HONOLULU Magazine, September 2022. © 2022 by aio Media, 1088 Bishop St., Suite LL2, Honolulu, HI 96813.

The BEGINNING

How a century-old icon came to be.

by marisa heung >

THE YEAR IS 1912. Following the annexation of Hawai‘i to the United States just 14 years prior, the Islands are beginning to buzz with the promise of change and opportunity coming in from the Mainland.

The most promising among them: A new form of entertainment taking the nation by storm. An audience that had heretofore known only the likes of stage shows such as vaudeville and opera now found itself captivated by the revolutionary motion picture, which required no live actors; just a screen, a projector and a musician to accompany the film with music.

Arriving to Hawai‘i in 1898, the same year as the annexation, was Joel C. Cohen, a young Buffalo, NY, native with an enterprising spirit who had heard of new opportunities in Hawai‘i. He settled into the entertainment industry, taking over management of the Orpheum Theatre and, in 1906, establishing it as the state’s first movie theater. In 1912, he envisioned an

The BEGINNING

ambitious new project for Hawai‘i. He imagined a new, state-of-the-art theater that could stand among the top theaters in the nation in both beauty and modernity; a venue that would offer an experience that was as much of a masterpiece as the many productions it would feature. Later that year, Cohen partnered with John Henry Magoon to form the Consolidated Amusement Co., which would manage a growing collection of theaters and the many types of entertainment— stage productions, operas, films and more—they would showcase.

For this endeavor, Cohen and Magoon began by enlisting the help of leading Honolulu architects Marshall Webb and Walter Emory, who spent a year visiting prominent theaters in the U.S. and throughout Europe before beginning to draft the design.

Ground was broken in 1921 and, a year later on September 6, 1922, the doors of the grand new Hawai‘i Theatre opened for the first time to the public. Its first movie, The Three Musketeers, played to a sold-out house the very next day. Lovingly designed and painstakingly constructed, Consolidated Amusement’s exquisite, half-million-dollar venture was met with endless praise: The Architectural Review declared her one of the most breathtaking theaters the world has seen, while local newspapers affectionately dubbed her “The Pride of the Pacific.” Drawing inspiration from the great theaters the duo had visited prior, Walter and Emory designed the Hawai‘i Theatre to be a stunning display of classic European architecture, embellished with columns, a golden dome ceiling, plush carpets, scroll ornamentation, silk hangings and an ex-

pansive mural above the stage painted by American artist Lionel Walden. At 1,760 seats, she was the state’s largest and most magnificent theater, and she was named Consolidated Amusement’s flagship venue.

But beyond the Hawai‘i Theatre’s stunning veneer was a venue with state-of-the-art bones that included an air-cooling system, located beneath the ground level seating, which pushed air over a giant block of ice and up to the seated audience members during tropical summer days. Below the stage was a dedicated room for a Robert Morton pipe organ, used to accompany vaudeville shows and silent films. Once the second-largest producer of theater pipe organs in the U.S., today O‘ahu’s only remaining Robert Morton pipe organ resides in Hawai‘i Theatre.

The Hawai‘i Theatre remained a go-to for movie watching for decades until the 1950s, when a new entertainment technology—the television—emerged and began making its way into living rooms. As this new form of viewing took over, the theater’s popularity dwindled. It was on

Entrepreneur Joel C. Cohen and John H. Magoon form Consolidated Amusement Company.

photos: courtesy of hawai‘i theatre center

the brink of extinction, threatened with demolition, when in 1984, the nonprofit Hawai‘i Theatre Center was formed with the purpose to protect and nurture the historic landmark so that it may continue to be enjoyed for generations to come.

Now, a century later, the Hawai‘i Theatre remains an iconic piece of Hawai‘i history, honored for her resilience, revered for her beauty and celebrated for her continuing role in Honolulu’s arts landscape.

1921

1922

1923

“Lovingly designed and painstakingly constructed, Consolidated Amusement’s exquisite, half-million-dollar venture was met with endless praise.”

Hawai‘i Theatre groundbreaking on site of old Bijou Theatre on June 10.

Hawai‘i Theatre opens with great ceremony presided over by Governor Farrington on September 6.

Honolulu Symphony gives first concert at Hawai‘i Theatre on February 20.

Educating, ENRICHING

ENGAGING ENGAGING

by maria kanai

FOR OUR KEIKI, a quality arts education can do much more than give them a creative outlet. Studies have shown that experiencing and creating art can inspire confidence in kids, teach them valuable life skills, improve verbal, math and critical thinking skills, and connect them with their surrounding community and the world at large. In 2007, the Hawai‘i Theatre Center launched an Educational Program series to offer a variety of opportunities each year for children in pre-K through 12th grade. Today, the program serves more than 10,000 individuals each year— with approximately one-third of participating students attending Title 1 public schools.

Through the program, Hawai‘i Theatre Center presents a range of productions and partners with the organization PAPA Hawai‘i to offer acting, voice and dance classes, a summer intensive theater camp and a series of affordable live theater productions for audiences of all ages. Families can attend a free, two-day band festival every April that features students from three nearby Title I middle schools. Additionally, the partners offer two annual cultural programming productions: a taiko performance and a Lunar New Year celebration, a 25-year strong tradition

that is co-chaired by Hawai‘i Theatre Center’s senior leadership team.

In response to critical impacts caused by the coronavirus pandemic, the Educational Program series has adapted by continuing to provide high-quality theater productions through live streams and television broadcasts for keiki and the community. In collaborating with Educational Program partners and vendors, the Hawai‘i Theatre Center was successful in producing live-streamed productions of Disney’s Moana Jr., Nickelodeon’s The SpongeBob Musical and Music Theatre International’s All Together Now. As a result, the barriers to enjoying the program were removed for hundreds of school groups

1929

1929

1936

photos: courtesy of hawai‘i theatre center/joe marquez, courtesy of hawai‘i theatre center

Hawai‘i Theatre becomes first theater in Hawai‘i to be wired for sound on July 13.

Showboat first talkie shown at Hawai‘i Theatre, debuts in December.

Hawai‘i Theatre opens with art deco remodel on May 23.

Characters in Honu by the Sea

and thousands of viewers across the state, who were not previously able to join in the theater’s programming due to geographic and economic barriers. The theater has established plans that will allow for live streams to continue on an as-needed basis.

By greatly reducing cost barriers, making high-quality arts opportunities more accessible to schools and reaching out to underserved populations, Hawai‘i Theatre Center’s Educational Program series can open the door to many of those who are often excluded from the benefits of arts participation.

In spring 2022, Hawai‘i Theatre Center and partner PAPA Hawai‘i presented the state’s premiere of Disney’s Tarzan: The Stage Musical, which became the first musical presented live and in person since the pandemic began. With an overwhelming demand for in-person performances, the production reached more

than 4,500 attendees over six shows. “The Theatre is pleased to meet this demand, especially for keiki who did not have the opportunity to experience these performances for more than two years,” says Gregory D. Dunn, Hawai‘i Theatre Center’s president and chief executive officer.

With the generosity of funders and supporters like ABC Stores, Bretzlaff Foundation, Regal Foundation, McInerny Foundation, Kōkua Initative by Waiākea Hawaiian Volcanic Beverages and Hawaiian Telcom, Hawai‘i Theatre Center hopes to reach 8,000 students this school year and increase growth each year following. “We remain committed to the important role the theater plays in offering accessible, affordable and high-quality arts education opportunities for public school students and the community at large,” says Dunn.

The Educational Program series is led by Hawai‘i Theatre Center’s senior team, which is

25th Lunar New Year Celebration January 22, 2023

Honolulu Guitar Festival April 28–29, 2023

Military Appreciation Concert May 20, 2023

responsible for organizing more than nine annual productions and performances throughout the year. “I truly commend our team and partners for their tireless commitment to ensuring that our keiki have access to performing arts, whether in-person or via live stream,” says Dunn.

With many programs halting productions during the pandemic, the Hawai‘i Theatre Center stepped up to the challenge to provide several musical productions via live stream to all of Hawai‘i’s youth—at little to no charge per viewer. Each production presented itself in a different way, and, through the commitment of partners and vendors, safety protocols and social distancing rules were enforced to ensure a safe production.

1937 1941–1945

“The impacts from the global pandemic have only accelerated the reduction in arts and music programs as schools, both private and public, cope with smaller budgets and less resources,” says Dunn.

“It is the commitment of the Hawai‘i Theatre Center and our Educational Program team that every keiki will have the opportunity to experience a high-quality live performance right here in the iconic Hawai‘i Theatre.” Dunn says a big part of that commitment is continuing to keep Hawai‘i Theatre Center’s ticket prices for these students the same as it has for the past 15 years.

The cost to attend ranges from $5 to $10 for youth and adults, providing an opportunity for so many to be able to attend the high-quality live productions. It is the commitment of the Hawai‘i Theatre Center to be able to continue to increase access to the arts. “The Educational Program team discussed that it was important for the organization to keep the ticket prices the same as we have done since 2007. In the times that we are in, the team

photos: courtesy of papa hawai‘i, courtesy of hawai‘i theatre center, courtesy of hawai‘i theatre center/chauna-marie makainai

Hawai‘i Theatre’s Robert Morton organ moved to newly opened Waikīkī Theatre.

Downtown center of entertainment where Hawai‘i and 5 other theaters serve sailors on leave.

NBC’s popular Silver Dollar Quiz Show comes to Hawai‘i Theatre for remote broadcast by KGU radio that is sent to 131 NBC stations nationwide on November 1.

wants to ensure that all keiki, families and the community continue to have access to attend these shows,” shares Dunn.

In July, the Hawai‘i Theatre Center and PAPA Hawai‘i production of Disney’s Frozen Jr. had special components including providing tickets to Make-A-Wish Hawai‘i wish kids and families throughout the run. In addition, HTC partnered with the Aloha United Way Society of Young Leaders for the 15th annual School Supply Drive and collected much-needed supplies for keiki in public schools.

As the Educational Program team looks toward expanding, it is already in the works of increasing access to neighbor island keiki through live streams. Even though there is no definite timeline, the team is confident that the expansion will happen in the coming years. Additional plans include resuming shows by the Hawai‘i Young Actors Ensemble and PBS Kids, and developing a traveling production and preschool program.

“The team is always looking for ways to expand the program and adding more educational shows that will be great for the kids on all levels. We are thankful to our volunteers, partners and vendors who work to make this all possible,” says Dunn.

1969

Just before the Princess Theatre is demolished, the Aloha Chapter of the American Theatre Organ Society saves the pipe organ and moves it to the Hawai‘i Theatre, just two blocks away, on March 25.

1978

The Educational Program series is now launching its fall musical, The Wizard of Oz. Other productions in the 2022–23 season include HOT Opera Express, Taiko Center of the Pacific with Kenny Endo, the annual Punchbowl Music Festival and much more. For more information, email education@ hawaiitheatre.com.

1982

Concerned citizens gather to save Hawai‘i Theatre (Ray and Claire Engel, Bill Joor, Glenn Mason) in November.

Hawai‘i Theatre is listed on the state and national historic registers on November 14.

A student standing in the wings

PARTNERS ARTS

PART NERS f e ARTS

How Hawai‘i Theatre Center’s program helps local nonprofits.

by maria kanai

photo: courtesy of hawai‘i theatre center

Audience gets ready for IMUA at Hawai‘i Theatre.

THE HAWAI‘I THEATRE IS A HISTORIC SITE and has been a leading performance venue in Honolulu’s downtown and Chinatown districts for decades. Throughout its rich history, the iconic Hawai‘i Theatre has hosted thousands of performances, fundraisers, talent shows and musicals, welcoming a yearly average of 100,000 patrons of different ages, ethnicities and socioeconomic backgrounds. Nearly 70% of shows at the Hawai‘i Theatre each year are produced by other nonprofit arts organizations.

For companies and productions that want to set themselves apart, the stateof-the-art equipment and sheer beauty of the century-old venue cannot be compared. The pARTners for the Arts program aims to lower the financial risk of producing shows by enabling local nonprofit performing arts and culture organizations to present at the historic Hawai‘i Theatre at a reduced cost. Since 2018, the pARTners for the Arts program has benefited more than 75 nonprofit organizations such as the Hawai‘i Symphony Orchestra, Phoenix Dance Chamber, Tau Dance Theatre, Miss Chinatown Hawai‘i Scholarship Pageant,

1984

1984

Carole Kai Charities, Sounds of Aloha Chorus, Nā Maka O Pu‘uwai Aloha, I'm A Bright Kid Foundation, Aloha Medical Mission, EPIC ‘Ohana, Best Buddies International, Historic Hawai‘i Foundation, Sacred Hearts Academy, Hawai‘i Academy of Recording Arts, Ballet Hawai‘i and more.

Prior to 2018, the cost to rent the Theatre was $2,500. However, faced with the rising costs of preserving and

1986

Hawai‘i Theatre Center is incorporated as a nonprofit on April 28 after Consolidated announces nonrenewal of lease. Organist Frank Loney is its first president.

Consolidated Amusement closes its doors after 62 years of continuous operations on June 30.

Adjacent Austin, Pantheon, and McClean buildings are purchased.

U.S. Marine Corps Forces Pacific Band performs for Toys for Tots

photos: courtesy of hawai‘i theatre center, courtesy of hawai‘i theatre center/david franzen photography

operating a historic venue, the Hawai‘i Theatre Center was forced to drastically increase its fee to reflect the theater’s daily operating costs. Many nonprofit arts and culture organizations could no longer afford to use the venue for their annual fundraisers and ho‘ike (performances). Some had to forgo them entirely, until the Hawai‘i Theatre Center found a solution.

The Center taps into its donor and patron database to fund pARTner for the Arts so that local organizations and groups can afford to perform at the Theatre. “We are fortunate to have generous funders who support this program annually,” says Gregory D. Dunn, president and chief

executive officer of Hawai‘i Theatre Center. “Each dollar raised toward this program provides critical support to a local nonprofit who would otherwise be unable to perform on our stage.”

Emerging from the pandemic, the Hawai‘i Theatre Center has seen overwhelming demand from nonprofits seeking support from this program. “The number of organizations on our waitlist exceeds our current funding capacity,” says Dunn. “Our team is working hard to increase funding to meet this ever-growing need.”

Fortunately, support for the program is also growing as the Center builds a community network to back local performances and boost ticket sales. “We’re grateful to our donors and volunteers for ensuring these organizations have a successful event, from the first patron to the last performer leaving the building.”

1986

1987

1990

“Without access to Hawai‘i Theatre, nonprofit arts and culture organizations lose an essential venue for their fundraisers.”

Hawai‘i Theatre’s new president Dr. Norm Goldstein and wife Ramsey purchase option on Theatre from Bishop Estate in February.

John H. Magoon Jr., son of co-founder, makes $500,000 cash gift that allowed Hawai‘i Theatre to purchase the fee simple and Theatre on July 9.

Hawai‘i Theatre closes for restoration on March 1.

Repairs to the exterior of Hawai‘i Theatre.

NEXT YEARS

NEXT YEARS

Only with a resilient spirit, and the support of our community, can Hawai‘i Theatre remain for the Islands’ future generations.

by marisa heung

IF THE LIFE OF HONOLULU’S HISTORIC LANDMARK thus far could be summed up in one word, it would be resilience. In the ’60s, as the downtown scene began to evolve away from entertainment and shopping, attendance at the Hawai‘i Theatre slowly faded. Finally, in 1984, Consolidated Amusement Co. made the difficult decision to close the doors of its flagship theater for good. Once an extravagant gathering place for residents to find joy in entertainment, the Pride of the Pacific now sat neglected, deserted and falling apart. All hope seemed lost— until a group of volunteers from the community decided it was time to take charge of her fate.

This group, determined to save the life and legacy of the historic place, united to form the nonprofit Hawai‘i Theatre Center. The community came together to raise funds, and, along with a generous $500,000 donation from John H. Magoon, Jr., son of one of the Theatre’s original co-founders, Hawai‘i Theatre Center was able to purchase both the building and land, thereby saving Hawai‘i Theatre from certain demolition.

Joined by New York City architecture firm Hardy Holzman Pfeiffer and, later, Honolulu’s own Ferraro Choi, Hawai‘i Theatre Center closed the doors of Hawai‘i Theatre on March 1, 1990,

1992

1996

to begin the painstaking process of restoring the theater to her previous grandeur. It was a labor of love, guided by a vision of adapting the theater for success in her next life.

Several years, colossal fundraising efforts and the generous aid of many others later, Hawai‘i Theatre reopened in 1996, though renovations to her exterior remained ongoing through 2005. Along with extensive interior and exterior restorations, the process included an expansion of the backstage

1997

Hawai‘i Theatre restoration construction commences on March 5.

Hawai‘i Theatre reopens with completed interior on April 28.

Hawai‘i Theatre celebrates 75th anniversary with Diamond Jubilee Celebration on September 6.

photo: courtesy of hawai‘i theatre center/david franzen photography

View from balcony seating in 1992

and front stage, an abundance of new stage equipment that would modernize her into a performing arts center and, of course, her most iconic feature: a neon marquee. The original building’s many fine details—the ornate scroll molding, wall-to-wall Lionel Walden mural above the stage, extraordinary glowing ceiling dome with intricate floral designs, and more—were brought back to life, and with it, all the glamor and charm of Hawai‘i Theatre that our city fell in love with in 1922. The Theatre’s grand revival was led by Sarah Richards, who raised $32 million during her 25-year tenure as Hawai‘i Theatre Center president. “We would not be here without Sarah’s tireless efforts to revitalize the Theatre, and her commitment to elevating arts and culture in Hawai‘i,” said Timothy Howell, Hawai‘i Theatre Center board chair. “We’re also indebted to our countless volunteers, funders, and community supporters.”

As other theaters quietly shuttered their doors, the Pride of the Pacific managed to adapt to changing times.

When the coronavirus pandemic forced the Theatre to close to the public, the Hawai‘i Theatre Center launched Moonlight Mele, a concert series that live streamed intimate performances from the Theatre stage to audiences around the world. “In a time of isolation, we were able to spark hope and much-needed connection, not just for the Theatre, but for our local musicians and our community,” said Howell.

This month, as the Hawai‘i Theatre celebrates its milestone centennial, the nonprofit is working hard to ensure its survival for the next 100 years. Maintenance alone costs $100,000 monthly, in part due to air conditioning that runs around the clock to protect the interior from Hawai‘i’s tropical environment. The century-old building is also in need of $20 million in improvements and repairs that preserve its historic details and finishes.

“We’re constantly looking at creative and modern ways to fundraise while engaging and inspiring the community,” said Hawai‘i Theatre Center board member Cathy Lee, who is spearheading the Theatre’s year-long Centennial Celebration. “When it comes to the Theatre’s centennial, celebration and support go hand in hand.”

The Theatre’s Centennial Concert and Soirée on September 10 is a perfect example. The night

Hawai‘i Theatre Center launches Educational Program.

2004

2007

2020

Hawai‘i Theatre closes doors due to pandemic on March 1.

“It is now our turn to continue paving the way for future generations to enjoy this special place.”

GREGORY DUNN

President and CEO, Hawai‘i Theatre Center

Hawai‘i Theatre Center completes restorations of the exterior on November 4.

begins with Through the Decades, an exhilarating show that takes the audience through 100 years at the historic Theatre through music, dance and storytelling. Once the curtain falls, the Theatre’s valued donors are escorted to a glamorous Soirée that transforms Bethel Street into an oasis of old Hawai‘i with a sumptuous dinner by renowned chef Vikram Garg of TBD—a special mahalo for their generosity.

The commemorative Centennial poster also reflects this philosophy. A vintage-inspired illustration is meant to evoke nostalgia with the Theatre’s iconic façade draped in ‘ilima lei and hibiscus, a flower that appears along the Theatre’s archway and in its logo. In the corner, a modern touch ap-

2021

pears: a QR code encouraging onlookers to gift the Theatre with monetary contributions in the form of virtual lei.

Lee said, “We invite everyone— large and small businesses, organizations and individuals—to practice our local custom of giving lei. Your kōkua will ensure the Hawai‘i Theatre remains a cornerstone of our community, supporting our artists, families, and keiki for generations to come.”

For information about the Centennial Celebration and to gift virtual lei to our beloved Hawai‘i Theatre, visit www.hawaiitheatre.com/centennial.

Hawai‘i Theatre Center reopens its doors on November 5 after 20 months of closure.

Hawai‘i Theatre celebrates 100 years with year-long celebration.

photo: courtesy of hawai‘i theatre center/david franzen photography

Volunteers look at 2nd floor spaces

“Your kōkua will ensure the Hawai‘i Theatre remains a cornerstone of our community, supporting our artists, families, and keiki for generations to come.”

CATHY LEE Hawai‘i Theatre Center board member

HAWAI‘I THEATRE CENTER STAFF

Gregory D. Dunn President and Chief Executive Officer

Ron McDaniel Director of Communications

Jordan Nakanishi Senior House and Box Office Manager

Pierrce Furukido Assistant Box Office Manager

Shelby Burns Senior Development Associate

Kristi Meechan Office Administrator

Jalen Pagtulingan Donor Relations Associate

Lisa Lee Box Office Associate

Arjay Agustin Facilities Custodian

HAWAI‘I THEATRE CENTER BOARD OF DIRECTORS

CHAIR

Timothy Howell Executive Director, Advisory Services Ernst & Young

OFFICERS

VICE CHAIR

Beth Whitehead Executive VP & Chief Administrative Officer American Savings Bank

TREASURER

Coby Barbata Vice President, Corporate Banking First Hawaiian Bank

DIRECTORS

VICE CHAIR

Rick Fried Founding Member, Attorney Cronin, Fried, Sekiya, Kekina & Fairbanks

SECRETARY

Cathy Lee President and Designer

Cathy Lee Style

Peter Apo President The Peter Apo Company, LLC

Jordan Brant Senior Vice President, Leasing Alexander and Baldwin

Steve Colón President, Development—Hawai‘i Divisions Hunt Companies

Carol Davis

Executive Vice President, Sales and Retention Atlas Insurance Agency

Phyllis Freitas Director of Business Sales Hawaiian Telcom

Dr. Tyrie Jenkins, MD Ophthalmologist and Eye Surgeon Jenkins Eye Care

Marilyn Katzman Community Volunteer

Chris Lee Director Academy of Creative Media

Mathew Lee Chairman and Founder Elite Construction

Don Murphy Owner Murphy’s Bar and Grill

Sarah M. Richards President Emerita

Dr. Ligaya Stice, MD Physician Kapiolani Medical Center

Kenneth S. Robbins Partner

Bronster, Fujichaku, Robbins

Carolyn Berry Wilson Community Volunteer

H AWAI‘I THEATRE CENTER EXECUTIVE OFFICER

Gregory D. Dunn President and Chief Executive Officer

Sarah M. Richards President Emerita

CONGR ATULA TIONS ON 100 YEARS

Celebrating the Hawai‘i Theatre Center for 100 years of strengthening our community through their commitment to culture and the arts.

BY JAMES CHARISMA contributor

Picture This

An impromptu quest to figure out film photography.

IRECENTLY JOINED TWO PHOTOGRAPHER PALS, ADAM JUNG AND KIM TAYLOR REECE, to remove a gigantic darkroom sink from Kim’s former art gallery on the North Shore. While over there, we found a box filled with old film cameras. Kim wasn’t sure if they still worked but invited us to keep any we liked. I snagged a Minolta X-700, a single-lens reflex camera that shoots 35 mm film stock. If you don’t know what any of that is, don’t worry, because I didn’t either. Later, over cheeseburgers and beers, Adam graciously explained to me how film cameras operate and what “f-stop” and “aperture” mean.

I don’t know this stuff because I’ve never had to know this stuff. Gone are the days of needing to buy a disposable camera to commemorate special occasions; nowadays, even the simplest smartphone has a camera. And not just any camera, but one that shoots high-definition images and video and allows you to easily zoom, focus or adjust the lighting by tapping the screen. Years ago, another photographer and food stylist friend of mine, Karen Jones, hosted annual exhibitions of contemporary photography called Phone Camera Photos, which showcased high-quality pictures taken on cell phones. Back then, being able to take sophisticated phone photos was impressive. Today, it’s the norm.

But that night, holding a film camera felt empowering. Forget iPhones—this was the real deal, baby. I visited the film camera shop Treehouse in Kaka‘ako, where the friendly staff showed me what types of film stock were available and offered to develop my finished rolls. (I still thought Longs processed film; shows what I know.) I started going on walks through Chinatown and Waikīkī to photograph interesting buildings and street scenes. During COVID-19 lockdown(s), it seemed like everybody picked

up a hobby. I picked up a camera. Maybe taking film photos could be my version of baking bread or knitting?

Very quickly, I learned that shooting film can be a real pain in the ass. Figuring out the proper focus, remembering to set the right film speed, not accidentally popping open the back of the camera and exposing the roll to daylight … Even simply loading film the right way takes skill. Whenever I met with friends between COVID spikes, I’d be extra careful when taking their pictures because each roll of film costs $15 or so. It’s another $15 to get it developed and digitally scanned or printed at Treehouse. With tax, the average 36-shot roll of film costs roughly $1 per photo. These captured moments were costing a premium.

Then I realized that, thanks to the pandemic, moments spent with friends were at a premium. Film just forced me to slow down and, well, take stock. Every photo takes time to get right, and you sometimes still get it wrong. Then you have to drop off the film and wait some more. When the photos finally arrive, you feel like a little kid opening presents on your birthday. Half the images might be out of focus, or poorly lit or composed, but there are usually a few winners that provide a real sense of accomplishment.

Of the thousands of photos I’ve taken over the years, the vast majority on a phone, some of the most significant have been my 200 or so film photos from these past few weeks. I can remember each one, if only because it took me forever to set up my camera to capture the moment. I tried explaining all this to a buddy later, and that I felt like I was finally settling into my new COVID hobby. To show off my skills, I gave her a picture I took from a few weeks back. My friend liked the photo but was disappointed—she was hoping I had baked her some bread.

Chart House, May 2022