By George F. Lee, Star-Bulletin
In a scene from the "Ulua: The Musical," from left, Karen
Hironaga is "Raylani," Vincent Vanderford is "Kayden,"
Amy Tamaribuchi is "Lylas" and Keith
Kashiwada is "Clyson."

Cataluna’s ‘Ulua’ tasty,
but undercooked

By John Berger
Special to the Star-Bulletin

Lee Cataluna's "Ulua: The Musical" is a promising premise awaiting further development.

She salts the script with enough current slang and local references to make this Kumu Kahua production a hit with local pidgin theatre fans, but it lacks the consistent brilliance that made her first play, "DaMayah," one of the best of the decade in local theatre.

"Ulua: The Musical": Through Dec. 4. Cost: $12 general, $10 seniors and unemployed, $5 students Thursdays; $15 general, $12 seniors and unem-ployed, $10 students Fridays, Satur-days and Sundays. Call 536-4441 Meet the playwright: Lee Cataluna and playwrights Tammy Haili'opua Baker, Margaret Jones and Victoria Nalani Knubuhl read from their works 7:30 p.m. Nov. 10 at UH-Manoa, Kuykendall Hall 410; free. Call 956-3774

Sean T.C. O'Malley sets Cataluna's lyrics to music. Few of their musical numbers add more than additional running time to the show. At least director R. Kevin Doyle adds texture by using live musicians instead of the karaoke-style synthesizer music tracks used in most pidgin musicals.

The live music adds ambiance to the story of Kayden Asiu (Vincent Vanderford) who drops out of UH, goes to Maui, and gets a job building rock walls with Clyson (Keith Kashiwada) and Butchie (BullDog). Clyson is happily married to Raylani (Karen Hironaga). Butchie is engaged to his high school girl friend, Charmaine (Lena Kaneshiro), but still desires her rival, Erlanda, the all-time slut of Maui.

Clyson and Butchie introduce Kayden to the joys of fishing for ulua (Cataluna frequently uses fishing as a metaphor for sex with good comic results). By the time Kayden's girl friend, Lylas (Amy Tamaribuchi), pursues him to Maui -- after three whole days of separation -- he is seriously committed to ulua fishing with the guys and in no hurry to marry her.

Kashiwada and BullDog fill their usual Kumu Kahua acting assignments playing a likeable local Asian everyman and a complex comic character respectively. BullDog is the catalyst in most of the brightest comic bits. Kashiwada reaffirms his versatility and range as well.

Hironaga is delightful individually and as a member of the ensemble. Tamaribuchi lays on a heavy stereotypical "local" accent as the designated ditz. Kaneshiro is a fine third.

A promising but underdeveloped subplot involves Kayden's latent interest in Charmaine. Kayden sabotages the lascivious Butchie at least once, and Charmaine seems dubious about Butchie as well, but the outcome is ambiguous. Lylas becomes more annoying as the story drags on.

Pam Sandridge (choreography) triples the entertainment value of the musical numbers. The three men shine as comic dancers on "Get Hooked" and "Opihi Girl." Sandridge likewise deploys the women to good comic effect on "Everything Is No Ka Oi On Maui."

Puamana Crabbe (costumes) uses color to indicate the shifting relationships between characters. Michael Harada (set design) also adds to the experience with rocks, sections of rock walls, colorful drop-in flats, and assorted ulua.

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