A new dawn of live entertainment hit the shores of Waikīkī in late 2024 with the unveiling of Cirque du Soleil’s latest production, ‘Auana. The pulse-pounding, emotionally gripping performance brings together an unparalleled group of world-class performers, culminating in an innovative, boundary-pushing show that fuses culture and performance. 

The site of this first-ever Hawai‘i resident Cirque du Soleil show is the recently renovated theater of the Outrigger Waikīkī Beachcomber Hotel. Translating to “wander” or “to venture off the beaten path,” ‘Auana is meant to guide guests through the history and mo‘olelo (tales or legends) of Hawai‘i which are brought to life via Cirque’s style of gravity-defying acrobatics and athletic performances. Stories like the first voyagers to settle the islands, the exciting height of Waikīkī’s beach boys, and the star-crossed lovers of Naupaka and Kaui are all part of the enchanting journey that ‘Auana shares with the world.

Woven throughout each segment is a trickster who adds a bit of comic relief between each awe-inspiring performance. Portraying this character is Hawai‘i-born Salvador Salangsang, who has had previous stints with Cirque at the MGM Grand in Las Vegas. His fond memories of growing up in the McCully and Waikīkī area make this performance in the heart of Waikīkī a full-circle moment. 

Bringing the vision to life is director and co-creator Neil Dorward, who bridges the space between the collective of Native Hawaiian creatives and the ensemble cast. Dorward, a director and producer from London, is celebrated as one of the world’s most up-and-coming commercial theater and television directors. In 2011, he directed Le Grand Cirque Adrenaline, which premiered at the Sydney Opera House, and went on to direct Le Noir—The Dark Side of Cirque, currently touring the world. In ‘Auana, Dorward emphasizes collaboration and partnership with a distinguished group of local luminaries, including Dr. Aaron Salā, Manaola Yap,  Kumu Hula Kai‘ilihiwa “Hiwa” Vaughan and linguist R. Keao NeSmith. 

Dr. Aaron Salā, who holds a doctorate in ethnomusicology from the University of Hawai‘i at Mānoa, was a cultural creative producer of ‘Auana. In this role, he helped ensure the stories told through the platform of ‘Auana remained true to Hawai‘i and Waikīkī. By pulling together stories of the past, especially those from nūpepa (Hawaiian language newspapers), Salā and his team incorporated the voices of the kupuna (ancestors) and the consciousness of old Hawai‘i into the modern for guests of the show to experience.  

The acclaimed designer Manaola Yap was brought onto the team to design the costumes, which needed to blend functionality and durability while helping to tell the stories portrayed in ʻAuana. Yap learned the art of costume creation under his mother, Kumu Hula Nani Lim Yap. He is best known for his knowledge of pre- and post-contact fashion and bold patterns, which evoke the beauty and geometry of nature. His wearable masterpieces bring visual vibrancy to the storytelling and pull audiences in with his intricate designs and attention to detail, which further ensures this Cirque production maintains alignment with Hawai‘i.

The choreographer of the show is Kumu Hula Kai‘ilihiwa “Hiwa” Vaughan, only one of five women to hold two of hula’s most coveted titles of Miss Keiki Hula (1985) and Merrie Monarch Miss Aloha Hula (1995). Vaughan joined the team of creatives upon the invitation of Salā, who brought Dorward and Cirque du Soleil production members to her hālau hula (a studio where hula is taught). There, her class performed a few kahiko (traditional hula) and an ‘auana (modern hula), during which Vaughan whispered the translated mele (song) into English to help Dorward and crew connect with the performance. Months later, when officially asked by Salā to be part of the team to create ‘Auana, she thought of her father, Palani Vaughan, who was a celebrated historian, recording artist and famous voice of Hawaiʻi who spent many years performing in Waikīkī. “Instead of asking why I was being asked to be part of this production, I thought of my father and how he dedicated his life to education and using his platform to share about the people of Hawaiʻi. I thought this opportunity was coming to me for a reason, and it was a decision made by the ‘āina (the land), by Akua (God) and by our kupuna,” says Vaughan. 

Once the team was assembled, they gathered to discuss the stories and legends of Waikīkī they wanted to highlight. An interesting aspect for Vaughan was how kaona (hidden meanings) were woven through the production. “For hula dancers, we try to learn the kaona, but, in this case, it was a unique opportunity to imbue the kaona into the performance and the underlying story of this entire production.” 

Vaughan and Yap worked in tandem to create the dance and costuming of the show before linguist Keao NeSmith was brought on to bring the pieces together. NeSmith, a Native Hawaiian linguist, educator and translator, also lent his expertise to developing the lyrics for the soundtrack, which are exclusively in ʻōlelo Hawai‘i (Hawaiian). 

In late September 2024, the cast arrived in Hawai‘i to learn, rehearse and prepare for opening night. For Vaughan and her fellow creatives, the commitment to the project left a profound mark on her following the show’s premiere. “Ever since September, I’d been thinking about the show daily, working on it, going to every rehearsal. Following the premiere, there was an emptiness, but I really love what we created as a group. I love that we are able to tell Hawai‘i’s stories on such a high level. I hope that the show helps to restore the light and reverence to Waikīkī and that kamaʻāina (those living in Hawai‘i) come to Waikīkī to be reminded of that. Waikīkī used to be the playground of our ali‘i (chiefs), but it no longer looks like that. The waters of Waikīkī used to be known for their healing properties. The show is a great way to entertain on the surface level, but to revise the reverence of Waikīkī in the kaona of the story we are telling.”

When asked what she hopes guests of ʻAuana experience when viewing the performance, Vaughan points out the importance of ‘āina and place: “I am hopeful that this show reminds us of the space we are our in and our kuleana (responsibility) to the ‘āina. Even if you made Hawai‘i your home, if you breathe the air and drink the water, you have a kuleana to mālama the land, to protect and preserve it. Whatever we do, we work for the ‘āina and the preservation of our stories and identity as a people.”

 

ʻAuana is exclusively at the Outrigger Waikīkī Beachcomber Hotel until December 2025; 2300 Kalākaua Avenue, Honolulu; 1-800-688-7444; Shows are Wednesday through Sunday at 5:30 pm and 8:30 pm; cirquedusoleil.com/auana.