Hip-hopalpse: High Culture Meets “The Bomb”

Review by George D’range

(Published online)

I may not be an authority on hip-hop or rap. In fact, it’s or the most part, not of my generation. The last time I felt truly cool, I was into Jane’s Addiction, when they played at the Aloha Tower, before it was a shopping center. And I have precious little familiarity with the works of William Shakespeare. (Usually I have to watch a Shakespeare play twice and read it, to really absorb it) But the writer/director of Hip-hopalypse, Christian Ellauri (AKA, SEe) does have a mastery of these performance elements, the credentials to prove it, and his presentation of this odd mixture of ingredients is truly visionary.
Understanding and mastering iambic pentameter is difficult enough. Weaving it together with hip-hop, elements of “Stomp” and a surprising metaphysical angle was nothing short of inspired. Topping this tasty philosophical tale of humanity’s swan song are feats of acrobatics, martial arts, and interpretive dance that almost creates a sensory overload. Ah, there’s the rub. I wish I’d seen it more than once! The pace was both dizzying yet engaging, and I got the distinct impression that was part of the design. The troop does warn in the introductory scene, “Try to keep up!”
There are three aspects of this performance in which I do have a level of understanding, if not expertise: drama, post-apocalyptic novels, and metaphysics. These are also critical elements of the instant classic that is “Hip-hopalypse”, In the area of drama, I grew up with an actor (my stepfather), and my sister was a member of the cruel theater acting troop, and star of the play, “Double Above the Knee”., and got her start in the Mid Pacific Program for the Performing Arts, as well as appearing in the U.H. presentation of “The Vagina Monologues”. Post-apocalyptic tales in particular are a specialty of mine, (I’ve read everything from Vonnegut’s “Cat’s Cradle” to Stephen King’s “The Stand” 5 times) and as a Gen-Xer who grew up under the threat of the bomb, I found this to be a riveting setting for a play of this nature.
Even though the play is seeing it’s last performances this week, and this probably won’t be published in time to be a true spoiler, but I will defer to my friend See anyway, by not revealing too much, in case we should be so lucky as to have a future repeat performance. I personally feel he should take this one on tour.
The play opens as society has already crumbled, presumably from a nuclear exchange, with an introductory soliloquy from the former scribe, turned tribe leader, Dante (Tui Scanlan). We are given a very concise, yet head spinning blow-by-blow of the events past and present, which set the stage of the tale. The story centers on a tribe of survivors who must labor under back-breaking, and sometimes fatally hazardous conditions to mine enough coal, in order to refine drinkable water. The workers, as well at their beloved queen (Simone Derow) suffer from radiation sickness, are starving, and often succumb to their labors. Three MCs, bards of sorts, DO, Dune and Dewm (Jonathan Sypert, AKA intREPID, Harumi the HYmn, and Jason TOm) are tapped by Chief Dante to recruit fresh laborers from the wasteland to come and join the coalmining band. (Sorry for all the ebonic lettering folks, it came that way in the program. Not easy with MSWord constantly correcting me!)
As with any tribe, this band is not without it’s warriors, and two agile stick fighters, Essu, (Justin Young) and Juolian (Michael Hamilton) patrol the realm for wandering threats presented by other nomads. And they are out there. And by “out there”, I mean whack. Strange, mutated interlopers with mysterious healing capablilities roam the outland, seeming to survive on nothing but “The fruits of the desert” and the universal mantra: Ohm.
Intrigued? Good, because I may have said too much already, except that folk singer Christina Nelson also plays an integral part in this hip-hopalyptic opus magnum, and with all these elements thrown together, it made for an incredibly interesting and wonderful evening. Easily worth paying the extra five dollars to upgrade to a coach seat, as I have a bad back, and floor seats were ten.
Didn’t get a chance to catch it? Found other ways to spend your evenings, or just plain forgot? Do yourselves a favor, and get in touch with See at Ong King, and ask him to do that funky thing again! (More about how to do that at the end of the article)
And even if that doesn’t happen, definitely do yourself a favor and drop by Sundays from 9 PM to about 1:00 to 1:30ish, when the real party happens for only the price of one dollar’s ($1!) admission. There’s all you can drink Kava for five dollars, and sometimes other tasty treats for sale. OR, for the turbo-charged version of Ong King, hit them up on First Fridays each month for ten dollars’ admission. It’s well worth the money, just to be a part of the coolest place in town.
Many have searched for this seemingly mythical and illusive venue, so I’m going to explain it, and as See reminds us: “Try to keep up!” Where King Street meets River, at the end of China town, go to the Mauka side of King street. Now face Diamondhead. Walk about 15 to 20 paces, keeping your attention focused on the left. The wall of the street is collaged with waves and other psychedelic visions. You’re not seeing things! Well, I can’t speak for you, but I digress… There is a rather plain white sign hanging above the door to a stairwell reading “Ong King Arts Center” Go up the stairs and at the top, hang a hard right. You will see a red sliding door. If you are a Bohemian or free spirit, enter. You are home.

See and his associates can be reached at:
Ong King Arts Center
184 N. King Street
www.ongking.com
see@ongking.com
808-306-7823