Kumu Kahua Theatre has produced Edward Sakamoto's "Aloha Las Vegas" several times since the play's 1992 premiere. The current revival proves that it keeps getting better with age.

Alternating at Kumu Kahua with Sakamoto's new sequel, "Mahalo Las Vegas," "Aloha" hasn't lost its audience appeal and may have started to attract something of a cult following. The Kumu Kahua audience is too polite to shout out the lines as the actor speaks them, but seems to delightedly anticipate what's coming next. In a live production, this is much more fun than watching taped reruns.

Director Harry Wong III has pulled together most of the recent cast members, who keep the production fresh while refining their timing into an art form.

While the core of the play is 65-year-old Wally Fukuda's dilemma over pulling up his Hawai'i roots to move to Las Vegas, the comedy clearly opens up with the appearance of Alvin "Vinny" Kawabata, an arranged blind date for Wally's spinster daughter, June.

Tony Solis delivers the character with ritualized aplomb. Sweating torrents of insecurity, he forces himself into the action with the resolve of a man heading toward his own execution, bearing a respectful gift of fresh 'opihi in a small paper bag.

Janice Terukina's schoolmarmish June is a perfect counterpoint, barking out instructions and slapping hands with excruciating regret that follows a half step too late.

As Wally, Dann Seki rides the comic tidal waves that Alvin and June set in motion, steadfastly focused on the potential for starting a new life — and willing to risk it only if his family matters are settled.

Eric Mita plays Wally's security-guard son Butch with an aggressive bravado that overlays the character's lack of control and Salli Morita plays his frustrated wife Deedee.

Allan Okubo returns as that Vegas lounge lizard "California" Harry, oozing with exaggeration and outright lies that add to his charm — mostly because he's unaware that everybody else sees right through him.

Marissa Robello brings a great deal of warmth to next-door-neighbor Gracie, a role that functions mainly as a sounding board for Wally, but also closes the show with all the poignancy of the abandoned household servant in "The Cherry Orchard."

With repeated exposure, the playwright's themes stand out with even sharper clarity. Sakamoto examines change as a function of choice, holding on to the past with more nostalgia than regret and looking toward future opportunity without fear.

Underscoring the past-present connection is Wally's small home altar, where he burns incense in memory of his dead wife. It's an ever-present reminder that binds him to his history without keeping him hostage there. The sense that Wally will take the altar with him if he moves brings comforting security.

"Aloha Las Vegas" is an excellently crafted character comedy that you will be happy to see again, and one that you should see before attending its sequel.