"Stars in Concert Hawai'i," an impersonation revue that has been an on-again, off-again attraction in Waikiki, has returned with stellar talent facing some inevitable challenges. It's the newest show in town, and it's worth a look-see.

The venue is the venerable Waikiki Lau Yee Chai, the longstanding Chinese restaurant, which has been retrofitted as a nightclub/showroom nightly except Saturdays. It's tucked away on the fifth floor of the Waikiki Shopping Plaza, at 2250 Kalakaua Ave., at the corner of Royal Hawaiian Avenue.

The cast features five stellar sound- and look-alikes, including Jonathan Von Brana, still the best Elvis Presley impressionist anywhere. He's had a long history in several rooms in Waikiki, including his groundbreaking "Legends in Concert" stint at the now-in-renovation showroom at the Royal Hawaiian Shopping Center across the street. Most recently, he headlined the now-shuttered "Blue Hawai'i" revue at the Ohana Waikiki Beachcomber hotel. Thank you very much, he's even done a stint at sea as part of a cruise.

Now Von Brana is sandwiched in between Elton John (Mitch Adams) and The Blues Brothers (real-life brothers Geoff Dahl and Chris Dahl), though he returns as headliner in the finale. Danita Asberry has two looks and sounds, first as Tina Turner, then as Whitney Houston.

The venture, launched a few weeks back, is a production of John Stuart, the founder of "Legends in Concert," new partners Jack and Cha Thompson of Tihati Productions, and George Correia, a veteran tour-biz official.

"Stars" taps a popular format — who doesn't love seeing idols doing familiar music? — but as the new kid on the show block, it faces the challenge of any newbie: finding an audience.

With two dinner shows (drinks-only options are available, too), there's work to be done on serving the food and drinks with the least amount of disruption and creating an environment that is as appealing as what's in the spotlight.

But more on that later.

The show is a compact packaging of iconic troupers who sing (this is not a lip-synch outing and there is a live band) and move and attempt to create that look and that sound that prompt the applause.

Von Brana remains a smoothie, upholding The King's undeniable stance as he's done over the years. He belts out and shimmies to "All Shook Up," "Rock-a-Hula," and "Return to Sender," retaining an Island "moment" with "Blue Hawai'i." The Hawai'i-themed songs are augmented by hula, not necessary but nice additions to fill the spacious stage.

For "Teddy Bear," Von Brana hands a stuffed bear to an up-front spectator, a sweet gesture from the audience's standpoint.

Adams' Elton is agile and mobile — and colorful, in a red outfit and red shoes — for a parade that includes classics such as "I'm Still Standing," "Crocodile Rock," "Your Song," "Don't Let the Sun Go Down on Me," "Candle in the Wind" and "Can You Feel the Love Tonight." He leaps, he reclines on the piano, he works the house. And he dons a top hat for "Saturday Night's All Right."

Asberry starts out as Turner ("What's Love Got to Do With It," "Simply the Best," "Proud Mary"); then as Houston ("I'm Every Woman," "I Wanna Dance With Somebody," "How Will I Know," "I Will Always Love You"), sounding and capturing Houston better than Turner. (Maybe it's a wig issue, too.)

When the Dahl brothers inhabit The Blues Brothers, it's Saturday Night Live all over again — the enactment is precise, as Jake and Elwood don dark glasses, hats, black suits and pump up the energy via requisite ditties "Everybody Needs Somebody To Love," "Flip, Flop & Fly" and "Shout." Audience participation is not an option — it's natural and spontaneous.

And audience integration quickly establishes rapport. Adams, as Elton, traipses through the front of the house, making audience contact. The Blues Brothers also aren't shy about getting their soul right into the faces — even laps — of the spectators.

The show's finale is formulaic, but it works: Von Brana as The King reappears in a studded red-and-white jumpsuit, bursts into "C.C. Rider" and "Jailhouse Rock," then delivers that powerful show-stopping "American Trilogy," fusing "Dixie," "Battle Hymn of the Republic" and "All My Trials." Glory and hallelujah!

While there's undeniable power and potential on stage — atmospheric lighting, minimal but mood-setting effects — some changes are needed to establish a cabaret-club environment on the main floor. The room looks like it's expecting Chinese dinner parties, with large tables only partially filled. Clusters of smaller tables would create an aura of intimacy, with larger tables reserved for large parties. Ambience is what's lacking for now.

Reach Wayne Harada at wharada@honoluluadvertiser.com.