The one-man show continuing this weekend at The ARTS At Marks Garage is all about presence.

"The Legend of Kaulula'au" by Keali'iwahine Hokoana is a blend of storytelling and story theater, adapted from newspaper articles by W. N. Pualewa first published in 1863. The performance by Moses Goods III matches the bigger-than-life persona of the title character.

Hokoana's script is two short acts separated by intermission and had an out-of-town shake-down run on Maui at the Ritz-Carlton Kapalua Theater. The current Honolulu production, which does not credit a director, is a fundraiser for planned performances at Scotland's 2009 Edinburgh Fringe Festival.

The script is a mixture of cultural genealogy and legend surrounding Kaulula'au, who is believed to have both a historical basis and a relationship with the Hawaiian god Lono. At his death, Kaulula'au himself was offered elevation to god-like status. Understandably, the playwright approaches the material with reverence and chant-like formality, mixing long Hawaiian language passages into the standard English dialogue.

Act One is a 20-minute antecedent, laying the groundwork for Kaulula'au's birth by telling the story of Ele'io, a fledgling kahuna who raised Kaulula'au's mother from the dead and then dutifully facilitated her marriage to his high-ranking master. Act Two is an equally short rendition of Kaulula'au's life from destructive childhood to potential deathbed deification, with a dramatically satisfying central passage depicting how he rid the island of Lana'i of its ghosts.

Goods' performance is appropriately inflated to match the significance of the material and combines language, acting, and movement skills into an impressive package. He fills the small stage with physical size and regal bearing, speaking the Hawaiian passages with authority and giving high significance to every glance and gesture.

Such a highly edited and controlled performance gives a ceremonial aspect to the material. And although it never slips into ceremonial chanting or ritual hula — it always seems poised to do so. As a result, Act One captures its audience in the melody of the moment, leaving more traditional devices for Act Two.

Goods has the opportunity to take on more characters in the second act, giving Jack and the Giant flavor to Kaulula'au's interchanges with Pahulu, the controlling spirit of Lana'i.

"Where did you sleep last night?" booms a threatening Pahulu.

"In the small grove," replies a crafty Kaulula'au, "You must have looked for me in the big one."

Goods also slips into other voices and aspects to represent old age and conniving characters, using only a few props. The simple set is dressed out with small, tapa-like screens and a large central boulder that serves as both pedestal and pulpit.

"The Legend of Kaulula'au" is an interesting foray into the art of ancient Hawaiian storytelling and an excellent example of focusing an audience through calculated charisma.