The History Of The Actors’ Group (TAG)
1996-1997
Compiling the history of any organization can be a great challenge, particularly when the core group is small and rather than chronicle events, had spent their energy towards merely keeping alive. So is the case with TAG. As it evolved from a creative curmudgeon to become one of Hawaii's finest community theaters, all TAG could do was focus on its next production, for it had little time for anything else. Hence, this history has been cobbled together utilizing the recollection of participants at the time, dog-eared old files containing memorabilia and other forms of information, photos, newspaper articles, and recovered video footage that is often way past its prime if not damaged. Nonetheless, these have been the sources to create the history of TAG - The Actors' Group, told in a series of posts chronicling time periods unique to its development. |
Trapped – An Innovative Play That Adapts To Its Environment
A Flyer Promoting TAG’s “Trapped”
Dave Winston Barge’s next endeavor is “Trapped,” which brings Sam Polson (see inset photo) – a former journalist, Air Force veteran, and experienced actor from Washington D.C. – to the group. His inclusion is significant in that he is the first actor to join the group with a significant background in theater, having previously acted on stage in many productions. His experience goes on to lend a steady hand to the mostly novice stage performers who made up the group at the time. Joining him on stage was Leigh Ann Kinghorn, Mane (Lena Kaneshiro would replace her midway through the run), Shannon Mauck, Dorothy Stamp, Eric Nemoto, and Freddy Stamp. “Trapped” actually is created partly because of TAG’s lighting system, or lack thereof. As the play’s premise was about survivors of a hurricane divulging to one another their life backgrounds while being trapped in a collapsed basement, the only lighting comes from candles lit during the play and placed around the stage. While later it would be discovered that fire code rules actually prohibited actual lit candles on stage, the ambiance created by the candles were called by many as unique and effective. “Trapped” also was the first play to transition from mere chairs set on the floor, to, on Dave Winston Barge’s insistence, the first “risers” being constructed for the tiny studio by Henry Avilla. In addition, the play area was changed from the Diamond Head Wall to the Makai wall. Yellow Brick’s seating is incredibly intimate, with 30 small seats being the maximum capacity. Despite the availability, audiences continue to be very sparse. A “big house” is when the audience count hits double digits. Nonetheless, “Trapped” goes on a very successful run. It plays for 9 performances on Fridays and Saturdays at 8:00 pm. It opens on Saturday, September 14th, and then continues on September 20th, 21st, 27th, 28th, October 4th, 5th, 11th, and closing on Saturday, the 12th.
The Playbill For “Trapped”
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