The History Of The Actors’ Group (TAG)
2004-2005
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. |

Endgame – TAG Meets Beckett
For TAG’s next play, Frankie Enos approached (already) frequent TAG supporter (AD, stage manager, etc.), Liz Kane, to direct “Endgame,” Irish playwright Samuel Beckett’s absurdist, tragicomic one-act play. Considered by Beckett, himself, as his masterpiece, the play is about a blind, paralyzed, domineering elderly man, his servile companion, his geriatric parents (who pop up out of garbage cans), who all live in an abandoned house in a post-apocalyptic wasteland, awaiting an unspecified “end.” Much of the play consists of terse, bantering dialogue between the characters, along with trivial stage actions. In addition, there is a story-within-a-story that the Hamm relates. The play’s title refers to chess and, accordingly, the characters seem to be acting out a losing battle with each other or their fate. Originally written in French, the play was translated into English by Beckett himself and first performed on April 3rd, 1957 at the Royal Court Theatre in London in a French-language production. Written before but premiering after Waiting for Godot, it is usually considered among Beckett’s most notable works. For her cast, Liz recruited an excellent ensemble of actors. Bill Carr played Hamm, Tim Dyke played Clov, Edward Earl Pickard played Nagg, and Laurie Tanoura played Neil. In her director’s notes listed in the play’s program, Liz Kane (below left) enthusiastically wrote (paraphrased):

Bill Carr
The Playbill For “Endgame”
“Endgame” opened on Wednesday, July 28th, 2004, and played for 21 performances, at 7:30 pm for Thursday through Saturday night performances, and at 4:00 pm for Sunday matinees. The production was supported by a number of TAG volunteers, including: Frankie Enos (Producer/Assistant Director); Helen Rapozo (Assistant Director/Light and Sound Technician); Hank and Laura-May Taufaasau, Ken Behling (State Managers); Brad Powell, Edward Pickard, Liz Kane (Set Design); Brenda Lee Hillebrenner (Lighting Design); Shane Gilmore, Bill Carr (Set Construction); Laura Tanoura (Costumes and Props); Mike Mazzola (Photography); Greg Howell (Makeup); and Pat Matsueda (Print and Web Work). Director Liz Kane also extended special thanks to the following: Mike Powell (for his endless patience and goodwill); Brad Powell (for the door display); Thomas Tochiki (stage crew and mailing); Laurie Tochiki; Louise Cavanagh; Joyce Powell; Tim Dyke; Joey Shyloski; Paula Ho; Mary Frances Kabel-Gwin; Walt Davidson; Sara Ward (Manoa Valley Theatre); and E. “Gollum” Sueyoshi.
The Review For “Endgame” By The Honolulu Star-Bulletin

Bullshot Crummond – The Return Of Chaotic Comedy
It had been two years since TAG did the chaotically hilarious “The Complete Works Of William Shakespeare (Abridged),” and so it was with this understanding that it was time to belly laugh again, along with the notion that the world could do worse than get away from all of its seriousness for a mere two hours or so, that TAG would come to produce “Bullshot Crummond.” The play had always been one of director Dennis Proulx’s (see left) favorites, and so it became that the veteran director, actor, and eventual TAG board member, would direct “Bullshot Crummond” for 21 performances to audiences who were glad to laugh out loud. It opened on Wednesday night, October 6th, 2004, and then played on Thursday through Saturday nights at 7:30 pm, and Sunday matinees at 4:00 pm, closing on November 7th, 2004.
The Playbill For “Bullshot Crummond”
Supporting Dennis was a cast of great actors who brought “Bullshot’s” wacky absurdist comedy to audiences who loved the play. Mark Miller played the hero, Bullshot Crummond. Shane Garcia played the characters of Salvatore Scalicio and Otto Von Bruno. Melanie Garcia played Lenya Von Bruno. Jennifer Robideau played Rosemary Fenton. and Jared Jeffries played a closet full of characters, namely Algy Longwart, Country Policeman, Professor Rupert Fenton, the Waiter, Inspector Sca bbard, Wolfgang Schmidt, and Marovitch.
The Cast Of Characters Of “Bullshot Crummond”

The Honolulu Advertiser Review Of “Bullshot Crummond”

The Star-Bulletin Review Of “Bullshot Crummond”
“Bullshot” was supported by a bevy of talented TAG volunteers off stage and back stage who lent their hands to helping make the production a great success. Their names and (roles) are as follows: David Farmer (Producer); Frankie Enos (C0-Producer); Jerrick Julio (Stage Manager); Dennis Proulx (Set Design and Construction); Dennis Proulx (Light and Sound Design); Laurie Tanoura (Costumes); Carlynn Wolfe (Costume Assistant); Dennis Proulx and Laurie Tanoura (Props); Mikel J. Humerickhouse (Sound Design); Fatima Angelica Maddela (Sound Operator); Jerrick Julio (Light and Sound Technician); Mike Mazzola (Photography); Sam Polson (Playbill); Pat Matsueda/Peak Services (Web work). Director Dennis Proulx also extended his special thanks to Loren Farmer (Reservations); Joyce Powell (Goodies); Brad Powell (Door Display); Joey Shyloski, Mary Frances Kabel-Gwin, and Paula Ho (Lobby Duty); Gordon Svec (HOT); Sara Ward (DHT); Paul Tremaine (ATTCO); and Greg Howell (MVT).
A Raisin In The Sun – The Advent Of The TAG Wait List
To appreciate the impact that “A Raisin In The Sun” had on the progression of TAG becoming one of Hawaii’s finest community theatres, one only had to attend a TAG show prior to its run. The risers of Yellow Brick Studio on Keawe Street could contain a maximum of 36 people, perhaps a little more with additional folding chairs brought out in the event of an overflow crowd. Still, a sell-out was rare, and people being denied admission because the house was already full, was really a non-existent concept. That all changed, at least for one production run, with “A Raisin In The Sun.” Not only were the risers for this production usually full, but towards the middle to end of the run, a regular wait list had to be compiled for each performance. In his director’s notes, TAG artistic director Brad Powell wrote that “Raisin” was a product of the success of the previous year’s production of “Two Trains Running,” and his getting to know and work with “Trains” director Leonard Piggee, and also falling in love with the entire cast. He learned that there were many wonderful black actors in Honolulu who didn’t get to perform very often, and he stated that TAG wanted to rectify that. This intention, he said, was the reason for producing another all African American cast play for the season that TAG was in. His choice was Lorraine Hansberry’s “A Raisin In The Sun,” a play that Brad contended was an American masterpiece, very close “Death Of A Salesman,” in its importance.
The Playbill For “A Raisin In The Sun”
“A Raisin in the Sun,” is a drama in three acts by Lorraine Hansberry, first published and produced in 1959. The play’s title is taken from “Harlem,” a poem by Langston Hughes, which examines the question “What happens to a dream deferred? / Does it dry up / like a raisin in the sun?” This penetrating psychological study of a working-class Black family on the South Side of Chicago in the late 1940s reflected Hansberry’s own experiences of racial harassment after her prosperous family moved into a white neighborhood. Walter Lee Younger, a chauffeur, hopes to use his father’s life-insurance money to open a liquor store with two partners. His mother, with the support of Walter’s pragmatic wife, Ruth, and independent sister Beneatha, instead uses part of the money as a down payment on a house in an all-white neighborhood. Mama gives the remaining money, including Beneatha’s share (which is to be deposited in the bank), to Walter. After one of his partners absconds with the money, Walter despondently contacts Karl Lindner, a representative of the white neighborhood who had earlier tried to buy out the Youngers so as to avoid racial integration. Walter asks Lindner back, intending to accept his offer. However, Walter finally rejects the proposal. (britannica.com)
The Feature Story On “A Raisin In The Sun” By The Honolulu Star-Bulletin
Via recruiting and open auditions, Brad Powell assembled a wonderful cast. Lillian Jones played Beneatha Younger. Derrick K. Brown played Joseph Asagai. Daryl Emanuel played George Murchison. Della Graham played Mama Younger. Trevor Graham played Walter Lee Younger. Judith Henry played Mrs. Johnson. Anette Kauahikaua played Ruth Younger. John Mussack played Karl Lindner. Christopher Smith played Bobo. Tony Harry played Moving Man. And Charles W. Clardy III played Travis Younger. The production opened on Friday, January 7th, 2005, and went on to play a total of 23 performances, with curtain at 7:30 pm for Wednesday, Friday, and Saturday nights, and at 4:00 pm for Sunday matinees (for this run there were no Thursday shows). “Raisin” closed on February 13th, 2024.
The Honolulu Advertiser’s Review Of “A Raisin In The Sun”
Yet again, a bevy of committed volunteers rose up to support this excellent production. These included the following (with responsibilities in parentheses): Frankie Enos (Producer); Tony Harry (Assistant Director/Stage Manager); Sam Tanigawa (Special Assistant); Rose Mari Barbee (Consultant); Ed Pickard (Set Design); Mike Humerickhouse (Sound Design); Brenda Hillenbrenner (Lighting Design); Laurie Tanoura (Costumer/Props Mistress); Carlynn Wolfe (Assistant Costumer/Props); Helen Ropozo (Light and Sound Technician); Mary Ann Shirley-Gray (Stage Crew); Mike Mazzola (Photography); Pat Matsueda, E. Sueyoshi, Peak Services (Playbill and Web Design); Mike Almeida, Tony Oliver, Conrad Matsumoto, Laurie Tanoura, Dennis Proulx, Richard McMilliams (Set Construction);; and Greg Howell (Wigs Consultant).
The Honolulu Star-Bulletin Review Of “A Raisin In The Sun”

The Cover Page Of The Honolulu Star-Bulletin’s Weekend Features Magazine
Copenhagen – Fictional Ghosts Talk Of A Real Meeting
To direct its next production, TAG returned to David Schaeffer, whose desire was to stage “Copenhagen,” a play by Michael Frayn (photo left), based on an event that occurred in Copenhagen in 1941. This was a meeting between the physicists Niels Bohr and Werner Heisenberg, who had been Bohr’s student. It premiered in London in 1998, at the National Theatre, running for more than 300 performances, starring David Burke (Niels Bohr), Sara Kestelman (Margrethe Bohr), and Matthew Marsh (Werner Heisenberg). It opened on Broadway at the Royale Theatre on 11 April 2000 and ran for 326 performances. Directed by Michael Blakemore, it starred Philip Bosco (Niels Bohr), Michael Cumpsty (Werner Heisenberg), and Blair Brown (Margrethe Bohr). It won the Tony Award for Best Play, Best Featured Actress in a Play, Blair Brown, and Best Direction of a Play (Michael Blakemore). In 2002, the play was adapted as a film by Howard Davies, produced by the BBC and presented on the Public Broadcasting Service (PBS) in the United States. Schaeffer would double up in this production by acting. He would portray Niels Bohr. To accompany him on the stage were two other outstanding actors. Frankie Enos, by this time not only an exceptional actor, but already one of TAG’s foundational leaders, would play Margrethe Bohr. And Richard MacPherson would play Werner Heisenberg. At its heart, “Copenhagen” was a didactic play. In other words a play that Frayn intended to teach or instruct the audience, often with a moral or ethical lesson. The meeting between Bohr and Heisenberg did in fact occur. But as to what exactly happened is a deduction made by Frayn through exacting research and deduction. In his director’s notes, Schaeffer addressed this, saying he had suspicions of didactic plays, but also admitting that he happened to agree with the playwright’s point of view.
The Playbill For “Copenhagen”
About the play. This play is set in an unknown dimension between time and space. Each of the three main characters — Werner Heisenberg, Niels Bohr, and Margrethe Bohr his wife — are dead throughout the entirety of the text. Caught together in their deaths, they stand and discuss Heisenberg’s infamous trip to Bohr’s house in Copenhagen in 1941. Bohr was the leading atomic physicist before the war who commonly hosted other scientists for periods of research at his home facilities. His wife was heavily involved with his work as well. They both are left with the lingering question of why Heisenberg came and the consequences. Heisenberg insists it was business as usual and that what happened later in Germany would have happened anyway. Infamous for his heading up of the Nazi atomic research program, Heisenberg believes his refusal of the project would have been futile. The three ghosts keep running the encounter in 1941 over and over in their heads. They rehearse “new drafts” as they call them, possible alternate timelines and their consequences. Each of them seems to be wracked by a unique kind of guilt concerning the development of the atom bomb in Los Alamas. Unable to find peace in their deaths, they are endlessly discussing the tragic events of their lives. The conversation is heavy by nature of its topic and often confusing. Characters drift in and out of conscious states, reliving memories in front of the others. Sometimes they address one another, and sometimes they talk aloud to themselves seemingly unaware of the others’ presence. Eventually they conclude that space-time is not something to be questioned. Although difficult to understand, the past is certain. They decide to embrace the inevitable nature of the future as a manifestation in some small way of their actions during their lives. (gradesaver.com)
The Star-Bulletin Review Of “Copenhagen”
“Copenhagen” was an excellent production that opened on Wednesday, March 16th, 2005, at 7:30 pm, and went on to perform 20 more shows, for a total of 21 altogether, playing to consistently good houses filled with interested patrons. It played at 7:30 pm on Thursday, Friday, and Saturday nights, and at 4:00 pm on Sunday matinees. It closed on Sunday, April 17th, 2024. Its crew included the following (roles are listed in parenthesis). David Schaeffer (Director). Frankie Enos (Producer). Mike Seely (Assistant Director). David Schaeffer, Ed Pickard, Richard MacPherson (Set Design). Brenda Hillebrenner (Light Design). Mike Hummerickhouse (Sound Design). Jean Noguchi, Ami Okinaga (Set Artists). Amy Oshiro, Thomas Tochiki (Light and Sound Technicians). Steve Robinson (Set Construction). Mike Mazzola (Photography). Anne Marie MacPherson (Material Design). Director Schaeffer also extended special thanks to Helen Rapozo (Technical Support), Roxanne Vogelesang (Niel Bohr’s Costume), Carlynn Wolfe (Seamstress), Louise Cavanagh (Photographer’s Assistant), and Joyce Powell (Refreshments).
The Honolulu Advertiser Review Of “Copenhagen”
Photos Of Bohr And Heisenberg From The Play Program
Tiramisu On The Beach – A Verbal War Between The Sexes
When the 2004-2005 TAG season was first announced before the start of the year, the final play of the season was supposed to be “Like A Bird,” and it was supposed to be directed by veteran director and TAG supporter, David Farmer. But somehow it came to pass that David could not direct the production and so, “Tiramisu On The Beach,” actually a screenplay written by Eric Nemoto and Jon Brekke, which was being scheduled as a dark night, was instead pushed front and center, and took its place and became the final stage production of the 2004-2005 season. The origins of “Tiramisu” went back to the success years before of “Oleanna.” In that David Mamet script, Eric Nemoto and Dorothy Stamp eventually went on to win Po’okela awards (leading male and female actors in a play), and in doing so, inspired Eric to want to write a script about the differences between the sexes and what constituted sexual harassment. In fact, he did, and the result was “Tiramisu On The Beach,” a story of man, Wren, and a woman, Tara, – intense, high-powered attorneys representing opposing sides in a sexual harassment case, who also happen to be former lovers – who meet on a beach to discuss an out-of-court settlement. But what starts as a celebration, eventually turns into a verbal war by two head-strong individuals bent on winning the battle of the sexes. As they dine on fine food catered in by a wacky and eclectic chef, Paul, they debate the essential differences between all men and women, citing their own past disastrous relationship as an example of the incompatibility of the male and female species. For this production it was decided that Jon Brekke would direct, Eric Nemoto (far left in photo) would play Wren, Dorothy Stamp (far right in photo) would play Tara, and musician, actor, James McCarthy, would play Chef Paul (middle in photo).
The Playbill For “Tiramisu On The Beach”
Though it took over for the regularly scheduled season production of “Like A Bird,” “Tiramisu On The Beach” maintained its limited dark night schedule. It opened on Friday, April 29th, 2005 at 7:00 pm, and continued for five more shows (six shows total), all at 7:00 pm, on Saturday, April 30th, Sunday, May 1st, Thursday, May 5th, Saturday, May 7th, and closing on Sunday, May 8th, 2024. The play proved to be immensely successful, playing to either full houses, or close to full houses for every performance.
The Honolulu Star-Bulletin Review For “Tiramisu On The Beach”
A great supporting group of volunteers came out to support director Jon Brekke (photo right). These included the following (roles are listed in parentheses): Rich Richardson (Set Design, as well as Provided Artwork); Helen Rapozo (Stage Manager, Sound and Lights, and Generally Helping in Every Way); Sam Polson (Production Post Cards); Frankie Enos (Publicity, Front Door, TAG Liaison); Miki Lee (Caesar Salad Instructor Extraordinaire); Bruce Sawyer (Chef Consultation); Joyce Powell (Front Door, and of course her delicious Desserts); and Philip Paolo’s Restaurant (Exquisite Entrees and Desserts for the Play).
The Honolulu Advertiser Review Of “Tiramisu On The Beach”

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