The History Of The Actors’ Group (TAG)

2005-2006

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.

Since its inception in 1983, the Hawaii State Theatre Council’s (HSTC) annual stage awards ceremony, the Po’okelas, had always brought forth a debate amongst those who devoted their time to staging it. While it had always had different means of recognizing performances, of recent note, the standard process had been to pre-announce a set number of nominations (usually five) for as many as 19 categories, and then at the awards banquet, award the Po’okela to just one recipient. The discussion on this process became heated. On one side there were those who viewed the awards dinner as a wonderful way to bring the performing arts community together, to recognize excellence among them, and in so doing, to single out outstanding performances. On the other side, were those who, while still recognizing the benefits that the Po’okelas brought, did not appreciate the competitiveness that the presenting of an award to just one actor, or one theatre company, for a particular category of performance, would inevitably bring. To this side, the presenting of singular awards promoted “winners,” and in so doing relegated the rest to being “losers.” Apparently, the debate became so intense that the HSTC decided that it needed to take some time to let matters cool and to come up with some kind of compromising resolution. Hence, in 2005, the Po’okelas were canceled. This was a particularly sad occurrence for TAG, as the previous 2004-2005 season had produced some excellent performances that would have normally netted a bunch of award nominations, and likely a number of awards. These included: 1) a possible best play award for “A Raisin In The Sun,” which had garnered numerous praise from audiences and critics alike, and whose often sold-out shows signaled it as being one of TAG’s best produced plays ever; 2) the hilarious production of “Bullshot Crummond,” as surely within this crazy play that was played straight by a wonderful band of actors, an ensemble award would have been likely; and 3) the original script of “Tiramisu On The Beach,” who John Berger, the Honolulu Star-Bulletin theater critic and one of the actual Po’okela adjudicators at the time, even called, “One of the best locally written scripts in recent years.” But alas, none of this was meant to be as the Po’okelas were not held in 2005, and so TAG, as well as the rest of Honolulu’s theaters, became the unfortunate victims of this quarrel.

Boston Marriage – Mamet Visits TAG Again

“Boston Marriage,” another play by David Mamet, directed by Dave Schaeffer, was next up, and the first play scheduled for TAG’s 2005-2006. A Boston marriage, the term originated in 1893, was a long-term, committed relationship between two women that was common in New England in the late 19th and early 20th centuries. These relationships were characterized by women who were college-educated, financially independent, and with careers of their own. Boston marriages were a way for women to live independently from men, and could involve friendship, professional partnerships, or lesbian romances. In 1999, David Mamet wrote Boston Marriage, and did so in response to criticism that he could only write for men. The play centers exclusively on women, and concerns two women at the turn of the 20th century who are in a Boston marriage, a relationship between two women that may involve both physical and emotional intimacy. It came with a small but impressive cast. Betty Burdick, who had given one of the greatest TAG performances in “The Effect Of Gamma Rays On Man In The Moon Marigolds,” played one of the women in the marriage, Anna, and Kristin Van Bodegraven, who was part of the brilliant cast in “The Weir,” played the other woman, Claire. They were supported by Clara Dalzell and Dusty Behner who shared the role of Catherine, and performed on pre-decided dates of the run.

The Playbill For “Boston Marriage”

“Boston Marriage” opened on Friday, August 5th, 2005, at 7:30 p.m. at the old Yellow Brick Studio on Keawe Street and went on to play for 11 more performances for a total of 12 shows. Thursday through Saturday night performances were at 7:30 p.m., and Sunday matinees were at 4:00 p.m. It closed on Sunday, August 28th, 2005.

A Feature About “Boston Marriage” By The Honolulu Star-Bulletin

The TAG crew that supported “Boston Marriage” and director Dave Scaheffer included (roles are in parentheses): Frankie Enos (Producer); Belle Ruff Armstrong (Assistant Director); Amy Oshiro (State Manager); Karen Archibald (Set Dressing); Tim Ojile, with Julie Lamb (Set Artists); Mike Meyers and Janine Meyers (Light Design); Kevin Pontsler and Belle Ruff Armstrong (Sound Design); Thomas Tochiki and Amy Oshiro (Light and Sound Techs); Carlynn Wolfe and Rose Wolfe (Costume Design); Mike Mazzola (Photography); Steve Robertson (Set Construction); Dave Schaeffer and Company (Props); and Anne Marie MacPherson (Material Design).

The Honolulu Advertiser Review Of “Boston Marriage”

“Boston Marriage” played to very consistent and appreciative audiences during its run. Directer Schaeffer acknowledged many additional people who helped with the production. These included the following (other theatres are noted in parentheses): Hannah Schauer (Kennedy Costume Shop); Shell Dalzell (Manoa Valley Theatre); Jerry Kawaoka (UH Kennedy Theatre); Gordon Svec (Hawaii Opera Theatre); Terri Seeborg; Kevin Carr; Puka Beads; Walter Eccles; Mereclyth Hunt; and Mary Frances Kabel-Gwin.

P.S. Your Cat Is Dead – A Quirky Play Loved By Dennis Proulx

Next up for TAG was James Kirkwood Jr.’s (see photo left) “P.S. Your Cat Is Dead, a play that was first written in 1970, that TAG director Dennis Proulx praised as one of Kirkwood’s best of several well written pieces that deal with loneliness in an understandable and very humorous way. Kirkwood went on to write a novel based upon the play in 1972, and a subsequent movie of the same title was made in 2002. The plot deals with hopeless New York actor Jimmy Zoole, who is feeling depressed and unstable when he happens across a cat burglar named Vito in his apartment. Furious, Jimmy beats the stranger unconscious and ties him to his kitchen sink. Abandoned by his girlfriend on New Year’s Eve, and still unaware that his beloved cat Bobby Seale has died in an animal clinic, Jimmy begins to torment his terrified captive; however, the unlikely pair soon establish a bond. Vito once had a wife who left him after she discovered he was gay and who took their child with her. Jimmy questions his own sexual orientation as his relationship with Vito takes on an erotic dimension, and decides to use his prisoner to exact revenge on his former lover. In the end, Jimmy and Vito, now working as a team, sell a stash of stolen drugs and run away together. The play is a bit of art imitating life, as in his James Kirkwood biography. “Ponies & Rainbows,” author Sean Egan traced the genesis of the play, and found that it had its roots in a series of burglaries at Kirkwood’s apartment on West 58th Street in New York. The book also features a photograph of Gino Marino, a friend and lover of Kirkwood’s upon whom Egan claimed the author and playwright based the character of Vito.

The Playbill For “P.S. Your Cat Is Dead”

“P.S. Your Cat Is Dead” played for 13 performances. It opened on Wednesday, October 12th, 2005 at 7:30 p.m. on the tiny stage of Yellow Brick Studio on Keawe Street in the industrial section of Honolulu, known as Kaka’ako. It went on to perform 12 more shows, with Thursday through Saturday curtain being 7:30 p.m., and Sunday matinees starting 4:00 p.m, closing on Sunday, October 30th, 2005.

The Honolulu Advertiser Review Of “P.S. Your Cat Is Dead”

Cast in the play were (characters are in parentheses): Daneb Catalan (Vito); Kris DeRego (Jimmy); Kimberly Bridges (Kate); and Alan Mueing (Fred). In addition to director Dennis Proulx, the crew (roles are in parentheses) were as follows: Liz Kane (Producer); Carlynn Wolfe (Costumes); Mike Mazzola (Photography); Francis Tuifao (Stage Manager); Deneb Catalan (Original Art); Dennis Proulx (Set, Lights, Sound, and Props); Thomas Tochiki (Light and Sound Tech); Louise Cavanagh (Photographer’s Assistant); and Pat Masueda, Peak Services (Web Services). Director Proulx also recognized special thanks to Sam Shapiro and the “TAG Team” (Melany Melakea, Karen Honbo, Lori Nitihara), Gordon Svec (Hawaii Opera Theatre), Helen Rapozo, Maiki Mikel, Frankie Enos, Brad Powell, and Ryan Proulx.

Of many bits of information listed in the playbill for “P.S. Your Cat Is Dead,” was an ad for Commercial Data Systems. It was a frequent ad appearance for the company, whose owner, Mark Wong (see photo left), had been a great benefactor of TAG for this season and many seasons prior. Mark was born in New York, raised in Honolulu since age two, was educated at Iolani School and Yale University (B.S. Computer Sciene), where he embarked on his first full-time IT job as the senior systems analyst for Yale. He subsequently founded and was the CEO of Commercial Data Systems, which he ran from 1986 until his retirement in 2011, after which he sold the company in 2012. CDS specialized in large systems for major corporations and federal, state, and local governments. It grew into the largest local IT company in the state, and was was ranked #89 in the Hawaii Business Top 250 for 2011 and expanded to have offices in 13 states. After leaving his company, Mark was appointed by Honolulu Mayor Kirk Caldwell to become the Director of Information Technology for the City & County of Honolulu in 2013, where he would go on to greatly improve the IT division and slashed the annual IT budget costs by $1 million for four consecutive years during his tenure. On the “P.S. Your Cat Is Dead” playbill, it stated that Wong and Commercial Data Systems had contributed $5000. It wasn’t the first time and it wouldn’t be the last. To appreciate the significance of his generosity, Mark’s contributions started during a time when the next highest contributor would be around $500. His support was incredibly critical to the development of TAG, and often the group would find itself being saved when his check would arrive. For this TAG owes Mark Wong and Commercial Data Systems a tremendous debt of gratitude.

The Commercial Data Systems Ad & The Recognition Of Mark Wong’s Great Generosity

Joe Turner’s Come And Gone – The Return Of August Wilson

This would be the third consecutive year that TAG would produce an African American play in the month of January celebrating the Martin Luther King Jr. holiday. The choice, “Joe Turner’s Come And Gone” would bring a stellar cast in the lead roles, along with a great supporting cast. Jim Andrews would play Seth Holly, Derrick Brown (center in photo left) would play Herold Loomis, Curtis Duncan would play Bynum Walker, Charles W. Clardy III (appearing right in photo left) would play Reuben Mercer, Savada Gilmore would play Jeremy Furlow, Jeanne Herring would play Mattie Campbell, Shiwanni Johnson (appearing left in photo left) would play Zonia Loomis, Anette Kauahikaua would play Martha Loomis, Martin Monahan would play Rutherford Selig, Deneen L. Thompson would play Bertha Holly, and Deborah Young would play Molly Cunningham. To direct this production, TAG relied on talented Russell Motter. Russ was a U.S. History and African American Studies teacher at Iolani School and had spent the previous year on sabbatical in New York City where he studied at Columbia University’s Institute for Research in African American Studies. He had first appeared with TAG as an actor, portraying Yvan in the Yasmina Reza’s “Art,” and had also appeared in various productions with Manoa Valley Theatre. The combination of his education and creative experience made him a great choice to direct.

 

The Playbill For “Joe Turner’s Come And Gone”

Russ Motter (see photo right) had a lot of support to stage “Joe Turner.” These included the following (roles are stated in parenthesis): Anette Kauahikaua (Assistant Director); Amy Oshiro (Assistant Director/Stage Manager); Dave Schaeffer and Russell Motter (Set Design); Dan Hale (Light Design); Russell Motter (Sound Design); Carlynn Wolfe and Rose Wolfe (Costumes and Props); Karen Archibald (Set Artist); Steve Robinson, Duncan Dalzell, and Rose Wolfe (Set Construction); Thomas Tochiki (Light and Sound Operator0; Greg Howell (Makeup and Wig Consultant); Peak Services (Playbill and Publicity Design); Jeanne Herring and Mike Mazzola (Photography); and Frankie Enos (Producer). Director Motter also extended a number of “Special Thanks” to the following (again, any reasons are contained in parenthesis): David Schaeffer (for his artistry and support of everything); Dolores Guttman, of the African American Reading Group (for invaluable casting assistance); Michael LaGory (for help with the music); Sara Ward and Lorena Jones of Manoa Valley Theatre (for costumes and props); Hannah Schauer, Kennedy Theatre Costume Shop; Della Graham (for advice and support); Joe Williams (the original Bynum Walker); Cinnamon Jones (the original Zonia Loomis); Louise Cavanagh (photographer’s assistant); and Jasmine May (for her work as Martha Loomis).

The Honolulu Star-Bulletin Review Of “Joe Turner’s Come And Gone”

“Joe Turner’s Come And Gone” opened on Friday, January 6th, 2006 at 7:30 p.m. in the small confines of the Yellow Brick Studio located in the, then, industrial section of Honolulu known as Kaka’ako. It subsequently played for 18 more performances (19 in total), with curtain being 7:30 p.m. on Thursday through Saturday night shows, and 4:00 p.m. for Sunday matinees. It closed on Sunday, Februry 5th, 2006. It garnered in consistently good and enthusiastic audiences.

The Honolulu Advertiser Review Of “Joe Turner’s Come And Gone”

The critical success of “Joe Turner’s Come And Gone” made TAG’s annual choice for its African American play for the Martin Luther King Jr. celebration, made it “3 for 3” in successful African American plays, and the events were already being established as a TAG tradition.

Betrayal – Pinter Brings The Format Of Reverse Chronology To TAG

Harold Pinter’s “Betrayal” was next up for TAG, a play that utilized a narrative structure known as reverse chronology, which is a method storytelling whereby the plot is revealed in reverse order, essentially the effects of the actions taken by the characters are shown before its causes. Generally with this technique, the first scene shown is actually the conclusion to the story. Once that scene ends, the penultimate scene is shown, then the scene before that, and so on, and so on, so that the final scene the viewer sees is chronologically the first scene of the story. The play begins in the present, with the meeting of Emma and Jerry, whose adulterous affair of seven years ended two years earlier. Emma’s marriage to Robert, Jerry’s best friend, is now breaking up, and she needs someone to talk to. Their reminiscences reveal that Robert knew of their affair all along and, to Jerry’s dismay, regarded it with total nonchalance. Thereafter, in a series of contiguous scenes, the play moves backward in time, from the end of the Emma-Jerry affair to its beginning, throwing into relief the little lies and oblique remarks that, in this time-reverse, reveal more than direct statements, or overt actions, ever could.

The Playbill For “Betrayal”

Liz Kane returned to direct “Betrayal,” and with her came an outstanding cast. Susan Park played Emma, Curtis Duncan played Robert, Peter Ruocco played Jerry, and S. Rick Crump as The Waiter. They were supported by David Schaeffer (Producer and Props), Helen Rapozo (Assistant Director), Mary Ann Shirley-Gray and Helen Rapozo (Stage Managers), Steve Robinson (Set Design and Construction), Laurie Tanoura (Set Dresser), Dan Hale (Light Design), Carlynn Wolfe (Costumes), Thomas Tochiki (Light and Sound Operator), Joshica Kiah and Roberta Wolfe (Back Stage Crew), Deneb K. Catalan (Graphic Artist), Sam Polson (Playbill), Mike Mazzola (Phoography), Louise Cavanagh (Photographer’s Assistant), and Joyce Powell (Refreshments and Door). Director Kane also extended special thanks to Anna Fishburn, Maiki Mikel, Paul Sullivan, Jim Tharp, the Waikiki Yacht Club, and the Dixie Grill.

The Cast Of “Betrayal”

Harold Pinter (photo at left), October 10, 1930 – December 24, 2008, was a British playwright, screenwriter, director and actor. A Nobel Prize winner, Pinter was one of the most influential modern British dramatists with a writing career that spanned more than 50 years. His best-known plays include The Birthday Party (1957), The Homecoming (1964) and Betrayal (1978), each of which he adapted for the screen. His screenplay adaptations of others’ works include The Servant (1963), The Go-Between (1971), The French Lieutenant’s Woman (1981), The Trial (1993) and Sleuth (2007). He also directed or acted in radio, stage, television and film productions of his own and others’ works. Pinter was born and raised in Hackney, east London, and educated at Hackney Downs School. He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the Royal Academy of Dramatic Art but did not complete the course. He was fined for refusing national service as a conscientious objector. Subsequently, he continued training at the Central School of Speech and Drama and worked in repertory theatre in Ireland and England. In 1956 he married actress Vivien Merchant and had a son, Daniel, born in 1958. He left Merchant in 1975 and married author Lady Antonia Fraser in 1980. Pinter’s career as a playwright began with a production of The Room in 1957. His second play, The Birthday Party, closed after eight performances but was enthusiastically reviewed by critic Harold Hobson. His early works were described by critics as “comedy of menace”. Later plays such as No Man’s Land (1975) and Betrayal (1978) became known as “memory plays”. He appeared as an actor in productions of his own work on radio and film, and directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes and other honours, including the Nobel Prize in Literature in 2005 and the French Légion d’honneur in 2007. Despite frail health after being diagnosed with oesophageal cancer in December 2001, Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett’s one-act monologue Krapp’s Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October 2006. He died from liver cancer on December 24th, 2008. (Wikipedia)

“Betrayal” opened in the old Yellow Brick Studio on Keawe Street in the industrial section of Honolulu called Kaka’ako, on Wednesday, March 29th, 2006, curtain at 7:30 p.m. It continued for 12 more performances for a total run of 13 shows, with consistently appreciative crowds for each show. Thursday through Saturday night performances were at 7:30 p.m. Sunday matinees were at 4:00 pm. It closed on Sunday, April 16th, 2024.

The Honolulu Advertiser Review Of “Betrayal”

The Goat Or Who Is Sylvia? – Albee’s Play Shocks And Amazes

By the close of the 2005-2006 season, due to a series, over the years, of excellent productions of various types, TAG had developed a reputation for presenting interesting that its audiences could not find elsewhere. It was the theater that gave Hawaii the earthen dialogue of David Mamet in “Glengarry Glen Ross,” it produced “Equus,” complete with the nude scene, it visited Ireland for “The Weir,” medieval Japan with “Ten Reawakenings,” and of course Pittsburgh and the African American experience. If there was a definition for TAG in just a few word descriptions it would include eclectic, different, and certainly never boring. So it would seem that its reputation had already been established and nothing else could really, truly, raise the eyebrows of its followers. But then, came Edward Albee’s “The Goat, or, Who Is Sylvia?”

The Playbill For “The Goat Or Who Is Sylvia?”

Edward Albee’s (see photo left) The Goat, alternately titled Who Is Sylvia? opens with Martin and Stevie, a long married couple, preparing for the arrival of their best friend, Ross, who will be interviewing Martin about his fiftieth birthday and his winning of the Pritzker Prize, the highest honor in the world of architecture.  While preparing for the interview, Stevie and Martin banter in a greatly exaggerated Noel Coward manner” during which Martin admits that he is actually in love with Sylvia who he then confesses is a goat. Stevie laughs at what she perceives as a joke by Martin and exits to greet Ross at the door.  In her absence, Martin remarks, “You try to tell them; you try to be honest.  What do they do?  They laugh at you,” suggesting that there is more to his seemingly offhand comment. When Ross enters, his and Martin’s longtime friendship is evident when they reminisce and then discuss their children, specifically Martin’s teenage son, Billy, who recently revealed he is gay.  Ross readies his camera to interview Martin, but, to Ross’s dismay, Martin seems distant and distracted during the taping.  Bringing the interview to a halt, Ross inquires as to what is bothering Martin.  Although reticent, Martin confesses that his distance might be due to “love or something.”  When Ross suggests that Martin is having an extramarital affair, Martin bristles at the thought.  Then, as he begins to describe how satisfying his marriage to Stevie has been—so much so that he has never had a desire to have an affair—Martin begins providing details of his encounter with Sylvia.  Martin confides to Ross that while searching for a place in the country for Stevie and himself, he saw her: “I didn’t know what it was—what I was feeling.  It was…it wasn’t like anything I’d felt before; it was…so…amazing, so…extraordinary!  There she was, just looking at me, with those eyes of hers….”  With this declaration of love, Martin produces a photograph of Sylvia from his wallet.  Once Ross sees the photograph and the seriousness on Martin’s face, his emotions go from jocular to somber to incredulous as he realizes that his best friend is having a sexual relationship with a goat.  Before the conclusion of the act, Ross issues a stern warning: either Martin tells Stevie the truth about his affair or he will. In Act II, the audience is instantaneously aware of Ross’s betrayal when Martin and Stevie’s son, Billy, exclaims, “You’re fucking a goat?!” Billy is then forced by his parents to leave Stevie and Martin alone to discuss Ross’s letter detailing the specifics of Martin’s affair with Sylvia.  Stevie reads aloud from the letter out of disbelief as much as a need to absorb the facts of the situation in which she now finds herself. As Stevie labors over the details of Ross’s letter, Martin continues to insist that he loves Stevie.  To which Stevie replies, “How can you love me when you love so much less?”  Stevie then demands the full story from Martin. Reluctantly, Martin describes how he met and fell in love with Sylvia and, later, joined a help group for others suffering from addictions to bestiality.  With the mention of one of the group participant’s sexual relationship with a pig, Stevie stands, picks up a plate, and smashes it on the floor before calmly continuing her conversation with Martin. Martin resumes his story with Stevie punctuating each detail with the smashing of various items adorning their home.  Finally, Stevie leaves the house threatening, “You have brought me down, and, Christ!, I’ll bring you down with me!” The third and final act begins with Martin and Billy standing amongst the ruins of what was once their home.  Neither Martin nor Billy know where Stevie has gone, but they use their alone time to try and repair their damaged relationship.  While Billy still cannot accept his father’s affair, he admits that he has always felt that his parents are “as good as they come…smart, and fair, and…a sense of humor.” Overwhelmed with a sense of loss and love for his father, Billy embraces Martin and kisses him sexually on the mouth.  Martin pushes Billy away just as Ross enters to witness the scene.  Martin angrily defends both his son and himself to Ross by stating: “He loves his father, and if it…clicks over and becomes—what?—sexual for…just a moment…so what?!  So fucking what?!  He’s hurt and he’s lonely and mind your own fucking business!” Ross, unmoved by Martin’s speech, claims to have received a call from Stevie saying Martin needed him.  Ross and Martin spar over Ross’s letter and how Martin’s public image can be saved from this incident.  Then, with a sound at the door, Stevie reappears, dragging Sylvia’s carcass with her.  Martin cries out, Billy calls for help, and Ross stares as Stevie offers her reason for slaying the goat: “She loved you….you say.  As much as I do.” Billy calls out again in confusion, ending the play. (The Edward Albee Society)

The Honolulu Advertiser Review Of “The Goat Or Who Is Sylvia?”

The idea to bring “The Goat Or Who Is Sylvia?” to TAG was the brainchild of director David Farmer, and a brilliant idea it was. It opened at 7:30 p.m. on Wednesday, May 24th, 2006 at the Yellow Brick Studio in Honolulu. It continued for 12 more performances (13 shows in total), with curtain being at 7:30 p.m. for Thursday through Saturday night performances, and 4:00 p.m. on Sunday matinees. The final closing performance was on Sunday, June 11th, 2006. Audiences who took in the show found the theme and subject matter made them cringe but also made them stay glued to the moves of its main actors, John Wythe White (seated in photo left) as Martin, Thomas C. Smith (standing left in photo) as Billy, and Victoria Gail-White (standing right in photo) as Stevie, who performed brilliantly. In support of this amazing production was Gene DeFrancis (Executive Producer), Loren K.D. Farmer (Assistant Director), Andrew Doan (Set and Lights), Aziza Hill (Stage Manager), Jose Dynamite, David Farmer, Loren K.D. Farmer, Wes Haviland, Maaike Snoep, and Viet Vo (Set Construction), Jason Taglianetti (Sound Design), Thomas Tochiki (Light and Sound Operator), Loren K.D. Farmer (Props/Costumes Coordinator, and Mike Mazzola (Photography). Director Farmer also ushered in a number of special thanks. These included: Kennedy Theatre; Professors Glenn Cannon, Dan Anteau, and Joe Dodd and Daphne Velasquez for the end table; Joel Park and Charlene Tashima for the pottery; Patricia Greene for Ms. Gail-White’s 3rd scene costume; Sharon Adair for her insights; Steve Katz and Act One Video for the camera; Noe Tanigawa and Hawaii Public Radio for their support; Barbara Fischlowitz-Leong and Michael Leong for their support and salesmanship; and Bryan Furer for the blood.