The History Of The Actors’ Group (TAG)
2006-2007
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. |

Sylvia – The Dog Sylvia Follows The Goat Sylvia
It would be cause for some confusion at the time the season was announced. For just a few weeks previously, TAG had staged the unforgettable, “The Goat Or Who Is Sylvia,” and now was producing a play entitled “Sylvia.” This time, however, the name referred to a dog rather than a goat, and the context of the play was not drama, but rather comedy. “Sylvia” is about a married couple, Greg and Kate, now empty nesters, who have moved to Manhattan after living and child-raising in the suburbs. Greg’s career as a financial trader is winding down, while Kate’s career, as a public-school English teacher, is beginning to offer her more opportunities. Greg finds a dog in the park who bears the name “Sylvia” on her name tag, and decides to bring her home. A street-smart mixture of Lab and poodle, Sylvia becomes the source of major conflict between Greg and Kate. She offers Greg an escape from the frustrations of his job and his ascent into middle age. To Kate, Sylvia becomes a rival for affection. And Sylvia thinks Kate just doesn’t understand the relationship between Greg and her, a man and his dog. The marriage is put in serious jeopardy until, after a series of hilarious and touching complications, Greg and Kate learn to compromise, and Sylvia becomes a valued part of their lives. “Sylvia” is written by playwright A. R. Gurney and is a smart, silly, and sophisticated comedy about relationships, nature, and growing older, and where the novelty of the production is that the dog is played by a human.
The Playbill For “Sylvia”
“Sylvia” was directed by Bro. Gary E. Morris, S.M., (pictured right) who was making his TAG debut, and who at the time was an associate professor of Theatre and English at Chaminade University of Honolulu, and who had, since 2003, been part of the creative team working to re-found the theatre program there and develop the performing arts at Chaminade. He brought with him an impressive cast and crew, many of whom were also making their TAG debut. As for the cast, Becky Maltby played Sylvia the dog. Tom Holowach played Greg. Euphrosyne “Frosty” V.E. Rushforth played Kate. Derek Calibre played the trio of roles in Tom, Phyllis, and Leslie. The crew included (responsibilities are in parenthesis) Jaren Maluyo (Assistant Director and Props Coordinator), Brenda Lee Hillebrenner (Lighting Designer), Carlynn Wolfe (Costumes), Kevin Craven (Sound Coordinator), Ginnie Little (Light Board Operator), Deenie Tagudin Kam and Jaren Maluyo (Stage Crew), Ginnie Little (Playbill), Mike Mazzola (Photography), and Ginnie Little (Producer, Assistant Director, Stage Manager). Bro. Gary also handled additional crew duties himself, or in coordination with others. These included Set Design, Sound Design, and he helped with Set Construction along with Joe Schriml, Vivien Leung, Jaren Maluyo, Tom Holowach, Bill Carr, Linda Tomita, Deenie Tagudin Kim, and Ginnie Little. Bro. Gary also extended special thanks to the Chaminade University Theatre Department, Brad and Joyce Powell, Dennis Graue for the musical arrangement and recording of “Ev’ry Time We Say Goodbye,” Tom Holowach for additional sound recording and for providing the NYC skyline, Holly Holowach for allowing Tom to come out and play, and Grace Humerickhouse for her costume assistance.

The Honolulu Advertiser Review Of “Sylvia”
“Sylvia” played to very good and appreciative houses in July and August of 2006. It played on Thursday through Saturday nights at 7:30 p.m. and at 4:00 p.m. for Sunday matinees. It opened on Thursday, July 13th, 2006 and closed on Sunday, August 13th, 2006, 20 shows in total.
Our Town – A Return To An American Classic
It had already become established that TAG was the theater where one could come to see productions no one in Hawaii had ever seen before. But to label TAG as simply as this would not be doing it justice. This theater had done such staples as Shakespeare (“As You Like It”), classic drama from Mamet (“Glengarry Glen Ross”), and comedy from Neil Simon (“The Sunshine Boys”). The bridge between the end of the 2005-2006 season to the beginning of the 2006-2007 season was another example of this. For after the shocking “The Goat Or Who Is Sylvia,” and the heartwarming “Sylvia,” TAG went back to an American classic, Thornton Wilder’s “Our Town.”
The Playbill For “Our Town”
Our Town is a three-act play written by American playwright Thornton Wilder in 1938, which is generally considered to by one of the greatest American plays ever written. It presents the fictional American town of Grover’s Corners between 1901 and 1913 through the everyday lives of its citizens. Act I, which Wilder calls “Daily Life,” is a re-creation of the normal daily activities found in a small New Hampshire town. The act opens with the appearance of the Stage Manager, who speaks directly to the audience. He tells where all of the main buildings of the town are located and gives pertinent facts about Grover’s Corners. Then he introduces us to the Webbs and the Gibbses, who are two of the town’s main families. After the introduction by the Stage Manager, the milkman and paper boy arrive and signal the official opening of the action of the play. Then the representative families begin to assemble for breakfast. First, the mother in each family tries to get her children up, dressed, fed, and off to school. After the children leave, the two mothers (Mrs. Webb and Mrs. Gibbs) meet for a chat. The Stage Manager returns and states more facts about the town. By this time, the day has passed by. Emily Webb and George Gibbs come home from school. George is struggling with schoolwork; Emily is the best student in her class. The two young people arrange a way so that Emily can assist George. The Stage Manager returns and tells more about the town. Mrs. Webb and Mrs. Gibbs attend weekly choir rehearsal. Afterward, they discuss the organist’s drinking. That night, Mrs. Gibbs tells her husband that the organist’s drinking problem is the worst she has ever seen. The constable strolls by on patrol. This passage signals the end of a typical day. The second act occurs some years later. After more comments by the Stage Manager, Mrs. Gibbs and Mrs. Webb return to the stage to prepare for a wedding. Both receive deliveries from the milkman and invite him and his wife to the ceremony. George Gibbs comes downstairs and tells his mother that he is going across the yard to see Emily, his girl; they are to be married later that day. When he reaches the Webbs’ house, Mrs. Webb reminds him that the groom should not see the bride on the day of the wedding. George talks to his future father-in-law until Mrs. Webb reappears and sends George home so that Emily can come downstairs to breakfast. The Stage Manager then turns back time to the day when George and Emily first discover their love for each other. George stops Emily on their way home from school. He has just been elected president of the senior class; Emily is secretary-treasurer. (cliffnotes.com)

“Our Town” is a play that has a lot of characters, and the tiny Yellow Brick Studio couldn’t readily accommodate that many actors, and so director David Schaeffer cast actors for which many of them played multiple characters. Schaeffer, indeed, brought with him a wonderful cast and crew. The cast included (roles in parentheses): Gerald Altwies (Dr. Gibbs and Constable Warren); Frankie Enos (Mrs. Gibbs); Jim Hesse (Wally Webb, Professor Willard, Simon Stimson, Mr. Morgan, Clergyman); Savada Gilmore (Joe Crowell, George Gibbs, Si Crowell); Vivian Hignite (Emily Gibbs); David Schaeffer (Mr. Webb, Howie Newsome, Joe Stoddard); Terri Seeborg (Mrs. Soames, Rebecca Gibbs, Samantha Craig); and Carlynn Wolfe (Mrs. Gibbs). The crew that supported director Schaeffer, included (responsibilities in parentheses): Mike Seeley, Hannah Miyamoto (Assistant Directors); David Schaeffer and Steve Robinson (Set Design); David Schaeffer, Kevin Pontsler, and Sangeet (Sound Design); Terri Seeborg (Music Director); Carlynn Wolfe, Rose Wolfe, and Laurie Tanoura (Costumes); Janine Meyers (Light Design); Carlynn Wolfe and Gerald Altwies (Props); Thomas Tochiki (Light and Sound Operator); Steve Robinson, Gerald Altwies, Frances Altwies, and Rose Wolfe (Set Construction); Sam Polson (Playbill and Publicity); Mike Mazzola (Photography); Ginnie Little (Publicity); Laurie Tanoura (Web Design); and Frankie Enos (Producer). Schaeffer also extended special thanks to the following: Betty Burdick (for directing the final two weeks of the production so that director Schaeffer could, “… stay on the stage”); Brother Gary Morris (for the use of Chaminade’s Black Box Theatre); Blossom Lam Hoffman (for performing piano on our rehearsal CDs); Frances Altwies (for her marvelous pupu and the use of her home for rehearsals); Lorena Jones (MVT Costume Shop); Jo Hickok and the Hawaii Shakespeare Festival (for costume assistance); Louise Cavanagh (photographer’s assistant); and Brad Powell, Joyce Powell and Eric Nemoto (TAG).
To me, Thornton Wilder is to American theater what Mark Twain is to the American novel, Edgar Allen Poe is to the American short story, what Walt Whitman and Emily Dickenson are to American poetry: the shoulders that future writers stand on. TAG (The Actors’ Group) came into being when a group of aspiring actors decided that their learning was incomplete until they started to perform live theater before a living, responding audience. It is Wilder’s gift to the dramatic arts that prompted us to subtitle this performance “A Celebration.”
David Schaeffer

To U.S. With Aloha And Mabuhay – An Offsite Innovative Epic Play
TAG’s next play evolved through a collaboration of TAG, playwright Virgilio Menor Felipe, the Filipino Community Center of Hawaii, the Filipino-American Historical Society of Hawaii, and the University of Hawaii’s Office of Multicultural Student Services, for which Clement Bautista served as the liaison for these organizations. It was Bautista who brought a grant of $5,000, which he and Felipe then brought to TAG with their proposal to do Felipe’s play, “To U.S. With Aloha And Mabuhay,” which was based on his book, “Hawaii – A Pilipino Dream.” Representing TAG, Eric Nemoto recruited one of his board members, David Farmer, along with his wife, Loren Farmer, to produce and direct this play, which would be staged not within the tiny confines of Yellow Brick Studio, but rather in the large auditorium stage of the Pearl City Cultural Center (see photo at the right).
“Hawaii – A Pilipino Dream” – Virgilio Menor Felipe’s Book That Inspired The Play
Virgilio Menor Felipe (pictured at left with daughter Jadelyn “Pikake” Menor Felipe) was born in the Philippines. At age twelve, his family immigrated to Hawai‘i where he lived and grew up at Mill Camp 8 at Waialua Plantation. For high schools, he went to Castle in Kaneohe & finished at Kailua on Oahu. He graduated with an M.A. in History at the University of Hawai‘i at Manoa, where he helped found the Ethnic Studies Department and Operation Manong now known as the Office of Multicultural Students Services. Felipe’s writing reflects not only his scholarly knowledge but his work as a yardman and a community organizer of senior citizens. He has taught at all levels of schools including the University of Hawai‘i and the University of California at Berkeley. (taken from the page for the book, “Hawaii – A Pilipino Dream” available on Amazon)
The First Promotional Flyer For “To U.S. With Aloha And Mabuhay”
Under the direction of the talented David and Loren Farmer, “To U.S. With Aloha And Mabuhay,” would turn out to be a series of vignettes that depicted the history of the Philippines through a combination of acting, comedy, dance, photographic montages, and song. Their overall efforts in bringing this production to life could be described as nothing short of Herculean. They not only directed the players, but served as organizers of the event, promoters towards the sale of tickets, and technical workers in pulling the photo slide show together.
The Words Of Directors David Farmer & Loren Karunungan D. Farmer

The Playbill For “To U.S. With Aloha And Mabuhay”
Cast in the production were (role(s) are in parentheses): Marylin Csigi (Nana); Michelle Csigi (Dolores); Michael J. Leong (President McKinley, Amerikan); Shirley Castillo (Mother); Pat Canonigo (Funeral Director, Tata, Parent One, John Hancock); Lydia Abajo-Quides (Nana, Missie); James Ramos (Aguinaldo); Richard T. McWilliams (Army Chaplain, Teddy Roosevelt, Spanish Governor, Spanish Lieutenant, Corporal iiJones, Mr. Dewey Johnston); Chloe Amos (Dolores, Tinikling Dancer); Samantha Cannon (Mrs. Primitiva Concepcion); Kevin Michael Agtarap (Senator Beveridge, Dancer, G.I. Lieutenant, Jose, Thomas Paine, Tinikling Dancer); Alysia Ignacio (Widow, Disiang, Maria, Missie, Tinikling Pounder); Jesus Basuel (Amado, Reverend Armstrong, Payso, Mayor); Paula Masitalo Manz (Virginia); Glenda Ann Salvador (Senator Lodge, Fruit Dancer, Aurora, Jeremiana, Tinkling Dancer); Maseeh Ganjali (Johnson, G.I. Officer, Spanish Soldier; Private Arthur, Soldier); Thomas Smith (Alfred Mahan, Commodore Dewey, Sergeant Smith, Soldier); Cynthia Ochoa (Mrs. McKinley, Senator, Elma, Dancer); Precy Espiritu (Ina, Mrs. Jefferson); Johnny Verzon (General Otis, Spanish Lieutenant, Apo, Parent Two, Ben Franklin); and Lito Capina (Dancer, Mr. Bueno, Parent Three).
Co-Directors David (Dark Shirt) And Loren (Top Right) With Their Cast For “To U.S. With Aloha And Mabuhay”
David Farmer, as stated previously, would serve as director, and Loren Farmer would specifically serve as the musical director and costume coordinator. They would be assisted by a bevy of volunteers to help them. These included (roles are listed in parentheses): Sam Polson (Program Designer); Jason Taglianetti (Sound Designer); Samantha Cannon (Assistant Director); Paula Masitalo Manz (Vocal Coach); and Lito Capina (Choreographer). David and Loren also extended a number of special thanks to people who helped in other capacities. These included: Eric Nemoto; Mike Mazzola; Clem and Gina Bautista and their family; Adrienne Guerero and her family; Ginnie Little; Glenn Cannon; Allyn Tabata; Nathan Kagihara; Jay Salcedo; Barbara Fischlowitz-Leong; Alan Amos; Marylin Csigi; Steve Csigi; Nancy Arcayna; and John Berger.
The Message From Governor Linda Lingle And Lieutenant Duke Aiona
“To U.S. With Aloha And Mabuhay” would play for six performances at the Pearl City Cultural Center in 2006. It opened on Friday, October 13th, and continued on Saturday, October 14th, Sunday, October 15th, Friday, October 20th, Saturday, October 21st, and closed on Sunday, October 22nd. The Friday and Saturday night performances were at 7:30 pm, and the Sunday matinees played at 4:00 pm. It attracted very good sized audiences for each of its shows, culminating, overall, in a great production. It would be just the second TAG production performed off site.
The Second Promotional Flyer For “To U.S. With Aloha And Mabuhay”
In appreciation to David and Loren, and all that they did to pull “To U.S. With Aloha And Mabuhay” together, Eric Nemoto of TAG, wrote and presented to them a framed write up. He read it before an appreciative crowd made up of the entire cast and crew at the closing night party held after the last show at the Pearl City Cultural Center. It was a fitting tribute to two wonderful people and an end to a wonderful production.
The Appreciation Write Up To David Farmer And Loren Karunungan D. Farmer
K2 – TAG Stages The Reprise In Yellow Brick Studio
Ever since “K2” was staged at the Little Theatre on the Windward Community College campus in the fall of 2002 (see the “TAG 2002-2003” season) it was destined to be staged again at TAG’s Yellow Brick Studio. Director Dennis Proulx had been genuinely disappointed (this is actually a PC phrase to camouflage the fact that Dennis was really pissed) that the number of audience members who actually came to see the entire run of the play might have filled just 50% to 75% of one house. So it was only natural that TAG artistic director Brad Powell would schedule K2 for another run, to give Dennis another run at staging his personal favorite play. It would be the very first time that TAG staged any of its plays again.
The Playbill For The Reprise Of “K2”
Dennis, a jack of all trades, but also a master of many, again went about recreating the snow cave that he had created for The Little Theatre. Once again the structure was fortified to easily take the weight of his actors, padded and carved with Styrofoam to simulate the inside of a mountain cave, an opening created upstage to reflect the entrance to the cave, the upstage wall painted to reflect a wall of ice in the distance, the lights purposely filtered and directed against the wall to reflect the passage of time (i.e. night passing into morning), the sound of the wind intermittently playing to suggest the oncoming storm and avalanche, and of course music that would complement the heartrending drama. In short, Dennis would handle practically everything, and to appreciate his overall contributions he obviously would have to direct the show too.
The Honolulu Star-Bulletin Review For The Reprise Of “K2”
Dennis wasn’t the only one to reprise his director’s role. Eric Nemoto and Wil Kahele returned to play Taylor and Harold respectively. Because Dennis literally handled almost everything himself related to the production, the crew consisted of only one other person. Thomas Thochiki, beginning his ascent towards being TAG’s regular light and sound technician, operated the light board and the sound system.
The TAG Reprise Of “K2” In Its Entirety (Approximately 3:10 Prelude)
The Honolulu Advertiser Review Of The Reprise Of “K2”
The reprise of “K2″opened on Thursday, November 16th, 2006, and went on to play for 19 more performances, 20 shows in total, closing on Sunday, December 17th, 2006. Thursday through Saturday night performances were at 7:30 pm, and Sunday matinees were at 4:00 pm. Honestly, the audience count was obviously better than in 2002, but not by much. Houses would range from 10 to maybe 20 (on a good night).

Jitney – A Powerful Monologue Highlights An August Wilson Classic
It was now January 2007 and, as it had become already a tradition, another African American play was next up for TAG. August Wilson’s “Jitney” played from February 1st, 2007 (Thursday opening night) through March 4th, 2007 (Sunday closing). During that run, it played at 7:30 pm on Thursday through Saturday nights, and at 4:00 pm on Sunday matinees. It was directed by multi-talented Derrick Brown (photo left), who, after establishing himself as an exceptional actor in previous African American plays, was now expanding his creative repertoire by undertaking the production’s directorial role (which would ultimately prove to be an outstanding decision by TAG as Derrick would be voted a Best Director award at the HSTC’s 2006-2007 Po’okelas held later in the summer of 2007. Derrick was supported by a wonderful cast (including himself). These included (their roles appear in parentheses): Jim Andrews (Becker); Gregory Scott Harris (Fielding); Raymond J. Griffin Jr. (Doub); Kesha Diodato (Rena); Derrick Brown (Turnbo); Christopher B. Smith (Shealy); Quenton Collins (Youngblood); and Billy Hall (Booster). Derrick was also supported by a wonderful group of TAG volunteers. These included (area of responsibilities are in parentheses) the following: Amy Oshiro (Assistant Director, Stage Manager); Pamela Cruz (Production Assistant); Carlynn Wolfe and Jenny Logico (Costumes); Moana Meyer and Sandy Suedel (Set Design and Construction); Derrick Brown (Sound Design); Savada Gilmore and Amy Oshiro (Lighting); Pamela Cruz (Props and Set Dressing); Thomas Tochiki (Light and Sound Operator); Greg Howell (Make-Up Consultant); Pat Matsueda (Publicity Design); Jeanne Wynn (Photographer); Laurie Tanoura (Web Design); Joyce Powell (Reservations, Door, and Refreshments); and Frankie Enos and Carlynn Wolfe (Co-Producers). In the playbill for “Jitney,” director Brown also extended a number of special thanks. These were Rose Wolfe and Robbie Powell for their work on the set; Dolores Gutman; Jo Hicock for help with costumes; Lorena Jones of the Manoa Valley Theatre costume shop; and the TAG Team for cleanup – Carlynn Wolfe, Thomas Tochiki, Richard McWilliams, Liz Kane, Jenny Logico, and David Schaeffer. “Jitney” was a huge success for TAG, the great acting all around would garner great critical acclaim, while drawing large crowds to every performance.
The Playbill For “Jitney”
“Jitney” is the eighth play in August Wilson’s Pittsburgh Cycle. It takes place in The Hill District of Pittsburgh in 1977, in a gypsy cab station, during Pittsburgh’s period of so-called “urban renewal.” As the city tries to shut down businesses — including the cab station — to make way for new building, we meet five gypsy cab drivers struggling to survive. Wilson’s ensemble piece puts human faces to the process of gentrification seizing the United States, telling of the specific human struggles of Becker, Youngblood, Turnbo, Fielding and Doub as they cling to a nostalgic past, while reaching for an uncertain future. Becker, the owner of the cab station, descends into an emotional spiral when his son, Booster, comes out of jail, where he served time after murdering his ex-girlfriend who falsely accused him of raping her. Youngblood has saved up enough money to buy a house for himself, his girlfriend, and their two-year-old son, Jesse, but even this grand gesture fails to redeem him in the eyes of his girlfriend, Rena, who refuses to forgive him for his unfaithful past. Turnbo is an older man who is distressed with the manners of the young people today, especially those of fellow cab driver, Youngblood, and is obsessed with comparing their actions to those he remembers from his happier past. Recovering alcoholic Fielding, who used to be a tailor, is waging an ongoing battle against his alcoholism, even as his continued drunkenness threatens his job. Doub is a Korean War Veteran, and a longtime jitney driver, who equates his time at war where ‘they never paid [him] no mind’ to the experiences he and his black colleagues have with white men today. Over the course of the play, all five of these men and the characters that come in and out of their lives pose questions about how we can heal past wounds and leap into a less-than-certain future. (stageagent.com)
The Honolulu Advertiser Review Of “Jitney”
The Publicity Postcard For “Jitney”
Performances in theater are like sand castles. While they are beautiful soon after they are completed, eventually they are washed away with the evening tide. Hence, much as one tries to find a recording of Lee J. Cobb in “Death Of A Salesman,” or Marlon Brando in “A Streetcar Named Desire,” or Richard Burton in “Camelot,” the search uncovers nothing. So it is left to the writers to describe the impact of those performances. At least, then, they are recorded in history, so we can all imagine. So too, are many of the performances that were witnessed at TAG. One of these moments involves a scene in “Jitney” which must be documented. For the unquestioned highlight of the play was a monologue by lead actor Jim Andrews (see above postcard shot where he appears front and center) who portrayed Becker, that occurs at the closing of the first act. Raging against his son, Booster, Becker explains how he nursed his wife (and Booster’s mother) in her final days, and that her death was ultimately caused by her knowledge of Booster being initially sentenced to death, for killing his girlfriend. So powerful was Andrews’ delivery, that even though his character never appears in the second act (dialogue between other characters informs the audience that Becker died), so basically he appeared in ONLY ONE ACT of “Jitney,” he was awarded a Best Leading Male award in the ensuing 2006-2007 HSTC Po’okela awards later in the summer of 2007. Jim Andrews’ Becker monologue (see the following) remains, arguably, the greatest single monologue ever given on a TAG stage.

Romance – A Mamet Comedy Brings About A Classic TAG Moment
Next up, was another David Mamet play, “Romance,” and leave it to David Farmer (photo left) to return to directing another interesting play that would not be seen on any other Hawaii stage. “Romance” takes place in a courtroom, where the trail is presided over by The Judge, has taken so much allergy medications that it makes him so drowsy that he constantly falls asleep. Later on in the play, he becomes so manic that he eventually ends up stripping in the middle of the court. Meanwhile, The Prosecutor has to deal with his flamboyant and often difficult-to-control boyfriend Bernard, nick-named Bunny. Bunny unexpectedly comes to the court room, “bringing out the inner Queer Guy in the Judge and his Bailiff. The gentile Defense Attorney is swapping racial slurs with his Jewish client, The Defendant. The Defendant suddenly comes up with a brilliant idea to solve all the problems in the Middle East. With “Romance” Mamet uses a zany trial to skewer everything from the U.S. justice system to politics, to homosexuality, to pedophile priests, and religious prejudice, into a madcap laugh-a-minute play. TAG’s version offered up the unforgettable sight of Bernard in a Speedo, and the hilarious catch phrase, “Peace in the Middle East,” which, to understand the comic nature of this, you had to be there at one of the performances. (the majority of this description is paraphrased from Wikipedia)
The Playbill For “Romance”
Cast in this hilarious production were some great actors. Kevin G. Agtarap, played the Defense Attorney, S. Rick Crump, played the doctor, Larry Fukumoto was the Bailiff, Maseeh Ganjali was the Defendant, Stu Hirayama played the Judge, Thomas C. Smith played the Prosecutor, and D. Omar Williams was Bernard. “Romance” played for 20 performances. It opened on Thursday, April 12th, 2007, and closed on Sunday, May 13th, 2007. It played to very enthusiastic audiences on Thursday through Saturday night shows at 7:30 pm, and Sunday matinees at 4:00 pm.
Some Of The Cast For “Romance”
The Honolulu Advertiser Review Of “Romance”
In addition to director Farmer, the production crew reflected a host of TAG supporters. These included (roles are in parentheses): Loren K.D. Farmer (Assistant Director/Casting Director/Costume Coordinator); Cynthia Ochoa (Stage Manager); Alysia Ignacio, Glenda Salvador, Elizabeth May (Assistant Stage Managers); Thomas Tochiki (Sound and Light Operator); David and Loren Farmer (Set Design/Photography); Brenda Lee Hillebrenner (Lights); Andrew Doan, David Farmer, Thomas C. Smith, D. Omar Williams (Construction); David and Loren Farmer (Sound); David Farmer (Props/Set Dressing/Program/Publicity Design); and the TAG Team (Reservations/Door/Refreshments). Special thanks were given to Manoa Valley Theatre, Shell Dalzell, Kennedy Theatre costume shop, Hannah Schauer, Bob Au of Lai Fong, Edward Huls, Frankie Enos, Carlynn Wolfe, and the TAG Team. There was also a painting in the play, entitled “Pause,” a 2002 oil on canvas by local artist, Michael Breen.
The Promotional Postcard For “Romance”

From Penicillin To Po’okelas – The Hunt For A New Theater Begins
Sometime in the early part of 2007, TAG received a notice that the building in which the Yellow Brick Studio was housed in would be put up for sale. While there was date for eviction, members of the TAG board could see the writing on the wall. It brought to mind what TAG had to do to continue to exist. Of course the obvious answer was that TAG needed to find a new venue. But what again gets lost over time when one attempts to recall the history of some development long ago is to recall all the details that came about. However, recalling overall impact of this development is rather easy since it struck at the very core of TAG’s existence. Yes, there was great consternation that this brought to all who ran TAG, and later, to everyone who followed TAG. It was the arrival of what everyone associated with the group knew was the inevitable. Truth be told, the entire building had become an eyesore. The adjoining roof was a veritable junk yard, and actors who ventured out there to find some me time prior to performing, actually risked being the first to fall through portions of its sagging roof. The restroom always maintained that stench that the arduous cleaning before each production run (often by members of the TAG board themselves) could never quite extinguish the lingering urine smell. And of course, every once in a while a rat scaling atop one of the pipes that secured the spot lights would elicit a squeal from an audience member. So it was time to plan the move, even if no one knew quite how to go about doing such. TAG president, Eric Nemoto (see photo left, during the play), felt he had the idea. Write a play about the history of TAG, and use it as a kind of fundraiser, to come up with the start of the great funding the TAG board felt it would need. Eric would go on to write the script, which became a tongue-in-cheek look back at TAG’s history utilizing an MC and Storyteller, as well as a depiction of various acting scenes from memorable plays, and a PowerPoint presentation that would list every play that TAG had produced. Eric would title his script, “From Penicillin To Po’okelas,” in reference to how Joe Rozmiarek likened the group in its initial years (for it just appeared out of nowhere to do a play) to become the critically acclaimed theater that it had become, earning 30 Po’okela awards at the time of the production.
The Publicity Flyer For “From Penicillin To Po’okelas”

The Script Cover For “From Penicillin To Po’okelas”
In writing the script, Eric had certain people in mind to help him with telling the TAG story. The set itself would merely reflect a podium (see above photo on the script cover) at which members of the cast would take turns speaking. He, himself, would direct the production, and would also serve as the MC and primary Storyteller, where he would address the audience center stage in front of, or to the side of, the podium and his scenes would ensue either through rehearsed dialogue or through extemporaneous storytelling. A number of the cast would serve as narrators, who would read their dialogue from the script while at the center podium. Their presentations would be accompanied by a PowerPoint presentation that would be shown against the top of the back wall of the stage, projected there by an LCD projector that was hung above the audience (sitting atop a small platform that was constructed by and installed by cast member Dennis Proulx). Actors performing scenes from past plays would perform either center stage in front of the podium (or with the podium moved to the side temporarily) or around the area just outside of the side prop room. In the play itself, two members of TAG would be recognized for their tremendous contributions to TAG. These were Brad Powell and Frankie Enos. In recognizing them, Eric would present them with a “yellow brick,” a yellow painted block cut out of Styrofoam that was gift wrapped. These award recipients, Brad and Frankie, would be seated in the audience until they were called on stage to be recognized, where they gave their acceptance speeches. The scenes and actors that Eric chose to be part of the production included: Betty Burdick (The Effects Of Gamma Rays On Man-In-The-Moon Marigolds); Victoria Gail-White and John Wythe White (The Goat, Or Who Is Sylvia); Sam Polson (Buried Child); Mike Mazzola (The Committee Responsible For Exposing The Reverend Terry Jamestown); Richard McWilliams and Mike Mazzola (Glengarry Glen Ross, Richard and Mike were not in the production, but read a scene); Sam Polson and Mary Frances Kabel-Gwin (Harvey); Carlynn Wolfe (Talking With, Carlynn was not in the original production, but read a scene); Dennis Proulx (K2, but this wasn’t scene, but a parody of Dennis’ acceptance speech for best director at the Po’okela awards); Derrick Brown (Joe Turner’s Come And Gone); and Jim Andrews (Jitney). In addition, Derrick Brown would also appear intermittently, announcing the next set of narrators.
Photos From “From Penicillin To Po’okelas” Courtesy Of Jeanne Wynne Herring Photography
“From Penicillin To Po’okelas” played for four shows, on consecutive Friday and Saturday nights, April 17th and 18th, and April 24th and 25th, at 7:30 pm at the Yellow Brick Studio. The cast included: Eric Nemoto (MC, Storyteller); Mike Mazzola (Narrator, Guest Actor); Richard McWilliams (Narrator, Guest Actor); Sam Polson (Narrator, Guest Actor); Dennis Proulx (Narrator, Guest Actor); Carlynn Wolfe (Narrator, Guest Actor); Jim Andrews (Guest Actor); Derrick Brown (Announcer, Guest Actor); Betty Burdick (Guest Actor); Victoria Gail-White (Guest Actor); Mary Frances Kabel-Gwin (Guest Actor); John Wythe White (Guest Actor); Frankie Enos (Award Recipient, Storyteller); and Brad Powell (Award Recipient, Storyteller). The crew consisted of Thomas Tochiki (light and sound), and Jenny Logico (ran the PowerPoint presentation). The whole thing was done tongue-in-cheek and the audience would love it. After each show TAG treated the audience to refreshments. Over time it is lost as to how much TAG received in donations (the performances were free but patrons through money into a collection bowl each night). But the money issue wasn’t the point. TAG began its earnest drive to find a new theatre by doing it the best way it knew how – by performing a play.
Antigone – Controversy & Challenges
In the recollection of any organization’s history, it is impossible to recall “every” thing that happened during any production. And truth be told since time has a way of relegating everything to the back vestiges of our collective memories, if we’re to tell the story of anything, it’s just a natural tendency to mention mostly the good of what happened. The truth, however, is that “every” production faces numerous challenges during rehearsals and moments when the production would seem doomed. In fact, as anyone who has ever been in a play can certainly attest to, whenever “hell week” (the week leading up to a play’s opening) would arrive, it, more often than not, would be met by laments from the cast and crew of wishing they had another week to prepare. So the comments related to “Antigone,” the reader is advised, is certainly not an isolated case. But in fact, “Antigone,” had its share of challenges, not the least of which was director David Schaeffer’s (top right) decision to recognize a very controversial person.

Schaeffer’s Postcard That Stirred The Hornet’s Nest
The impact of Watada’s refusal to deploy would later be something that most people would recall only if prompted to. But at the time, it was a lightning rod that stirred political debate from everyone. The Iraq War itself had become a questionable decision. Born in the aftermath of 9-11, it however didn’t focus on finding the lead perpetuator of that terrorist attack, Osama Bin Laden, but had invaded Iraq on the premise that the country had hidden “weapons of mass destruction.” While the weapons were never found, the U.S. eventually toppled and captured president Saddam Hussein in 2003, and where he was eventually executed by hanging at the end of 2006. But even with the execution of Hussein, the U.S. would still maintain its presence until 2011-2013, until President Bush initiated, and President Obama completed, the U.S. withdrawal. Of Watada’s decision people felt either for or against him. There was little middle ground. Schaeffer felt his actions were courageous, and according to the postcard he created, likened his actions of dissent to other iconic dissenters like Mahatma Ghandi, Nelson Mandela, and Muhammad Ali. Members of the TAG board, reflecting the split of the general public, were both for and against. The sentiments for said they empathized with Watada, but also because if the board were to tell Schaeffer to take Watada’s photo off of the postcard, they felt it would be a form of creative censorship. Those who were opposed felt Watada was not a dissenter but rather a deserter, and moreover, were concerned about how this inclusion would affect members of TAG’s audience who were in the military. In the end, the play ensued with a disclaimer in the production program. Under the heading of “About our Postcard and Posters,” the following statement was printed.
The people on the cover of our postcard and posters have all engaged in some form of civil disobedience. Their inclusion does not represent an endorsement by The Actors’ Group.
The Playbill For “Antigone”
Director Schaeffer assembled a good cast to help him stage the production. These were Ariane Fuchs as Ismene, Alorah Kwock as a Guard, James Locke as Haemon, Jenny Logico (photo left) as the Chorus, Elizabeth May as a Guard, Robert St. John as Creon, Thomas Tochiki as the Page, Jenny Torrijos as Eurydice, Adam Trecker as a Guard, and Elizabeth Wolfe as Antigone. They were supported by a very helpful crew. Hannah Stellmacher and Jenny Logico served as Assistant Directors, Andrew Doan handled Set Design, Set Construction, and Lighting Design, Carlynn Wolfe was in charge of Costumes, Props, and Set Dressing, Thomas Tochiki was the Light and Sound Operator, Jeanne Wynne took care of Photography, Laurie Tanoura took care of Publicity, Program and Web Design, and Carlynn Wolfe was responsible for Reservations and the Door. In the production program, special thanks was given to Jan McGrath, Ed Pickard, Le Jardin Academy, Word of Life Church, Manoa Valley Theatre, Hawaii Opera Theatre, Jo Hickok from the Navy Relief Society Thrift Shop for her assistance with costumes, Tony Pisculli for the loan of the firearms, and the TAG Team. “Antigone” opened on Friday, June 22nd, 2007 and closed on Friday, July 15th, 20077. It played for a total of 15 performances. It played at 7:30 pm on Thursday through Saturday nights and at 4:00 pm on Sunday matinees. The production overall drew consistent, if not large, and appreciative audiences.

The Star-Bulletin Review For “Antigone”
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