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.

After its year of hiatus, the HSTC returned to staging the Po’okelas at the Koolau Ballroom. But it was presented utilizing a new presentation model. Instead of the nomination process, wherein each category would announce five nominated possible recipients and then the one single winner of that category would be announced that night, attendees, particularly those who might have an inkling that as performers they would be up for an award, would merely attend and await the announcements and awards. Also changed was the one winner outcome. Instead, a stress on recognizing excellence and not promoting competition would now be stressed. As such, if the adjudication committee felt that more than one recipient was warranted, then so be it. Under these new rules, TAG would continue to receive its share of deserved Po’okelas. Hence, for the 2005-2006 season, it garnered a total of 12 awards. Overall Play, “Joe Turner’s Come And Gone” and “The Goat Or Who Is Sylvia.” Derrick Brown, “Joe Turner’s Come & Gone,” Curtis Duncan, “Joe Turner’s Come & Gone,” and Thomas C. Smith, “The Goat or Who Is Sylvia,” for Featured Male in a Play. Dusty Behner, “Boston Marriage,” for Featured Female in a Play. Betty Burdick, “Boston Marriage,” Victoria Gail-White, “The Goat or Who Is Sylvia,” and Susan Park, “Betrayal,” for Leading Female in a Play. Carlynn Wolfe and Rose Wolfe, “Joe Turner’s Come And Gone,” for Costume Design. Andrew Doan, “The Goat or Who Is Sylvia,” for Set Design.

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.

A.R. Gurney (pictured left) was born on November 1, 1930 in Buffalo, New York, USA. He was a writer, known for “3 by Cheever” (1979), “Television Theater” (1953) and “Trying Times” (1987). He was married to Mary Forman Goodyear for 60 years, where they had . He died on June 13, 2017 in Manhattan, New York City, New York, USA. “Pete” Gurney was a professor in the Literature Section of the Humanities Department at MIT before he left to become a successful playwright. While there he wrote a very amusing “roman a clef” called “Entertaining Strangers” about one of the other professors. He was nominated for the 1985 Pulitzer Prize for Drama for the play, “The Dining Room,” and the 1990 Pulitzer Prize for Drama for the play, “Love Letters”. His play, “The Cocktail Hour,” in the Center Theatre Group/Ahmanson at the James A. Doolittle Theatre (University of California) in Los Angeles, California was awarded the 1990 Drama-Logue Award for Production. (IMDb)

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)

Thornton Niven Wilder (April 17th, 1897 – December 7th, 1975) was an American playwright and novelist (and occasional actor in his own plays.) He won three Pulitzer Prizes, for the novel The Bridge of San Luis Rey and for the plays Our Town and The Skin of Our Teeth, and a U.S. National Book Award for the novel The Eighth Day. He was the recipient of the Gold Medal for Fiction from the American Academy of Arts and Letters, the Presidential Medal of Freedom, the National Book Committee’s Medal for Literature and the Goethe-Plakette Award (Germany). Wilder was born in Madison, Wisconsin, on April 17th, 1897. He spent part of his boyhood in China and was educated principally in California, graduating from Berkeley High School in 1915. After attending Oberlin College for two years, he transferred to Yale, where he received his BA in 1920. His post-graduate studies included a year spent studying archaeology and Italian at the American Academy in Rome (1920-21) and graduate work in French at Princeton (Master’s degree, 1926). In addition to his talents as a playwright and novel­ist, Wilder was an accomplished essayist, translator, research scholar, teacher, lecturer, librettist and screenwriter. In 1942, he teamed up with Alfred Hitchcock on the classic psycho-thriller Shadow of a Doubt. Versed in foreign languages, he translated and adapted plays by Ibsen, Sartre and Obey. He read and spoke German, French and Spanish, and his scholarship included sig­nificant research on James Joyce and Lope de Vega. Wilder enjoyed acting and played major roles in several of his plays in summer theater productions. He also possessed a life-long love of music and wrote librettos for two operas, one based on The Long Christmas Dinner (composer Paul Hindemith) and the other based on The Alcestiad (composer Louis Talma). One of Wilder’s deepest passions was teaching. He began this career in 1921 as an instructor in French at The Lawrenceville School in New Jersey. During the 1930’s he taught courses in Classics in Translation and Composition at the University of Chicago. In 1950–51, he served as the Charles Eliot Norton Professor of Poetry at Harvard. During WWII, Wilder served in the Army Air Force Intelligence. He was awarded the Legion of Merit Bronze Star, the Legion d’honneur and the Order of the British Empire. In 1930, with the royalties received from The Bridge of San Luis Rey, Wilder built a home for himself and his family in Hamden, Connecticut. Although often away from home, restlessly seeking quiet places in which to write, he always returned to “The House The Bridge Built.” He died there on December 7th, 1975. (thortonwilder.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                 

Director Schaeffer interjected into his version of “Our Town,” a series of audio recordings from “Bert & I” which is the name given to numerous collections of humor stories set in the “Down East” culture of traditional Maine. These stories were made famous and mostly written by the humorist storytelling team of Marshall Dodge (1935–1982) and Bob Bryan (1931–2018) in the 1950s and the 1960s and in later years through retellings by Allen Wicken. The stories communicate the quirkiness of rural New England and Maine culture, told in the traditional folksy New England storytelling vein with a dry wit that inspired the Lake Wobegon stories that would begin appearing in 1974. The title characters are fishermen by trade, operating a motor vessel named Bluebird (and later Bluebird II), based out of Kennebunkport. Many of the longer stories of Bert & I collections involve incidents during a day’s work, with careful detail given to the intricacies of the trade (especially through sound effects vocalized by Dodge). (Wikipedia) For a sample of one of the recordings, click here.

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

Many things critical to the development and evolution of TAG gets lost and forgotten as the years pass by. But the grant that Clement “Clem” Bautista, of the University of Hawaii at Manoa’s Office of Multicultural Student Services, in conjunction with the Filipino Community Center of Hawaii and the Filipino-American Historical Society of Hawaii, was nothing short of transformational. During a time when TAG was subsisting from the proceeds of one production to the next on but the most minuscule of budgets, the $5,000 that Clem brought with him in support of Virgilio Menor Felipe’s play, was huge. This amount enabled TAG to develop what might have been its very first “cushion” in terms of having a financial reserve (at the time), and enabled it to continue its growth. TAG, in fact, owes a huge debt of gratitude to Clem, Virgilio, David, Loren, and the entire cast and crew of “To U.S. With Aloha And Mabuhay,” for its proceeds sustained TAG for years.

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).

Memory and no clarity in the documentation results in not knowing if the first run of “K2” in 2002 was played in one act or two. But for the reprise held in 2006, director Dennis Proulx wrote a comment under the heading “Please get comfortable…” in the program, which read, “The play will be performed in one-act with no intermission.” The relevance of this would result in one of the great and funny stories in TAG history. This involved young Thomas Tochiki, TAG’s light and sound operator. To begin with it was director Proulx’ decision to house all of the light and sound equipment behind the ice cave stage, rather than have Thomas operate the system either in the back of the audience area (as was the case for many of TAG’s early plays) or in the side storage room (which would eventually be the area where the first light booth would be created). The belief here is that TAG had not constructed its first light booth away from the audience as yet (there was a squared out hole in the wall where the operator could run the light and sound system while peering out towards the stage), for otherwise, why else would Dennis place Thomas behind the stage. It was likely that Dennis didn’t want Thomas in the audience, so naturally then he would “back stage” with Eric and Wil. At any rate, what this meant was that once the play began, and because this reprise was done in one-act, Thomas would have no line of sight of Eric and Wil on the ice cave set or the audience. And because the switch to the house lights were actually still on the wall outside of the side room, Thomas would have to first turn the house lights off and then go back stage to run the system. With every show this was no problem. However on one of the run’s last shows, Thomas merely forgot to turn off the house lights. He did not realize that he didn’t turn off the lights until near the end of the play. Because Wil Kahele, portraying Harold, literally doesn’t move during the play for his character has a broken leg, there was nothing he could do in terms of informing Thomas. Eric Nemoto, playing Taylor, on the other hand, could. His character literally goes out of the ice cave stage on the premise that he is climbing the side of the mountain. In fact, he would lie on the top of the ice cave stage completely hidden behind behind dark cloth that draped above the set. But surprisingly throughout the entire play he did not think to alert Thomas, largely because, as he would later come to explain, he was totally into his character and henceforth he really never looked out into the audience. Only at the very end, as he listens to Wil say his ending lengthy monologue which convinces Taylor to finally leave Harold behind, did Eric notice how bright the lights were, since Dennis had directed him to look out into the audience at that moment so the audience could see Taylor’s facial expressions as he realizes that Harold was correct, and that he’d have to leave his friend behind in order to continue living. At the end, after the curtains closed, Wil refused to respond to Eric’s congratulatory fist pump. Wil instead responded, “Don’t even talk to me.” Confused, Eric asked, “What’s wrong?” Wil responded incredulously, “What’s wrong? What are you talking about? The HOUSE LIGHTS were on! Eric, still not totally cognizant of wall that had happened, said, “What? Are you serious?” Wil, totally disgusted, went on a tirade about how he couldn’t do anything obviously, but Eric, who goes off stage three times and could have easily motioned to Thomas to turn off the lines. Eric, although feeling a growing realization setting in, nonetheless had to check with the source. He turned towards Thomas and began to ask, “Hey Thomas, were the house lights…,” but found that Thomas, having realized that his failure to turn off the switch meant that the whole play was performed with the house lights on, was seen grimacing endlessly and pounding his head with he closed fists. See this, Eric turned back to Wil and admitted, “Oh, I guess the house lights WERE on!” This remains one of TAG’s most treasured stories.

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.

BECKER: I was there! I was holding her hand when she died. Where were you? Locked up in a cage like some animal. That’s what killed her. To hear the judge say that the life she brought in the world was unfit to live. That you be “remanded to the custody of the Commissioner of Corrections at Western State Penitentiary and there to be executed in the electric chair. This order to be carried out thirty days from today.” Ain’t that what the judge said? Ain’t that what she heard? “This order to be carried out thirty days from today.” That’s what killed her. She didn’t want to live them thirty days. She didn’t want to be alive to hear on the eleven o’clock news that they had killed you. So don’t you say nothing to me about turning my back when I nursed that woman, talked to her, held her hand, prayed over her, and the last words to come out of her mouth was your name. I was there! Where were you Mr. Murderer? Mr. Unfit to Live Amongst Society. Where were you when your mama was dying and calling your name? (BECKER stops and takes a moment to gather himself.) You are my son. I helped to bring you into this world. But from this moment on… I’m calling the deal off. You ain’t nothing to me, boy. You just another nigger on the street. (BECKER exits. BOOSTER stands looking down on the floor. The phone rings. The lights go down to black.)

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”

During the run of “Romance” would come another incident that would go down as one of the most memorable of TAG moments. Stu Hirayama had come down with laryngitis, and so he could not perform. TAG, a theatre which really did not have any understudies, faced the prospect of canceling the show, or at least deciding to have another actor portray the role while reading from the script. But rather than cancel the show, director David Farmer decided to step into the role and while he would have to read from the script, he did so in a spectacularly innovative fashion. Coincidentally the courtroom set design that featured the judge’s bench featured the lip that surrounded where the Judge would sit was just high enough to allow Farmer to keep his laptop on his desk, on which he had opened the script for the play, and as he performed the role, he would use the fact that his character is drowsy to take the necessary glances to the monitor to pick up his lines. To further camouflage his glances to the script, David wore a pair of colored spectacles which hid his down looking eyes. This ingenious solution worked and the audience merely assumed that the glasses and David’s groggy looks to the unseen laptop was all part of the play. Considering the circumstances, this performance remains one of TAG’s most amazing ever.

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”

As the subject has been broached, it is important to remember those courageous volunteers who would always do the cleaning of the Keawe building prior to every show for many years while TAG performed in the Yellow Brick Studio. They were the final four, those committed TAG volunteers who would always show up to literally do the “dirty work,” like sweeping, mopping, and cleaning the restroom (for which there was only one, which men and women had to take turns using). These four were Eric Nemoto, Frankie Enos, Carlynn Wolfe, and Laurie Tanoura. While occasionally there would be others to help, these four were the ones who always toiled without any recognition and sometimes without any appreciation. But as part of the purpose of the TAG history is to recognize those who had never been recognized before, this fact is now made public. Eric, Frankie, Carlynn, and Laurie were always there, when no else would appear.

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.

Ehren Keoni Watada (born 1978), of Hawaii, was first lieutenant of the United States Army, who was the first commissioned officer in the U.S. armed forces to refuse to deploy to Iraq. In June 2006, he refused to deploy with his unit’s assigned rotation to Operation Iraqi Freedom, saying he believed the war to be illegal and that, under the doctrine of command responsibility, it would make him party to war crimes. At the time, he was assigned to duty with the 5th Battalion, 20th Infantry Regiment, part of the 3rd Brigade, 2nd Infantry Division, as a fire support officer. He was brought before a court-martial in 2007 which ended in a mistrial. The Army would come to subsequently discharge Watada under “Other-Than-Honorable-Conditions” in 2009. This discharge was the least favorable type of administrative discharge from the Army, and was reserved for a “… pattern of behavior that constitutes a significant departure from the conduct expected of Soldiers of the Army.”

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.

Antigone, in Greek legend, the daughter born of the unwittingly incestuous union of Oedipus and his mother, Jocasta. After her father blinded himself upon discovering that Jocasta was his mother and that, also unwittingly, he had slain his father, Antigone and her sister Ismene served as Oedipus’ guides, following him from Thebes into exile until his death near Athens. Returning to Thebes, they attempted to reconcile their quarreling brothers—Eteocles, who was defending the city and his crown, and Polyneices, who was attacking Thebes. Both brothers, however, were killed, and their uncle Creon became king. After performing an elaborate funeral service for Eteocles, he forbade the removal of the corpse of Polyneices, condemning it to lie unburied, declaring him to have been a traitor. Antigone, moved by love for her brother and convinced of the injustice of the command, buried Polyneices secretly. For that she was ordered by Creon to be executed and was immured in a cave, where she hanged herself. Her beloved, Haemon, son of Creon, committed suicide. According to another version of the story, Creon gave Antigone to Haemon to kill, but he secretly married her and they had a son. When this son went to Thebes to compete in athletic contests, Creon recognized him and put him to death, whereupon his parents committed suicide. (source britannica.com) Jean Marie Lucien Pierre Anouilh (June 23, 1910 – October 3, 1987), pictured above left, was a French dramatist and screenwriter whose career spanned five decades. Though his work ranged from high drama to absurdist farce, Anouilh is best known for his 1944 play Antigone, an adaptation of Sophocles’ classical drama, that was seen as an attack on Marshal Pétain’s Vichy government. His plays are less experimental than those of his contemporaries, having clearly organized plot and eloquent dialogue. One of France’s most prolific writers after World War II, much of Anouilh’s work deals with themes of maintaining integrity in a world of moral compromise. (source Wikipedia)

The Star-Bulletin Review For “Antigone”