The History Of The Actors’ Group (TAG)
2007-2008
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. |
The Baltimore Waltz – The First Hint Of A Multi-Media Production
The Baltimore Waltz is a 1990 play by American playwright Paula Vogel (see photo left). A satire of the prejudices that surrounded the AIDS crisis of the 1980s, the play follows American schoolteacher Anna as she learns that she is dying of “Acquired Toilet Disease,” and embarks on a sex-fueled trip around Europe with her brother, Carl, who still hopes that a cure will be found. Gradually, it becomes clear that this story is a fantasy spun by Anna and Carl in the latter’s hospital room, where he is dying of AIDS-related complications. As well as an angry satire, The Baltimore Waltz is a tribute to the author’s brother (also named Carl), who died under the same circumstances as his fictional counterpart. Shortly before his last illness, he had asked Vogel to accompany him on a trip to Europe. Vogel was unavailable for the trip, and when she later learned of his terminal diagnosis, she regretted the missed opportunity. The play is dedicated “To the memory of Carl—because I cannot sew.” The play text includes a letter written by Carl Vogel to his sister, which Vogel encourages directors to reproduce in their staging of the play. The letter provides light-hearted instructions for Carl’s memorial service: “Open casket, full drag.” After a workshop at the Perseverance Theatre in Juneau, Alaska, the play was first staged at the Alley Theatre in Houston in 1992. The play opens as schoolteacher Anna is diagnosed with ATD, or “Acquired Toilet Disease.” She is told that this disease is acquired by sitting on the seat of a toilet that has been used by children. It is a national epidemic, but the authorities have turned a blind eye to it. An official announces: “We are acknowledging the urgency of the dread disease by recognizing it as our eighty-second national health priority.” ATD is fatal. Anna quits her job and begins planning a trip to Europe. She invites her brother, Carl, because he speaks several European languages fluently. The siblings are close, although as siblings do, they occasionally rub each other the wrong way. Carl carries a toy bunny with him everywhere the siblings go: “(Carl grabs a stuffed rabbit and thrusts it in Anna’s suitcase.) Anna: What are you doing? Carl: Can’t leave bunny behind. Anna: What is a grown man like you doing with a stuffed rabbit? Carl: I can’t sleep without bunny. Anna: I didn’t know you slept with…stuffed animals. Carl: There’s a lot you don’t know about me.” It emerges that he hopes a cure can be found for Anna’s disease, and he has brought the bunny because it is his most precious possession: he reasons that he will be able to exchange it for the “miracle drug.” ATD is non-communicable, so Anna has no qualms about enjoying the pleasures of sex in her final month. She insists that one of the stages of grief is “lust.” In each country the siblings visit, she sleeps with a different man. All these men are played by a character identified in the text as “The Third Man” (which is one of many references to the film of that title, starring Orson Welles). Anna and Carl dutifully visit museums, tourist attractions, and restaurants, but Anna’s major focus is on seducing men. Amongst her lovers are a waiter, a revolutionary, a virgin, and a fifty-year-old “Little Dutch Boy.” At first, Carl enjoys his sister’s carefree attitude, but her absorption in sex only escalates, until Carl starts to resent how little time Anna is spending with him, leaving him to visit monuments with no one but his stuffed bunny for company. He confronts her: why are you spending so much time chasing sex? Do you think you might be hiding from the reality of your situation? Meanwhile, the Third Man embroils Anna and Carl in a madcap thriller plot, as Carl delves into the black-market seeking Anna’s miracle cure. This plot makes less and less sense as it progresses, and gradually, we come to realize that the plot is Anna’s way of spinning out her denial: in reality, it is Carl who is dying, and Anna is failing to confront that reality, instead spinning a yarn about the trip to Europe they never took together. Anna prepares a slideshow of their European trip: every image shows Baltimore and the Johns Hopkins Hospital. The play turns to the real situation as Anna is forced to acknowledge the truth: Carl is dead. In the play’s final moment, Anna and Carl—or his spirit—waltz across the stage in a loving embrace. Besides exploring the AIDS crisis and the poverty of the US government’s official response, The Baltimore Waltz is also a meditation on sibling love, sex, death, denial, and the way that we live on in the memory of our loved ones. (supersummary.com)
The Publicity Postcard For “The Baltimore Waltz”
Brad Powell returned to direct “The Baltimore Waltz,” and brought with him three impressive actors to make the comedy come to life. Karen Valasek portrayed Anna, Josh Harris portrayed her brother Carl, and Jacin Harter would portray a variety of suitors who Anna would bed, which would be feigned under a blanket where the actors would frantically kick up their legs to produce the simulation. Karen had acted previously with TAG (“Mrs. A. Lincoln”), but Josh and Jacin were making their TAG debuts. Jaron Maluyo also appeared as the Hospital Attendant.
The Honolulu Advertiser’s Review Of “The Baltimore Waltz”
“The Baltimore Waltz” played to consistent and enthusiastic crowds. It opened on Friday, August 24th, 2007, and played for a total of 19 performances, closing on Sunday, September 23rd, 2007. Thursday through Saturday night shows began at 7:30 pm and Sunday matinees began at 4:00 pm. It would feature a series of photo projections depicting the travels of Anna and Carl and with it brought to TAG the advent of the multi-media production.
Karen Valasek, Jacin Harter (Bottom), And Josh Harris (Top Right)
“The Baltimore Waltz” was supported by a great crew. These included (responsibilities are in parentheses): Liz Kane (Director’s Assistant, Stage Manager); Jenn Harris (Director’s Assistant); Jaron Maluyo (Assistant Stage Manager); Brad Powell and Laurie Tanoura (Set Design); Vince Green and Laurie Tanoura (Set Construction); Richard Valasek (Sound Design); Brenda Hillebrenner (Lighting Design); Thomas Tochiki (Light and Sound Operator); Carlynn Wolfe (Costumes, Props, and Set Dressing); Jeanne Wynne (Photography); Laurie Tanoura (Publicity, Program, and Web Design); and Joyce Powell (Reservations and Door). As for special thanks, Brad Powell recognized Ethan Okura for the use of the projector, Manoa Valley Theatre for the loan of props, and the TAG Team.
The Flyer Given To The Audience For Preview Of “The Baltimore Waltz”
Dream Saviour – The First TAG Dark Night Production
Spurred on by a need to find a way to get more ticket sales for the still struggling theater that always needed to concern itself with paying its rent every month, Eric Nemoto decided to pair up with filmmaker Jeff Katts (see photo left), who had inquired about the possibility of staging one of his stories in the Yellow Brick Studio. But given that the season had already been scheduled the question arose how could one of Katts’ story be brought to the stage? There was absolutely no time between productions. But then the concept arose as to what if a play could be rehearsed during whatever stage times could be afforded it and that the play would utilize the set of the current play being run. In other words, to design a play that would have elements of the set already constructed and to run during the nights when the current play had already opened and so the stage was no longer needed for rehearsal. Given that the typical play dates were Thursday through Saturday nights and Sunday matinees, the open nights would be Monday, Tuesday, and Wednesday nights just after a play opened, nights where the theater would not be used, where the theater was essentially dark. Thus, if a play were to be staged then it would be termed a “dark night” production. It was with this in mind that Eric and Jeff would collaborate.
The Promotional Flyer For “Dream Saviour”
The synopsis of “Dream Saviour” is as follows. Ex-drug addict Tony is just getting his life settled when he experiences the surreal arrival of angels who tell him he’s been chosen by God to wage a battle with a demon in a game for the soul of his best friend Bernard. But the fight proves to be one-sided as Bernard is physically deteriorating and the demon refuses to show himself. Through all this, Tony’s sole supporter is his loyal girlfriend Amy, who steadfastly believes him when he says he has been thrust into a deadly game with the Devil. But if the demon is nowhere to be found how could he be winning? It is then that the terrifying truth is revealed. The demon is influencing Bernard through his dreams and worst of all the evil being turns out to be Amy, who is actually the fetching but deadly she-demon Lamia! A story of the ongoing war between good and evil, “Dream Saviour” is a story from the “Soul Saviour Chronicles,” of Jeff Katts.
The Cast For “Dream Saviour”
“Dream Saviour” played on just two nights, Tuesday, September 25th, and Wednesday, September 26th, 2007, but its packed risers proved to be added sales revenue for TAG during a time when it was greatly needed. The production was the first example of staging a play within a play. It proved that a dark night production could be rehearsed during windows of time when the primary production, in this case “The Baltimore Waltz,” wasn’t using the set for their own rehearsals, which turned out to be on Saturdays during the day hours, except when “The Baltimore Waltz” held their technical rehearsal, which would have been August 18th, 2007. As for the play itself, Jeff created a treatment that involved a bed (for the sleeping Bernard), for which “The Baltimore Waltz” serendipitously had on set. Eric, in turn, took Jeff’s treatment and wrote the play, and then also directed, and created the intricate rehearsal schedule to get all ready. The cast that was recruited was nothing short of top notch and featured (see the cast photo above) Thomas Smith (climbing the wall) as Tony, Sam Polson (bottom left) as Dr. T. Perailaga and the demon Agaliarept, Curtis Duncan (far left next to the wall) as the angel Haniel, Robert Stevens (top of the stairs) as the angel Ecanus, Elizabeth May (nurse cap with red cross) as Nurse A. Icelav and the demon Valecia, Gretchen Nilsen (below Elizabeth against the wall to the right) as Lauren and the demon Trammel, and Brandon Sutherlin (center) as Bernard. As for a crew, the only person needed was Thomas Tochiki, who ran the sound and lights.
“Dream Saviour” – The Complete Play In Its Entirety
Fences – Curtis Replaces Jim And The Show Goes On
The postcard for TAG’s next production, August Wilson’s “Fences,” said it all. Jim Andrews, who in the previous year, wowed TAG’S audience as Becker in “Jitney” and repeated his great monologue as part of the cast in the TAG fundraiser play, “From Penicillin to Po’okelas,” was seen holding a baseball bat, which seemed to metaphorically communicate that he was set to hit it out of the park once again. With outstanding support to come from Wendy Pearson and Curtis Duncan (seen playing a trumpet), “Fences” becoming a hit was all but assured.
The Postcard For “Fences” – A Prelude To A Production Rewind
But sometime after the postcard was sent, as director Derrick Brown was leading the cast towards its final phase of rehearsal, the production received the bombshell news. Jim Andrews had received an acting opportunity that he needed to accept that would prevent him from doing the show. A film project had offered him a part to act in a movie in which they would pay his expenses to travel to the southwest portion of the continental U.S., and then pay him an extraordinary amount for just a few weeks of his time. It was – quoting the “Godfather” – an offer he simply could not refuse. Of course, this put the soon to open “Fences” production in a bind, and truth be told, not everyone on the TAG sign were happy. But the group, fundamentally born out of the aspirations of actors wanting to help each other to break out into bigger things (hence the name, The “Actors;'” Group), eventually could empathize with Jim’s situation. Speaking to Eric Nemoto about the terms of the offer he had received would elicit a supporting response from the TAG president, “Damn,” Eric quipped while chuckling, “You gotta take it, Jim. You’d be insane not to.” Given that Jim had to leave – nothing would change that – Derrick had to quickly come up with a solution. Fortunately, he had an ace up his sleeve. Curtis Duncan (in top left photo), originally cast in the supporting role of Gabriel Maxon, would step up and take on the role of the lead, Troy Maxon. This decision seemed daunting at the least. There were just a little more than two weeks to opening night and the role of Troy had extensive dialogue. Curtis, already well off book on this own character, would now have to pivot and learn the lines of the lead character which had considerably more lines to memorize. It was an almost no-win situation. Something any other normal actor would find completely impossible to do. But of course, Curtis Duncan was no normal actor. Known by all as an extremely quick study (he would often begin a typical six-week rehearsal schedule already off book on the first rehearsal day), Curtis took to the new role with fierce abandon, and within the few weeks he had to prepare (through a number of late nights for sure), mastered the lines as if he had been the one originally cast. “Fences” opened to a packed house and those in attendance never knew the extent to which Curtis had to go to give his stellar performance. Considering the short time that he had to rehearse, and the resulting outstanding performance he produced (for his role he would win a Po’okela award the following year), Curtis Duncan’s portrayal of Troy Maxon in “Fences,” remains one of the great all-time performances in TAG history.
Cast Photos From “Fences”
The Honolulu Advertiser Review For “Fences”
The fact of the matter is, what with all the production challenges it had to endure, Derrick Brown nonetheless directed “Fences” to a memorable run (he, too, would receive a Po’okela award, Best Director, at the following year’s HSTC event). It opened on November 2nd, 2007 and ran for a total of 15 performances, closing on Sunday, November 25th, 2007. Thursday through Saturday night shows were at 7:30 pm and Sunday matinees were at 4:00 pm. In addition to Curtis Duncan playing the lead of Troy Maxon, there was supporting him in the main roles, a stellar cast. Wendy Pearson as Troy’s wife, Rose Maxon. Christopher B. Smith as Gabriel Maxon, Troy’s brother. Savada Gilmore as Cory Maxon, Troy’s and Rose’s son. Derrick Brown, doing double duty in addition to directing, as Troy’s best friend, Jim Bono. Peter Montero as Troy’s other son from a woman before he met Rose, Lyons Maxon. And playing Troy’s illegitimate child, Raynell Maxon, young Safari Jones. The crew included Amy Oshiro, who served as the production’s Assistant Director, Danielle Jones was the Stage Manager, Laurie Tanoura created the Set Design, Moana and Sandy (Da Smartitas) did the Set Construction, director Derrick created the Sound Design, Thomas Tochiki created the Lighting Design and served as the Light & Sound Operator, Carlynn Wolfe was in charge of Costume Design, Jim Hesse handled Props, Jeanne Wynne and Mike Mazzola did the Photography, Laurie Tanoura took care of Publicity, the Program and the Web Design, and Joyce Powell handled the Reservations and manned the Door. Special Thanks was given to George Gagne and Jo Hickok for assistance with costumes, Brenda Lee Hillebrenner for assistance with lighting, Sara Ward and Bree Bumatai at Manoa Valley Theatre and Willie Sabel at Diamond Head Theatre for props and last, but not least, the TAG Team.
John Berger’s Commentary About “Fences”
Behind The Scenes Photos Of “Fences” Courtesy Of Larry Bartley
Merry Christmas, Roberta – A Chinatown Tale
“Merry Christmas, Roberta,” TAG’s next production, came about through a number of personal relationships. Jon Brekke (pictured at left) was, along with Michael Powell, the original tenant landlords who sublet their Yellow Brick Studio to the followers of TAG and their leader, Eric Nemoto. Brad Powell, Michael’s father, also knew Jon through filmmaking, having had a part in a feature length movie that Jon filmed and produced, A Boy, A Girl And A Dead Cat, and the 15-minute promotional video, Witness Protection, which eventually was incorporated into the YBS/LegacyVision Film, The Curse Of Witness Protection. Jon, who at the time was the Creative Director for Oceanic Time Warner in Hawaii, got to know Michael Wurth (see below right) when the latter came to work for Jon for the local cable television station, OC-16, as a writer and director. Jon and Eric had originally written the original screenplay for Merry Christmas, Roberta with Hollywood editor and producer, Ed Rothkowitz (Chicago Hope, Picket Fences, et. al.), which was to come so close to being filmed in Los Angeles in 1999 (for a more in-depth description of this development of see the Merry Christmas, Roberta movie page). So with an eye on using Michael Wurth to work on a stage version, Jon pitched the idea to Brad to stage Roberta as a play during the
2007-2008 season, which Brad eventually approved. Michael then adapted the screenplay into the stage version. Michael took the original script and added his own touches. He brought in the character of “Candace” the drug addict, added the overhead livig (but never seen) “Mrs. Chen,” the visiting female teacher (in the original screenplay it was a male, Eric’s effort to write himself a part), created the dual dinner scene to tackle the difficult task of communicating to the audience Roberta’s back-story, and came up with the wonderful SFX of the “falling snow,” which by the play’s end wins the entire audience over.
The Playbill For “Merry Christmas, Roberta”
The Star-Bulletin Review Of “Merry Christmas, Roberta”
Jon and Michael had mutually agreed to co-direct the stage production and they cast Laurie Tanoura as Roberta, Eric Nemoto as Alvin Amino, Ona Marie as Noreen Amino, Amber Hazelwood as Lynette Amino, and Stephanie Kuroda as Candace (the drug addict) and Paula Beckman (the teacher). Eric assisted with casting by getting an acting student of his, Louis Donato, to play Ben (the Amino’s lone employee), and consulted with his agent, ADR Agency, to find Charlotte Dias to play Mrs. Ketler, the supportive long time customer of the Amino’s store. As for the crew, Laurie Tanoura created the Set Design, Moana and Sandy (the Smartitas) handled the Set Construction, Jon handled the Sound Design, Thomas Tochiki created the Lighting Design and was the Light and Sound Operator, Carlynn Wolfe was in charge of Costume Design, Jeanne Wynn took care of Photography, Laurie also handled the Publicity, Program, and Web Design, and Joyce Powell was in charge of Reservations and Door.
The Cast Of “Merry Christmas, Roberta”
The Honolulu Advertiser Review For “Merry Christmas, Roberta”
“Merry Christmas, Roberta” – The Play In Its Entirety
“Merry Christmas, Roberta” opened at the Yellow Brick Studio on Friday, December 14th, 2007, and ran for a total of 15 performances, closing on Sunday, January 6th, 2008. Thursday through Saturday shows began at 7:30 pm and Sunday matinees started at 4:00 pm. As an anecdote to “Roberta’s” run, JoDee and Ernie Hunt, owners of many commercial properties in Hawaii, including the Mendonca Building in Chinatown, for which they were developing an artist loft (and where TAG would move their theater to so JoDee and Ernie would become TAG’s future landlords), took in one of the performances of “Roberta” and were duly impressed. So much so, that later they would confide that it was one of the reasons they agreed to let TAG move to their building and begin a new era.
Mass Appeal – Talent From Chaminade Comes Over To Help TAG
Brad Powell returned to direct TAG’s next production, the two person play, “Mass Appeal,” and with him came two marvelous actors hailing from Chaminade University of Honolulu. Brother Gary Morris, who headed u Chaminade’s Theater Department, would star as Father Tim Farley, and young Blaze Mancillas, who had acted in a number of Chaminade productions under the direction of Brother Gary, would play Mark Dolson.
The Playbill For “Mass Appeal”
A very good overview of “Mass Appeal” is provided by the Algonquin Arts Theatre of New Jersey (algonquinarts.org), which staged the play in 2021. Their synopsis follows. Father Tim Farley, a lover of the good things in life, is comfortably ensconced as priest of a prosperous Catholic congregation. Without realizing it, he has resorted to flattering his parishioners and entertaining them with sermons that skirt any disturbing issues, in order to protect his Mercedes, his trips abroad and the generous supply of fine wines that grace his table (and his desk drawer). His well-ordered world is disrupted by the arrival of Mark Dolson, an intense and idealistic young seminarian whom Father Farley reluctantly agrees to take under his wing. There is immediate conflict between the two as the younger man challenges the older priest’s sybaritic ways, while Father Farley is appalled by Mark’s confession that he had led a life of bisexual promiscuity before entering the priesthood. In the final essence their confrontation is a touching yet very funny examination of the nature of friendship, courage and the infinite variety of love, as the older man is reminded of the firebrand he once was, and the younger comes to realize that forbearance is as vital to the Christian ethic as righteousness. The play was born from the author’s inner dilemma. As an artist, does one say what he believes people need to hear or what they want to hear? The play is about the bravery needed to put principles before popularity. MASS APPEAL premiered off-Broadway in New York City and then moved to Broadway in 1981. Since then it has been performed around the world. It was made into a movie starring Jack Lemmon with the screenplay written by Bill C. Davis. The joy and key to this play is that audiences seem to relate to both characters and ironically this has, over the years, been what has given MASS APPEAL its mass appeal.
Photos Of The Cast For “Mass Appeal”
Brad was assisted by a stellar production crew. The Assistant Director and Stage Manager was Jacin Harter, the Set Design was created by Laurie Tanoura, the Lighting Design was created by Thomas Tochiki, who also was the Light & Sound Operator. the Sound Design was created by Richard Valasek, the Substitute Stage Manager was Sabrina Sanchez, Photography was taken by Jeanne Wynne, Laurie Tanoura also handled the Publicity, the Program and the Web Design, and the Reservations and manning the Door was handled by Joyce Powell. Special thanks was also merited to the Chaminade University Campus Ministry, Father Ken Templin S.M., Father Bob Bouffier S.M., and Kay Stone for their generous contributions of the vestments, crucifix and advisement, Carlynn Wolfe for costuming assistance, and also to the TAG Team!
This Honolulu Advertiser Review For “Mass Appeal”
“Mass Appeal” opened at the Yellow Brick Studio on Friday, January 25th, 2008, and ran for a total of 19 performances, closing on Sunday, February 24th, 2008. Thursday through Saturday shows began at 7:30 pm and Sunday matinees started at 4:00 pm. It played to enthusiastic crowds who enjoyed the great performances that garnered in a great review.
The successful staging of “Mass Appeal” caused director Brad Powell (photo left) to be thankful to a number of individuals who played a role in bringing the production to the stage. In the program Powell would write the following. MASS APPEAL is a powerful play about the relationship between two strong personalities of different generations and how they come to understand and love each other. Since I want the play to speak for itself I want to take this space to tell you a little about the people who have created this production. First: BROTHER GARY MORRIS. Ever since Brother Gary returned to Hawaii I have wanted to get him involved in TAG. Last season he directed a wonderful production of the comedy SYLVIA, and now I am excited to have him perform on stage for all of you. Gary is a very good Director, and outstanding performer, a fine teacher and an extremely wonderful person. No matter what capacity, working with him is always a pleasure. It is a thrill for me to have him demonstrate his talents for you tonight. Thank you, Gary, for being a part of this production. Second: BLAZE MANCILLAS. A couple years ago Brother Gary invited me to come and see a production he was doing at Chaminade starring this young fellow, Blaze, and since then I have been a fan of this talented young man. I have also had the privilege of choreographing him in 3 musicals. It has been a real treat to watch him grow and develop as an actor and it is especially nice to have him appearing in his first production at TAG. Blaze is a talent to watch. I am sure he will have an outstanding career in the theatre. Thank you, Blaze, for being a part of this production! Third: JACIN HARTER. A few months ago I was frantically looking for a young, talented actor to play 13 different roles in our production of THE BALTIMORE WALTZ. Out of the blue I got a phone call from someone who told me that he was the person I was looking for. I was a little reluctant to accept that until I meet with him to hear him read and he literally blew me away. Not only was he perfect for the part, but he proved to be an even greater asset to TAG. Since his outstanding performance in WALTZ he has continued to contribute to TAG in many ways and has become one of my favorite people to work with. Next season, Jacin will be directing his first production for TAG. Thank you, Jacin for being a part of this production! Fourth: LAURIE TANOURA. As most of you know TAG has struggled to keep alive, and we have only managed to do this because of the wonderful people who give so much of their time and talent. This season Laurie took over of General Producer of all TAG productions and she has done such a great job there are no words to express how much we appreciate her. She has been a gem to work with and her sets and production work have been above and beyond the call of duty. Thank you, Laurie for being a part of this production! In writing something like this there is always the danger of leaving some people out and so I must also thank without reservation: RICHARD VALASEK for his wonderful music, both here and in THE BALTIMORE WALTZ, JEANNE WYNNE for her beautiful photos, and THOMAS TOCHIKI for the hours he has given to TAG in the technical areas of all our productions. So to all these terrific people and to everyone else who worked on MASS APPEAL, I would like to say, Thank you for being a part of this production!
Shadowlands – Melinda Maltby’s Directorial Debut Turns Into A Gem
Melinda Maltby had last played a major role in a TAG production when she played Sadie Thompson in “Rain” during the 2001-2002 season. And over an incredibly busy creative career her primary focus had always been in acting. She had a Bachelor or Arts in Drama from the University of Hawaii at Manoa, and, over the years, had received numerous honors for her acting ability. She received Po’okela awards for playing Varya in “The Cherry Orchard” for Hawaii Pacific University (HPU), for Gwendolyn in “The Importance Of Being Earnest” for HPU (see photo for a shot of the night she won), and for Honey in “Who’s Afraid Of Virginia Woolf for ASATAD (All Singing! All Talking! All Dancing!), as well as being part of ensemble awards for many other productions. But through all her years she always kept an eye out for directing, admitting that she had always been keenly aware of directing whenever she watched plays and movies. She became interested in “Shadowlands” when she saw it performed at the Manoa Valley Theatre, when she confessed how surprised she was at how much she enjoyed it. Her growing admiration for C.S. Lewis and her desire to direct made “Shadowlands” the perfect vehicle for her directorial debut. She then brought the play to Brad Powell’s attention along with her desire to take a stab at directing. Brad, always willing to give new directors an opportunity, subsequently slotted “Shadowlands” for the 2007-2008 season.
The Playbill For “Shadowlands”
To bring “Shadowlands” to the stage, Melinda cast a bevy of winning actors. Jim K. Aina played C.S. Lewis, Hannah Schauer Galli was Joy Gresham, Sam Polson was Major Warnie Lewis, David Albert was Christopher Riley, S. Rick Crump was Harry Harrington, Mickey Graue and Jimmy Davis shared the role of Douglas Gresham, Rick Murakami played both Alan Gregg and the Doctor, Michael Malone played Dr. Maurice Oakley and a Clerk, Risa Catherine Abellira and Theresa Shelby shared the roles of the Woman in the Hotel, the Registrar, and the Nurse, and Chad Williams played the trio of roles, the Priest, the Waiter, and the Witness.
The Postcard For “Shadowlands”
Director Maltby was supported by a small army of a crew. Larry Bialock served as the Assistant Director, Fay Bright and Meena Chung served as Assistant Stage Managers, Andrew Alvarado was in charge of Set Design and Set Construction, Thomas Tochiki took care of the Lighting Design as well as served as the Lighting and Sound Operator, Carlynn Wolfe was responsible for Costume Design, Richard Valasek created the Sound Design, Fleur contributed as the Dialect Coach, David Albert was the Set Change Choreographer, Daci Armstrong helped as a Stage Hand, Jeanne Wynn took the Photography, Laurie Tanoura was in charge of Publicity, designing the Program, and the Web Design, and last, but certainly not least, Joyce Powell handled the Reservations and manned the door. Special Thanks was accorded to Douglas Gresham, Manoa Valley Theatre, Diamond Head Theatre, Peter Clark, Jan McGrath, Barbara Bachmann, Joyce Maltby, Becky Maltby, Sara Ward, Mark Breeding, Harry Price at Central Union Church Thrift Shop, The Hawaii State Library, Logos Bookstore, Karen Beilharz for the C.S. Lewis Today Conference, Willie Sable, Vince Green, Rosie Norris, Robin Spencer, the UHM Wardrobe Department, and the TAG Team!
The Honolulu Advertiser Review For “Shadowlands”
“Shadowlands” opened at the Yellow Brick Studio on Friday, April 18th, 2008, and ran for a total of 15 performances, closing on Sunday, May 11th, 2008. Thursday through Saturday shows began at 7:30 pm and Sunday matinees started at 4:00 pm. It played to very appreciative crowds who enjoyed a well directed production, that featured a wonderful story with great acting, all of which were integral towards gaining a great review.
Reunion & A Kind Of Alaska – Two One Acts Make A Great Night
David Farmer returned to stage another interesting TAG production. This time he combined two one acts from two iconic playwrights, David Mamet and Harold Pinter. Farmer, who had given TAG its memorable “The Goat,” and also directed a previous Mamet play, “Romance,” was back at the helm of two different plays that promised to make for one great stage production.
To play the pivotal characters in the two one acts, Director Farmer casts some terrific actors. For “Reunion,” he cast Peter Clark to play Bernie, and Laura Bach Buzzell to play Carol. For “A Kind Of Alaska,” he cast Hoku Gilbert as Deborah, John Wythe White as Hornby, and Laura Bach Buzzell (appearing in both acts) as Pauline.
The Main Characters Of “Reunion” And “A Kind Of Alaska”
The Honolulu Star-Bulletin Review For “Reunion” And “A Kind Of Alaska”
Director David Farmer was supported by a great crew (which included himself). Loren K.D. Farmer served as the Assistant Director, the Set Design was created by David and Loren Farmer, Thomas Tochiki and David Farmer did the Set Construction, Loren K.D. Farmer was the Costume Coordinator, Thomas Tochiki ran the Lights, David and Loren Farmer also created the Sound Design, Sam Tanigawa served as the Stage Manager, and John Wythe White was the Dramaturge for “A Kind Of Alaska.” Special Thanks was given to: Hawaiian Islands Medical for the hospital bed and generous support; Jan McGrath for putting the production on the trail to Laura at Hawaiian Islands Medical; Cate Blanchett and her husband writer Andrew Upton for their inspirational pairing of these plays for their inaugural directorial debuts as the co-artistic directors of the Sydney Theatre Company in 2006; the bon mots of Australian drama critic James Waites and the obscurantist wanks in us all; Miles Davis’ “Time After Time,” Ornette Coleman’s “Beauty is a Rare Thing”, B. B. King’s “Blues Boys Tune,” and Pink Martini’s rendition of Villa-Lobos’ “O canto do cysne negro;” Victorian Musical Boxes music; Mr. Spock for his inspirational role model for JWW; Alan & Suzanne Arkin for their nourishment and friendship; Phil Nerny, Esq. Frank and Mary Hinshaw, Skydive Hawaii and Messrs. Mamet and Pinter and their literary agents, without whom the theatre would be dark.
The Honolulu Advertiser Review For “Reunion & A Kind Of Alaska”
“Reunion” and “A Kind Of Alaska” opened at the Yellow Brick Studio on Friday, June 13th, 2008, and ran for a total of 19 performances, closing on Sunday, July 13th, 2008. Thursday through Saturday shows began at 7:30 pm and Sunday matinees started at 4:00 pm. It played to very appreciative crowds who enjoyed two very excellent one acts, that featured great acting, which were integral to its critical success.
The Promotional Postcard For “Reunion & A Kind Of Alaska”
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