The History Of The Actors’ Group (TAG)

2009-2010

[ws_table id=”121″]

HSTC once again held its awards at the Koolau Ballroom, where TAG would receive a total of five Po’okalas for the 2008-2009 season. Eden-Lee Murray, Best Director of a play, “Inside Out,” and “Mass Appeal.” Featured Male in a Play, Jacin Harter, “The History Boys.” Featured Female in a Play, Frankie Enos, “The Clean House,” and Jo Pruden, “The History Boys.” And an award for Ensemble Play, for the cast of “Inside Out.”

Miso – TAG’s Visiting Director Delivers A Winner

To open up the 2009-2010 season, artistic director Brad Powell (photo bottom right) coordinated a very unique, collaborative effort, involving British director and actor, Clare Davidson (see photo left). Clare was trained as an actress and director at the London Academy of Music and Dramatic Art, where she received a certificate in Voice and Speech. At the time of the production of “Miso,” she had been directing for 35 years and her credits included Miss Julie and Little Eyolf in London’s West End, and Waiting for Godot and Candida Off-Broadway in New York. She directed A Doll’s House in in Holland and Hedda Gabler in Norway. For the Jasperian Theatre Company she toured musicals throughout the United Kingdom. She had taught at LAMDA (Head of Voice 1965-1972), RADA, NYU, and BADA (Dean 988-1989), and for the previous nine years, she had been a professor of Acting and Directing, at the College of Santa Fe, New Mexico. She had coached actors which had included Sting, Pierce Brosnan, Dudley Moore, Rachel Hunter, Heather Mills-McCartney, Stephen Rea, Jennifer Beals, and Orlando Bloom. She had a long standing relationship with Hawaii, having run Voice Workshops for the University of Hawaii on Kauai, Maui, Oahu, and the Big Island, and also for Kumu Kahua Theatre. How she came about to being Brad’s choice to direct the first play of the 2009-2010 is as follows. Clare was asked to direct “Miso” by playwright Susan Shirwen (see below) through producer Sonja Kristina, co-director with Marvin Ayres of the company Mask Arts. She and Clare had worked together before, having met through the pop-group The Police. Susan was then married to the drummer of the drummer, Stewart Copeland, and Clare was coaching their lead singer, Sting, as he was preparing for a solo career. Clare was immediately attracted to the sensitive writing in “Miso,” feeling it resonated with the universal themes of political and economic instability which was crippling the world at the time. Stress in the family unit, as the result of these pressures, she felt, was the theme that “Miso” embraced. Clare knew that she wanted to direct this play, set in Japan in the early 1930’s, where there would be a knowledge of its cultural necessities and to learn, at first hand, the social and religious traditions of Japan. Clare had a longstanding links with Hawaii and, through her friendship with Loretta Krause, Professor Emeritus, University of Hawaii, Manoa, she was introduced to Brad and TAG, which then ultimately led to Brad choosing “Miso” to start the 2009-2010 season, and getting to Clare to direct.

The Playbill For “Miso”

Susan Shirwen is a playwright, novelist, and painter. She has studied Japanese culture and lived in Japan for many years. Previously, in the USA, she was worked with members of New Dramatists in New York and had a play, Zenobia, produced in New Orleans. She wrote the Libretto for Stewart Copeland’s acclaimed opera, ‘Holy Blood and Crescent Moon,’ which had two separate productions, one in Cleveland, Ohio, and the other in Fort Worth, Texas. Her first play, Crumbs, a black comedy for seven women, was produced by the prestigious King’s Head Theatre in London. Her subsequent play, Knitting a Chicken, was chosen by the Writer’s Guild of Great Britain for production at the Latchmere Theatre, also in London. She has had plays chosen for various play-writing festivals, notably at the Orange Tree Theatre. For seven years she ran a (New Writing) Writers and Equity members Actors Group in West London. There she was responsible for choosing the new plays, the directors and casting. At 16, she was one of the youngest ever pupils of UCL Slade School of Fine Art, and where she has since then had her work shown in a variety of London Galleries. She also has five published novels. (from the Miso program)

To assist Clare, Brad recruited all of the outstanding actors who would bring “Miso” to life. Grandmother Kazue Nagao, the matriarch, would be played by Charlotte Dias. To play Kazue’s eldest son, Kozo Nagao, would be Allan Okubo. The role of Fumiko, Kozo’s daughter and Kazue’s granddaughter, .would go to Jessica Yuki Kauhane. The role of Shoji, Kozo’s son and Kazue’s grandson, would be played by Joshua Lau. The part of Noboru Nagao, Kazue’s younger son, went to Eric Nemoto. Elissa Dulce was tabbed to play the role of Yoshiko, Noboru’s wife. Masataka, the son of Noboru and Yoshiko, would be played by Matthew Mun. And Rick Murakami was selected to play the part of Hideki Ono, a neighbor, and friend of the family.

Cast Photos – Taken From The Playbill For “Miso”

The Star-Bulletin Review Of “Miso”

Clare And Her Husband And The Bios Of Sonja And Luke

To support Director Clare Davidson, and Assistant to the Director Brad Powell was a dependable crew that included, Production Manager Laurie Tanoura, and Stage Manager Liz Kane. Brad also designed the set, and Props, Set Construction and Dressing was handled by Andy Alvarado, Marie Kuroda, and Wataru Isoshiro. Dusty Behner headed up Costume Design, and Laurie also handled the Sound Design. Thomas Tochiki was responsible for the Light Design, and also worked as the  Light & Sound Operator. Greg Howell lent his skills to take care of Hair, Wigs and Makeup, Photography was taken by Jeanne Wynne Herring Program, and Laurie also took care of creating the Poster and the Promotional Postcard Design.

The Trailer For The Production Of “Miso”

In the two years that TAG operated out of Mendonca, the air conditioning could be summed up as inconsistent at best, and absolutely sizzling at its worst. “Miso” became the epitome of those worst of times. In spite of all the so-called work that the maintenance man of the building would put into repairing the system, it would not show any improvement. Not since the production of “As You Like It,” back on Keawe Street, which Honolulu Star-Bulletin theater critic, John Berger, would come to refer it to as “Shakespeare in a sauna,” were the conditions of that were prevalent in the theater for “Miso.” Each of the actors would start the play already feeling humid, by intermission would be battling beads of sweat, and by curtain call would be positively soaked. While there would be contenders for the crown in those two Mendonca years, “Miso” was unquestionably THE play that presented itself with the worst environment, for the heat was, in a word, unbearable. But alas, the cast were always troopers and show would always go on.

The Honolulu Advertiser Review For “Miso”

“Miso” was a resounding success. It brought in great audiences who marveled at the detailed and culturally correct set and the powerful acting performances that occurred on it. The production opened on Friday, July 24th, 2009 and closed on Sunday, August 16th, 2009. It ran for a total of 15 performances with Thursday through Saturday night performances at 7:30 p.m., and Sunday matinees at 2:00 p.m. During the post-show party after opening night, Eric Nemoto, president of TAG, gave a certificate of appreciation to visiting director Clare Davidson for her outstanding work, which he read out loud to the attending crowd on the balcony just outside of the door to the theater.

The Write Up Recognizing Clare Davidson’s Great Contribution To The Success Of “Miso”

“Miso” was also supported by numerous other contributors, for whom Clare and Brad extended their special thanks. These included, Christy Takamune, Alicyn Tasaka, and Brian Niya at the Japanese Cultural Center of Hawaii (JCCH) who were invaluable to the production in the loan of many kimono and many pieces that were seen on the set – such as a comb, table, mirror, wooden back pack, pitch fork, sickle, hats, baskets, wooden steamer, Hanafuda card set and scroll. They also generously agreed to advertise the show to their 5,000 plus members. A big thank you was accorded to the JCCH! Allan Okubo for working with Clare on the authenticity and accuracy of the script. Ron Suzuki, director of Hongwanji for the loan of the Butsudan. Reverend Tatsuo Muneto, who put Marie in contact with Mr. Pieper Toyama, Head of the school at Pacific Buddhist Academy who loaned the accessories for the Butsudan. Marie Kuroda and Wataru Isoshiro for their extensive research and knowledge of all things Japanese and for their hours and hours of work on the set and props. Andy Alvarado for his amazing artistic talent in creating the beautiful paintings on the set and his ingenuity in bringing Brad’s set design on paper to the beauty that was seen on the set. Iris Kauhane for costume knowledge, construction and assistance. Keoni, director of JHM Productions and his crew, Tom Visser and Grant Uchida, for their assistance with the documentary and their continuing willingness to record whatever, wherever and whenever. And last, but most certainly not least, Loretta Krause, for coordinating with Clare and Brad the production of “Miso” at TAG.

The Promotional Postcard For “Miso”

After it closed on August 16th, TAG held a one year birthday party celebration for the theater, where, many of its followers joined to celebrate not only the successful run of “Miso,” but of the fact that a year had passed since it had made the great move from Yellow Brick Studio on Keawe Street in the Kaka’ako industrial area of Honolulu, and began producing plays on the Mendonca stage in Chinatown.

The Flyer Promoting TAG’s First Birthday Celebration At Mendonca

“Miso” would reap great rewards at the following year’s Po’okela awards. The photo here appeared in the Honolulu Star-Advertiser’s TGIF insert on July 30th 2010, and the number “4” was correlated to the following names where “Miso” took many of the top dramatic awards. From left to right are cast members Elissa Dulce (Featured Female in Play), Charlotte Dias, Allan Okubo (Leading Male in a Play), Eric Nemoto (Featured Male in a Play) and Jessica Y.L. Ka’uhane (Leading Female in a Play) were among the winners at the 2010 Po’okela Awards. Clare Davidson was also accorded a Po’okela as a Non-Resident Guest Artist (Charlotte Dias appears holding Clare’s award). The awards were the icing on the cake of a production that was based on a great recipe involving great direction, great acting, a great story, a magnificent set, great lighting and sound, and great supporters overall.

Night Of January 16th – TAG Explores Interactive Theater By Involving The Audience In A Courtroom Verdict

For its next production, TAG Artistic Director Brad Powell would select, and also choose to direct, a play written by famous novelist, Ayn Rand. Unbeknownst to many (possibly because Rand had rose to fame in the 1940’s-1950’s with her two most famous novels, The Fountainhead and Atlas Shrugged), Rand had her first success came as a playwright, and that play was Night of January 16th, which opened on Broadway in 1935, which introduced her to audiences as a bold critic of social conformity. Powell, always looking to bring to TAG more and more innovative productions, felt that this initial work of Rand would bring another TAG first; that of involving the audience into the context of the play itself. Night of January 16th places the audience in the role of the jury, whereas 12 members are formally selected before the start of the play, to render the verdict in a murder trial. At its core, the question they need to address is did Karen Andre kill her lover, the financier Bjorn Faulkner, by throwing him from the roof of his New York penthouse? And to answer this, they are expected to reach a verdict that is not dictated by the factual evidence, but rather on which of the witnesses the audience jury finds credible. The trial makes up the entire play and it progresses through several unpredictable twists and turns, where psychological characteristics come to light that reveal, as Rand would put it, “… the confrontation of two extremes… passionate self-assertiveness, self-confidence, ambition, audacity, independence, versus conventionality, servility, envy, hatred, power-lust.” As part of the play itself the verdict of the audience would be announced, and based on whether they found Andre guilty or not, alternative endings would be acted out.

The Playbill For “Night Of January 16th”

Ayn Rand (born on February 2, 1905 in St. Petersburg, Russia, and died March 6, 1982 in New York, New York, USA) was the pen name of Alice O’Connor, a Russian-born American philosopher and best-selling novelist. Her stories – the two most famous of which are The Fountainhead and Atlas Shrugged – are full of drama and intrigue, portray businessmen, inventors, architects, workers and scientists as noble, passionate figures. Where else will you find an inventor who must rediscover the word “I,” a young woman who defies a nation embracing communism, or an industrialist who must disguise himself as a playboy? A philosopher-pirate? An architect who is fiercely selfish yet enormously benevolent? A man who vows to stop the motor of the world — and does? In creating her novels, Rand sought to make real her exalted view of man and of life — “like a beacon,” she wrote, “raised over the dark crossroads of the world, saying ‘This is possible.’” For millions of readers, the experience of entering Rand’s universe proves unforgettable. To create her unusual stories and characters, Rand had to define the new ideas and principles that guide her heroes. She had to create a new philosophy. “I am interested in philosophical principles,” she wrote, “only as they affect the actual existence of men; and in men, only as they reflect philosophical principles.” For Rand, philosophy is not an esoteric subject but a daily force shaping individual lives and human history. You must have some view of the kind of world you live in, of how best to understand and deal with it, and of what to aim at in life. Your only choice is whether your philosophical premises are acquired by your own independent thinking or absorbed unquestioningly from those around you. Formally, Rand called her philosophy “Objectivism,” but informally she called it “a philosophy for living on earth.” During her own lifetime, Rand became a famous and controversial figure. A best-selling author, she also carried her message to university classrooms, to Hollywood, to Congress, to the editorial page, to talk shows and radio programs. Her presence has only increased since her death in 1982, as her philosophy has become more well-known. Today, her books have sold in the millions, and she’s the subject of an Oscar-nominated documentary, a U.S. postage stamp, university courses, and a philosophical society devoted to the study of her thought. Fueled by her vision of man as a heroic being and by the original philosophy behind it, more and more people, from all walks of life, from businessmen to students to professors to athletes to artists, are saying the same thing: “Ayn Rand’s writings changed my life.” (aynrand.org)

To bring Rand’s play to the TAG stage, Brad cast a number of Hawaii’s finest actors to portray the characters. These included (actors appear in parentheses): Judge Sonia Heath (Rachel Heller); Bailiff (Chad Williams); Clerk (Alan Picard); Court Stenographer (Brandi Firman); District Attorney Flint (Scott Robertson); Defense Attorney Stevens (Ron Heller); Karen Andre (Elizabeth Wolfe); Doctor Kirkland (Robert Harrison); John Hutchins (Richard Goodman); Homer Van Fleet (Non deMello); Police Inspector Sweeney (Richard Valasek); Magda Svenson (Karen Valasek); Nancy Lee Faulkner (Danielle Vivarttas-Ahrnsbrak); John Graham Whitfield (Richard Aadland); James Chandler (Michael Torres); Siegurd Jungquist (Seth Lilley); Larry “Guts” Reagan (David Albert); and Assistant to District Attorney Flint (Lee Gray).

The Honolulu Advertiser Review For “Night Of January 16th”

To support Director Brad Powell with Night of January 16th, came all of TAG’s most trusted crew members, who fulfilled the production roles as follows (persons are in parentheses): Production Manager (Laurie Tanoura); Assistant to the Director (Denise-Aiko Chinen); Stage Manager (Mary Ann Shirley Gray); Set Design (Brad Powell); Set Construction & Dressing (Andy Alvarado); Costume Design (Carlynn Wolfe); Sound Design (Jacin Harter); Light Design, Light & Sound Operator (Thomas Tochiki); Hair, Wigs & Makeup (Greg Howell); Photography (Jeanne Wynne Herring); and Program, Poster & Postcard design (Laurie Tanoura). In addition, Special Thanks was accorded to Catherine’s Closet and Manoa Valley Theatre.

The Promotional Postcard For “Night Of January 16th”

“Night of January 16th” opened on Friday, September 25th, 2009 and ran for a total of 15 performances, and closed on Sunday, October 18th, 2009. Thursday through Saturday night shows were at 7:30 p.m. and Sunday matinees were at 2:00 p.m. The audience reception to this very unique and innovation production was very enthusiastic to the interactive format and for the record, of the 15 shows, 13 said Andre was not guilty, and two said she was guilty. Overall, it was a wonderful production, in spite of the fact that for one performance, one actor didn’t show, and so Brad had to direct the actors to run the show without that one character. And as a credit to his expertise, the show went on without a hitch, and the audience never knew an actor was missing.

Dancing Between Heaven & Hell – The Trilogy Of Jeff Katts’ “Soul Saviour Chronicles”

In the production of dark nights during those initial years of producing such, one must always remember that TAG’s financial status was always tenuous at best. What would become a standard – the saving of a financial reserve for TAG to protect against a rainy day – was not even on the radar. It is hard to envision saving a reserve when most of its attention was to paying its rent a couple months down the road. Thus, the idea of slipping in another production within a production would be pursued to always try and drum up a little more cash. This, in fact, was the primary objective of TAG’s dark night, “Dancing Between Heaven & Hell,” which would end up being the finale of a trilogy of plays based on filmmaker Jeff Katts’ “Soul Saviour” chronicles, the previous productions being “Dream Saviour” in the 2007-2008 season, and “Ultio Venia” in the 2008-2009 season. With the great success of “Ultio Venia” the previous year, writer/director Eric Nemoto had already established that the key to a financially successful dark night was a large cast, who would in turn, through the attendance of their friends and family, would assure a base of audience members which would lead to more people in the seats. Given the set design of “Night Of January 16th” (a trial court), it was set up for this very intention, as there would be characters who would need to fill all the “chairs” that would be in this courtroom. Eric then went about writing the story which would lend itself to recruiting a very large cast (see the upper left photo of the massive production circle that the cast did before each night’s curtain).

The Playbill For “Dancing Between Heaven & Hell”

The epic cast included (character names are in parentheses): Curtis Duncan (Haniel); Renee Garcia (Reina Barron); Thomas Smith (Gaap); Ashley Layfield (Jacqueline Claxton); Deanne August (Succubus); Sherry Eatmon (Didi); Teddy Wells (Ray); Sasha Dominy (Jenny); Mark Ganialongo (Pastor Jared); David “Kawika” Williams (Judge & Casting Agent); Walter Bermoy (Demon Judge); Lauren Terukina (Demon Judge); Steve Ando Meacham (Attorney); Tracy Hill (Angel Judge); Peter Stone (Angel Prosecutor); Frank Vargo (Bailiff); Mercedes Garigin (Stenographer); Sam Polson (Agaliarept (Voice)); Ona Marie (Armatt (Voice)); Frankie Enos (Anahita (Voice)); Dan Hartenstein (Jacqueline’s Husband (Video)); Rachel Hartenstein (Jacqueline’s daughter (Video)); and Dorie Sanborn, Demetrius “Pono” Jones, Denika Martin, Rose Wolfe, Shane Stewart, Nicholas Berard, Diana Garigin, Amanda Garigin, Nicolas Valdez, Kjirstcn Corson, and Christina Luck (Dancers).

A Honolulu Star-Bulletin Article On “Dancing Between Heaven & Hell”

As he did with “Dream Saviour” and “Ultio Venia,” Jeff Katts provided the initial outline of the story, that was then rewritten by Eric Nemoto and adapted for the unique stage that was utilized (i.e. a courtroom). Supporting Director Eric Nemoto were the following outstanding TAG contributors (roles and responsibilities are in parentheses): Brad Powell (Choreography Consultant);  Sus Shawhan (Stage Manager);  Brad Powell (Set Design – for “Night of January 16th”); Andy Alvarado (Set Construct10n and Dressing – for “Night of January 16th”); Rose Wolfe and Sasha Dominy ( Costume Design); Gary Okuda (Video/Audio Production); Jeff Katts (Video Filming and Creator of the Soul Saviour Chronicles); and Thomas Tochiki (Light Design, Light and Sound Operator). In addition, the play was benefitted by additional creative work. The songs that were sung were all original and were written and composed by Sherry Eatmon. The music heard in the production featured music by Steve and Russell Kilbey, The Renderers (for which cast member, Steve Ando Meacham, Ray’s Attorney, played bass for this band from Dunedin, New Zealand that had toured the world), Happy Monster, and Roisin Murphy. The Haniel battling the demons fight scene was choreographed by Haniel himself, Curtis Duncan. Rose Wolfe was responsible not only for designing all the demon, angel, and dancer costumes, but she also coordinated how they change their wardrobes from one scene to another. And great thanks was extended to all the dancers (and team captain Kjirsten Corson) for their amazing participation. Their enthusiasm, energy, and commitment to excellence was an inspiration for all.

The Honolulu Advertiser Review Of “Dancing Between Heaven & Hell”

“Dancing Between Heaven & Hell” ran for an unusual 12 performance days (extremely long for a dark night). It opened on Monday, October 5th, then played on Tuesday, October 6th, Monday, October 12th, Tuesday, October 13th, Wednesday, October 14th, Monday, October 19th, Tuesday, October 20th, Wednesday, October 21st, Thursday, October 22nd, Friday, October 23rd, Saturday, October 24th, and closed on Sunday, October 25th. All performances held on Mondays through Saturdays were at 7:30 .m., and Sunday matinees were at 4:00 p.m. In the end, the combination of trying to infuse a musical, with original dancing, might have been pushing the envelope a little too much given the reviews it received. But no one could take away the experience from all involved. “Dancing” was a thrill to pull off and everyone involved had the time of their lives.

The Honolulu Star-Bulletin Review Of “Dancing Between Heaven & Hell”

Stills From “Dancing Between Heaven & Hell”

“Dancing Between Heaven & Hell” – The Complete Play In Its Entirety

November – Another Comedy From Mamet That Opens In November

For its next production, TAG relied on a tried and true formula. Director David Farmer and Assistant Director Loren Farmer (see photo left), directing another David Mamet piece. This time, Mamet’s comedy, “November,“ which would turn into a rave hit featuring a tour-de-force performance by lead actor Russell Motter. It wasn’t coincidental that the play actually opened in November of 2009. TAG Artistic Director Brad Powell, always looking for a good way to market any of TAG’s plays, picked this Mamet satire to specifically open while in the month of November.

The Playbill For “November”

David Mamet’s new Oval Office satire depicts one day in the life of a beleaguered American commander-in-chief. It’s November in a Presidential election year, and incumbent Charles Smith’s chances for reelection are looking grim. Approval ratings are down, his money’s running out, and nuclear war might be imminent. Though his staff has thrown in the towel and his wife has begun to prepare for her post-White House life, Chuck isn’t ready to give up just yet. Amidst the biggest fight of his political career, the President has to find time to pardon a couple of turkeys — saving them from the slaughter before Thanksgiving — and this simple PR event inspires Smith to risk it all in attempt to win back public support. With Mamet’s characteristic no-holds-barred style, November is a scathingly hilarious take on the state of America today and the lengths to which people will go to win. (concordtheatricals.com)

“November” was cast with outstanding actors. These included (roles in parentheses): Russell Motter (Charles Smith, a man in a suit); Neal Milner (Archer Brown, a man in a suit); Lito Capina (A Representative of the National Association of Turkey & Turkey By-Products Manufacturers, a man in a suit); Patrice Scott (Clarice Bernstein, a lesbian); and D. Tafa`i Silipa (Dwight Grackle, a Native American).

The Honolulu Advertiser Review Of “November”

The crew that assisted Director David Farmer and Assistant Director Loren K. D. Farmer were as follows (responsibilities and roles in parentheses): Laurie Tanoura (Production Manager); D. Tafa`i Silipa (Stage Manager); David Farmer and Andy Alvarado (Set Design); Andy Alvarado (Set Construction and Dressing); Carlynn Wolfe (Costume Design); David Farmer (Sound Design); Thomas Tochiki (Light Design, Light and Sound Operator); Jeanne Wynne Herring (Photography); and Laurie Tanoura (Program, Poster and Postcard Design). Special Thanks was accorded to Wendy Schofield-Ching for the Native American jewelry worn by Dwight Grackle, to INspiration for the loan of the sofas on the set, and to Marie, Wataru, Aziza, Jeanne, Tafa`i, and Terry for working on the set.

The Honolulu Star-Bulletin Review Of “November”

“November” played for 15 performances, opening on November 20th, 2009, and closing on Sunday, December 13th, 2009. Thursday through Saturday night shows were at 7:30 p.m, and Sunday matinees were at 2:00 p.m. It was attended by very enthusiastic audiences, and received great reviews, and in retrospect, was really an acting gem for lead actor Russell Motter. All in all, a great TAG success.

The Postcard For “November”

For The Time Being – A Christmas Oratorio

December is always a hard sell for community theatres. It is the Christmas season and everyone is looking forward to the holidays, and last minute Christmas shoppers start to appear en masse. So it is not unusual for theaters to just skip the time period and focusing their next play with the birth of a new year. But occasionally, there comes a play that actually fits the seasonal moment such that it is felt that staging a production, with the possibility of little audience attending, is worth the effort. Such was the case with TAG’s production of “Merry Christmas, Roberta,” which actually drew a good audience, and so, too, would the Christmas season staging of “For The Time Being – A Christmas Oratorio.” The play, based on the writings of W.H. Auden and adapted for the stage by John Wythe White (left in photo) and also directed by John Wythe White and Jan McGrath (right in photo), attracted some of Hawaii’s finest actors who provided the audiences who attended with a creative, original production featuring a number of vignettes related to the Christmas season, that attracted a pleasant number of audience

The Poster For “For The Time Being – A Christmas Oratorio”

For the Time Being: A Christmas Oratorio, is a long poem by W. H. Auden, written in 1941 and 1942, and first published in 1944. It was one of two long poems included in Auden’s book also titled For the Time Being, published in 1944. Well, so that is that. Now we must dismantle the tree, Putting the decorations back into their cardboard boxes — Some have got broken — and carrying them up to the attic. The holly and the mistletoe must be taken down and burnt, And the children got ready for school. There are enough Left-overs to do, warmed-up, for the rest of the week — Not that we have much appetite, having drunk such a lot, Stayed up so late, attempted — quite unsuccessfully — To love all of our relatives, and in general Grossly overestimated our powers. Once again As in previous years we have seen the actual Vision and failed To do more than entertain it as an agreeable Possibility, once again we have sent Him away, Begging though to remain His disobedient servant, The promising child who cannot keep His word for long. The Christmas Feast is already a fading memory, And already the mind begins to be vaguely aware Of an unpleasant whiff of apprehension at the thought Of Lent and Good Friday which cannot, after all, now Be very far off. But, for the time being, here we all are, Back in the moderate Aristotelian city Of darning and the Eight-Fifteen, where Euclid’s geometry And Newton’s mechanics would account for our experience, And the kitchen table exists because I scrub it. It seems to have shrunk during the holidays. The streets Are much narrower than we remembered; we had forgotten The office was as depressing as this. To those who have seen The Child, however dimly, however incredulously, The Time Being is, in a sense, the most trying time of all. For the innocent children who whispered so excitedly Outside the locked door where they knew the presents to be Grew up when it opened. Now, recollecting that moment We can repress the joy, but the guilt remains conscious; Remembering the stable where for once in our lives Everything became a You and nothing was an It. And craving the sensation but ignoring the cause, We look round for something, no matter what, to inhibit Our self-reflection, and the obvious thing for that purpose Would be some great suffering. So, once we have met the Son, We are tempted ever after to pray to the Father; “Lead us into temptation and evil for our sake.” They will come, all right, don’t worry; probably in a form That we do not expect, and certainly with a force More dreadful than we can imagine. In the meantime There are bills to be paid, machines to keep in repair, Irregular verbs to learn, the Time Being to redeem From insignificance. The happy morning is over, The night of agony still to come; the time is noon: When the Spirit must practice his scales of rejoicing Without even a hostile audience, and the Soul endure A silence that is neither for nor against her faith That God’s Will will be done, That, in spite of her prayers, God will cheat no one, not even the world of its triumph.

The Honolulu Advertiser Review For “For The Time Being – A Christmas Oratorio”

W. H. Auden (photo left) is considered one of the most important English poets of the 20th century. His work is characterized by its technical virtuosity, intellectual rigor, and engagement with the social and political issues of his time. Auden’s poetry explored themes of love, loss, faith, and the human condition, often through the lens of modernism and his own evolving political and social conscience. Auden belonged to a generation of poets who came of age in the 1930s, a period marked by economic depression, the rise of fascism, and the looming threat of war. His early work often reflects these anxieties, marked by a sense of urgency and a desire to address the pressing problems of the day. He was part of a cohort of writers, including Stephen Spender and Christopher Isherwood, who were similarly concerned with social justice and the role of the poet in society. Over time, Auden’s work moved away from overtly political themes, exploring more philosophical and personal concerns. This shift is evident in his later poems, which often reflect on the nature of faith, art, and the search for meaning in a world increasingly characterized by uncertainty. Auden’s poetry remains relevant today for its timeless exploration of the human condition. His poems continue to speak to readers across generations, inviting them to grapple with the complexities of love, loss, faith, and the search for meaning in a world often marked by uncertainty. He is remembered not only for his poetic innovations but also for his lasting impact on the landscape of English literature. (allpoetry.com)

The Honolulu Star-Bulletin Review For “For The Time Being – A Christmas Oratorio”

Supporting directors John and Jan (who also joined in with the cast as performers) were a number of great actors. These included: Jo Pruden; Della Graham; Karen Valasek; Su Yates; Troy Apostol; Richard Valasek; Jim Hesse; Richard Goodman; and Brother Gary Morris. They performed eight times, opening on Wednesday, December 23rd, 2009, continuing on Saturday, December 26th, Sunday, December 27th, Monday, December 28th, Tuesday, December 29th, Wednesday, December 30th, Saturday, January 2nd, and closing on Sunday, January 3rd, 2010.

The Cast Photo For “For The Time Being – A Christmas Oratorio”

The Piano Lesson – “Tuning” Is In The Eyes Of The Beholder

It is the nature of art that ultimately what appeals to people is always filtered through their own creative lenses. In essence, “Art is in the eyes of the beholder.” Particularly in live theater, when a production runs for a number of days, what comes across to the audience is often affected by a myriad of factors. First and foremost is the fact that stage productions are different for each show. Sure, the play has been rehearsed sufficiently and the players go through the same blocking and dialogue each time, but, a play is not like a movie, which never changes. Each show is performed by actors who can be affected by exterior reasons (e.g. health, energy drop off from an opening night success, and purely if a performer is having a bad night which then affects the rest… it happens). And so, what anyone takes away from a play can be influenced by what show they happened to take in, and how on it the cast was. Whatever the case, this seems to be the case with TAG’s next production, “The Piano Lesson.” For the subsequent reviews were like night and day. One reviewer basically panned it, and another hailed it as a success. As such, as anyone involved in theater comes to understand, you really can’t get caught up on how you do in the papers, you perform your best and do it for the art’s sake. “The Piano Lesson” was again another play by August Wilson in TAG’s effort to continue producing Wilson’s plays until it performed “The Pittsburgh Cycle,” in other words doing all 10 of Wilson’s plays. To direct this production was Jeanne Wynne Herring (photo top right). Jeanne had been TAG’s photographer for years, had also acted in many productions, and had served as a board member. With a number of other stage as well as film credits, she made a great choice to direct another Wilson show.

The Playbill For “The Piano Lesson”

August Wilson has already given the American theater such spell-binding plays about the black experience in 20th-century America as Ma Rainey’s Black Bottom, Joe Turner’s Come and Gone, and the Pulitzer Prize-winning Fences. In his second Pulitzer Prize-winner, The Piano Lesson, Wilson has fashioned perhaps his most haunting and dramatic work. At the heart of the play stands the ornately carved upright piano which, as the Charles family’s prized, hard-won possession, has been gathering dust in the parlor of Berniece Charles’s Pittsburgh home. When Boy Willie, Berniece’s exuberant brother, bursts into her life with his dream of buying the same Mississippi land that his family had worked as slaves, he plans to sell their antique piano for the hard cash he needs to stake his future. But Berniece refuses to sell, clinging to the piano as a reminder of the history that is their family legacy. This dilemma is the real “piano lesson,” reminding us that blacks are often deprived both of the symbols of their past and of opportunity in the present. (amazon.com)

The Cast Photo For “The Piano Lesson”

The cast for “The Piano Lesson” was compiled with a bevy of outstanding actors. These actors were as follows (roles are in parentheses): William Ammons (Wining Boy); Carlos Cooper (Avery); Curtis Duncan (Doaker); Tamara Halyfield (Berniece); Demetrius “Pono” Jones (Lymon); Q (Boy Willie); Dessica Wimbush (Grace); and Mitimiti Lewenilovo (Maretha).

The Honolulu Advertiser Review For “The Piano Lesson”

Director Jeanne Wynne Herring was supported by a great crew (roles or responsibilities are in parentheses): Laurie Tanoura (Production Manager, Program, Poster, & Postcard Design); Thomas Tochiki (Assistant Director, Light Design, Light & Sound Operator); Carlos Cooper (Musical Director); Ann Shirley Gray (Stage Manager); Andy Alvarado (Set Design, Construction & Dressing); Carlynn Wolfe (Costume Design); Richard Valasek (Sound Design); Greg Howell (Hair & Wigs); Jason Taglianetti (Photography); Jim Hesse (Props); and James Herring Jr. (Graphic Design used on the program, poster & postcard).

The Honolulu Star-Bulletin Review For “The Piano Lesson”

“The Piano Lesson” ran for a total of 15 performances. It opened on Friday, February 12th, 2010 and closed on Sunday, March 7th, 2o10. Thursday through Saturday night performances were at 7:30 p.m., while Sunday Matinees were at 2:00 p.m. It attracted favorable audiences and continued TAG’s successful fun of August Wilson’s play.

The Postcard For “The Piano Lesson”

“The Piano Lesson” also had great support from other individuals and groups, and so special thanks was afforded to: Russell Motter at Iolani Schools; James Herring Jr. at Yogi Fish Productions; Jason Taglianetti for stepping in to do photography; Rob at The Boys and Girls Club; Honolulu Magazine; PM Realty Group & Teddy Wells; Sara Ward, Ben Mackrell & Manoa Valley Theatre for technical assistance, set pieces and many props; Diamond Head Theatre for set pieces; the UH Manoa costume shop, Manoa Valley Theatre and Dustyflint Collection for the loan of costumes; Rose Wolfe, Terry 0., Pono Jones, Don Simonich & Aziza Yamini for working on the set; Melinda Maltby, Lorraine Smith, Amy & Jenny Edwards for moral support; Roger Ditmore for the loan of the antique icebox, which, was available for purchase. Interested patrons were to call Roger at 341-0515.

The Honolulu Magazine Article About “The Piano Lesson”

Happy Days – As Surreal As Beckett Can Get

Liz Kane was a fan of Samuel Beckett and in her own words made no excuses or apologies for that. Even so, most people prefer plays with a plot, movement around the stage, and dialog, things that were notably missing for most of TAG’s next play. The setting was absurd: a woman buried in a mound of earth, with a perpetual blazing sun, and only a bell to signal the time for waking and the time for sleep. One asks: “What does it mean? What’s it meant to mean!” Fortunately, Betty Burdick, who would come to play Winnie, the woman in the sand, and David Farmer, who would come to play Willie, the only other character in the play, shared her passion for Mr. Beckett’s work, and they joined Liz in bringing “Happy Days” to life. These talented actors made the relationship between Winnie and Willie at the center of the play funny and real. Winnie and Willie are familiar, recognizable characters. Who doesn’t know married couples where one spouse chatters on interminably, while the other stays mostly silent? Selective deafness is a survival trait, and giving or withholding attention is a potential weapon. We can laugh with recognition (perhaps of ourselves) as Winnie uses every wile at her disposal to elicit a response from the silent Willie. This is widely reputed to be Beckett’s most cheerful play. Winnie is the embodiment of optimism. No matter what happens, she maintains her belief that this day is a happy one. She finds solace in the sn1allest of things: personal grooming, memories, some increase in knowledge. She imagines how much worse things could be, and proclaims “great mercies!” The “happy chance” that things are as they are. (paraphrased from Liz Kane’s director’s notes in the play program) Theater would again benefit from Liz’s passion, as Beckett was back at TAG.

The Playbill For “Happy Days”

Winnie is embedded waist-deep in a low mound under blazing light, with a large black bag beside her. She is awakened by a piercing bell and begins her daily routine with a prayer. Talking incessantly to herself, she brushes her teeth, drinks the last of a bottle of tonic, and puts on her hat. She struggles to read the writing on the toothbrush. She awakens her husband Willie, who is hidden by the mound, and prattles to him. He occasionally responds with headlines from his newspaper, one of which reminds her of her first kiss. They both look at an apparently saucy postcard. Winnie explains that Willie’s listening enables her to go on talking, and is delighted when he responds even briefly to one of her many questions. After Willie briefly doffs his cap, Winnie instructs him to return to his hole, which he laboriously does. After he is within she repeatedly asks if he can hear her at different volumes, to which he replies, with increasing exasperation, “yes!” Winnie attempts to discover if Willie can see her if she leans backward, but he does not respond. Winnie spots an ’emmet’ (an archaic term for ‘ant’) carrying an egg. Willie comments “formication” (A sensation of ants creeping on the skin). Both of them laugh hysterically at the homophone. Winnie declares that she never thought she would hear Willie laugh again. She then asks if he finds her loveable. After some deliberation with herself, she pulls a revolver out of her bag, recalls how Willie asked her to take it away from him, and banishes it to the ground beside her. She begins to feel sad about her life, but shakes it off. She puts up a parasol to protect herself from the sun, and holds it over her head for a long time. When this becomes tiring, she discovers she cannot move to put it down. She begs Willie for assistance, but he is unresponsive. The parasol then abruptly catches fire, and she throws it away. Willie still unresponsive, she cajoles him to prove he is conscious, which he eventually does, by raising a finger. Winnie speaks of the difficulty of dealing with the relentless sun and remembers when she was not trapped in the earthen mound. She thinks about the future, and the existential threat of being buried deeper in the mound. She finds a music box in her bag, to the music of which Willie briefly sings (though he ignores Winnie’s request for an encore). Winnie files her nails and remembers the last people who passed, a Mr. and Mrs. Shower (or perhaps Cooker), who asked what she was doing stuck in the ground. She prepares her bag for the night. Willie emerges and Winnie wishes that he would come round and live where she could see him better. He reads his newspaper. Winnie asks Willie about the nature of hogs, to which he replies “castrated male swine, raised for slaughter.” Darkness overcomes the pair. Winnie is now embedded up to her neck, still wearing her hat, still with the bag and revolver beside her. She is awakened by the bell, which rings again each time she falls back asleep. She senses that Willie is looking at her but can no longer see him, and he does not respond to her calls. She continues to talk, examining her nose and recalling a time when a little girl called Mildred undressed her doll in the nursery at night, but is interrupted by anxiety about Willie and further memories of Mr. and Mrs. Shower. Willie crawls out from behind the mound, smartly dressed, which reminds her of the day he asked her to marry him. She encourages him as he tries to crawl up the mound towards her, and is delighted when he grunts “Win”. She sings the music-box tune, a love song. (wikipedia)

Supporting “Happy Days” and director Liz Kane was a great crew. The Production Manager was Laurie Tanoura, the Assistant Directors were Kathleen Anderson and Helen Rapozo, and the Set Design was handled by Liz and Andy Alvarado, who also handled the Set Construction and Dressing. Carlynn Wolfe was in charge of Costume Design, Richard Valasek handled the Sound Design, and Greg Howell took care of Hair and Wigs. Thomas Tochiki was responsible for the Light Design, and also was its Light and Sound Operator. Jason Taglianetti handled the production’s photography, Laurie Tanoura did additional duty by taking care of the Program, Poster and Postcard design, and Lydia Matias did the Set Painting and helped the production as an overall assistant.

The Postcard For “Happy Days”

To bring “Happy Days” to life involved a number of people and organizations who went beyond the call of duty to which Special Thanks were given. These included Manoa Valley Theatre, the Dustyflint Collection, Don Simonich, Lydia Matias, Rosie Wolfe, Terry, Diamond Head Theatre, Andy Alvarado, Helen Rapozo, Thomas Tochiki, Kathleen Anderson, Frankie Enos, VSA Hawaii & the Home Depot guy.

The Honolulu Star-Bulletin Review For “Happy Days”

“Happy Days” played on the stage of the TAG Theatre in the Mendonca Building in Chinatown, Honolulu. It opened on Friday, April 16th, 2010, and proceeded to have 14 additional shows for a total of 15 performances, closing on Sunday, May 9th, 2010. Thursday, Friday, and Saturday night curtain was at 7:30 p.m., and Sunday matinees at 2:00 p.m.

The Honolulu Star-Advertiser – The End Of An Era And The Beginning Of A New One In The Hawaii Newspaper Scene

In the compilation of TAG’s history, it became customary to include whatever reviews had been written for each production by both of Hawaii’s major daily newspapers, the Honolulu Advertiser, and the Honolulu Star-Bulletin. The Advertiser was originally founded by Henry M. Whitney as the Pacific Commercial Advertiser in 1856. In 1870, Whitney sold the paper to James Black and William Auld, two local printers. In 1880, Black and Auld sold it Claus Spreckels, who then later in 1888, sold the newspaper to the Hawaiian Gazette Company, which in turn sold it to Lorrin A. Thurston in 1898. In 1961, Thurston Twigg-Smith continued the paper’s family ownership as he inherited The Honolulu Advertiser from his uncle. In 1992, The Honolulu Advertiser was purchased by the Gannett Pacific Corporation, a subsidiary of Gannett Company Incorporated. The Star-Bulletin was founded in 1882 as the Evening Bulletin by J. W. Robertson and Company. In 1912, it merged with the Hawaiian Star to become the Honolulu Star-Bulletin. In 1962 it was sold to a local group of investors led by Elizabeth P. Farrington and Chinn Ho and operated under a joint operating agreement with the Honolulu Advertiser that allowed the two papers to use the same printing facilities and sales personnel (the Hawaii Newspaper Agency) while maintaining separate fully competitive editorial staffs and providing Honolulu with two distinct editorial “voices.” In 2010, Oahu Publications Inc., which had, over a time of transition, come to own the Star-Bulletin, eventually merged both newspapers into the Honolulu Star-Advertiser. The consequence of the merge was that the Advertiser, as a separate publication, would exist no more. As such, reviews of plays from the Honolulu Advertiser, would no longer be forthcoming. In retrospect, it was an end of an era in Hawaii, and while the reviews of John Berger would continue, “Happy Days,” would be the final review given by noted Advertiser theater critic, Joe Rozmiarek.

Topdog/Underdog – A Brilliant Team Brings TAG A Great Production

Ask anyone associated with a community theater about what it really takes to keep the lights on and you’ll find that producing plays after plays on a consistent basis is as challenging a business endeavor as there is. First off, the theater needs to select the plays it wishes to produce, then it needs to recruit a director, who then needs to cast the roles, followed by the obviously necessary rehearsal time, while also soliciting added personnel to serve in other supporting positions such as assistant director, set designer, and stage manager. And, this process is continuous, for as soon as one production starts, work on the next begins. It can be taxing, to say the least. So when a theater is approached by a group who already has most of the critical aspects of the production complete, it offers the theater a slight respite from this rigorous process. Such was the case with TAG’s next production, Suzan-Lori Parks (see photo) “Topdog/Underdog,” where two outstanding Hawaii actors, Moses Goods and Q, both who had previously appeared on TAG’s stage in prior productions, along with Harry Wong III, the artistic director with another local community theater, Kumu Kahua, proposed that they be allowed to take a slot in TAG’s regular season, to produce this two-person, Pulitzer Prize winning drama.

The Playbill For “Topdog/Underdog”

The cast and crew for “Topdog/Underdog” was an impressive one. As mentioned, Harry Wong, Kumu Kahua Theatre’s Artistic Director would serve as director, and to play Lincoln, the Topdog, and Booth, the Underdog, were award winning actors Moses Goods and Q. But in addition to this solid creative foundation, a number of other creative talent was assembled to bring this production to life.  TAG’s production manager, Laurie Tanoura, would oversee the overall production. Hope Villanueva, worked with Harry Wong as his Assistant Director, and also served as the Stage Manager during rehearsals. Andy Alvarado created the Set Design, and also then handled the construction of the set and its dressing. Carlynn Wolfe oversaw Costume Design. Thomas Tochiki created the Light Design, and also was the Light and Sound Operator.    The Photography was taken by Jason Taglianetti. Laurie Tanoura also designed the Program, the Poster, and the Postcard. Special Thanks was also accorded to the following groups and individuals: Manoa Valley Tl1eatre; Kumu Kahua Theatre; The Dustyflint Collection; Katherine Aumer;; Jason Taglianetti; and Tony Pisculli.

The Main Team That Brought “Topdog/Underdog” To Life

In the opening scene of Topdog/Underdog, Booth sits in a squalid apartment and practices playing Three-Card Monte atop a cardboard box propped up by milk crates. He rehearses his banter, imitating phrases he’s heard hustlers use on the street. Interrupting him, his brother Lincoln enters. Lincoln is a former hustler and Three-Card Monte dealer who’s staying with Booth because his wife, Cookie, has left him. He’s wearing a long coat, a fake beard, and a top hat. He has just come from his new job at the arcade, where he sits dressed up as Abraham Lincoln while customers shoot him with cap guns, a job he recently took so that he could leave behind his dangerous life as a Three-Card Monte conman. Startled by his brother’s costume, Booth whirls around and points a pistol at Lincoln, threatening to shoot him next time he scares him like that. Lincoln explains that he didn’t have time to take his costume off at work because had to catch the bus, but this does nothing to calm down Booth, who announces that Lincoln can’t dress like that in this apartment because, he claims, it will scare away women. Booth explains that he has a date with his girlfriend Grace. “Shes in love with me again but she dont know it yet,” he says, showing Lincoln a ring he stole for the purpose of proposing to Grace, calling it “diamond-esque” and claiming that as long as it looks authentic, it’s “just as good as the real thing.” Lincoln admits he thought the ring was authentic at first glance—he even thought Booth bought it with his “inheritance,” the $500 their mother left him before leaving when they were still children (Lincoln also received an inheritance of the same amount, but has already spent it). As Lincoln takes off his costume, Booth announces he has decided to change his name to 3-Card because he’s going to be a prolific Three-Card Monte dealer. The second scene takes place the following evening, when Booth enters the apartment wearing multiple suits, which he has stolen. When Lincoln comes home with a paycheck, the two brothers rejoice over their new suits and the money, divvying up the earnings and calculating how much they have left over after paying rent and utilities and buying alcohol. Lincoln confides in Booth, saying he’s worried he’s going to get fired from the arcade because rumors are circulating about cutbacks. Upon hearing this, Booth insists that Lincoln should exaggerate his performance as Abraham Lincoln to prove he’s indispensable. Lincoln agrees and asks Booth to practice, but Booth is on his way out to meet Grace for their date. When he leaves, Lincoln dresses up as Lincoln and practices dying, then sits in his armchair drinking whiskey. The third scene begins later that night, when Booth comes home and brags to Lincoln, saying that Grace wants him back. “She wants me back so bad she wiped her hand over the past where we wasnt together just so she could say we aint never been apart. She wiped her hand over our breakup.” Lincoln congratulates his brother, and Booth goes on to brag about having sex with Grace. When Lincoln asks him to help him practice the Abraham Lincoln routine, Booth declines, saying he’s too tired. At this point, Lincoln accuses Booth of lying, suggesting that his brother didn’t actually have sex with Grace. He pokes fun at him for owning pornographic magazines, the pages of which stick together because Booth “spunked in the pages and didnt wipe them off.” Defending himself, Booth says he needs “constant sexual release,” and that if he wasn’t “taking care” of himself he would just be out spending money that he doesn’t have “out of a need for unresolved sexual release.” Then he feebly adds, “I gave it to Grace good tonight.” The brothers speak again about Three-Card Monte, and Booth finally decides to help Lincoln practice his act, pretending to shoot him and then watching him writhe and scream on the floor. Unnerved, he tells his brother that now the death looks “too real or something.” Lincoln agrees this is a bad thing, and remarks that people are funny about “historical shit,” and “they like it to unfold the way they folded it up. Neatly like a book. Not raggedy and bloody and screaming.” In scene four, Lincoln wakes up on Saturday morning and, to prove to himself that he still has talent, practices dealing Three-Card Monte while Booth is asleep. His moves are much more fluid and practiced than Booth’s, and his banter is well-rehearsed. As he goes through the motions, Booth wakes up and secretly listens to his routine. After intermission, the apartment has been transformed. Several days have passed, and in place of the makeshift Three-Card Monte setup there now stands a table beautifully set for a romantic dinner. Booth is alone, and he skitters about the room tidying up and trying to hide his pornographic magazines. He assures himself that Grace will come, even though she’s late. Just then, Lincoln tries to come in, but Booth blocks the door, saying he isn’t welcome in the apartment tonight. Lincoln understands, but still tries to get in, eventually convincing Booth to open the door. “I lost my job,” he says. Apparently, he was replaced by a wax dummy. Booth allows him to stay until Grace arrives, and to pass the time they reminisce about their childhood, talking about their parents, both of whom left them in order to elope with different lovers. According to Lincoln, each parent was running from various hardships in their pasts—hardships they hoped would simply disappear if they changed their lifestyles. Lincoln and Booth drink whiskey while waiting for Grace. Booth tells Lincoln that he wants to work as brothers hustling unsuspecting people on the street. Hearing this, Lincoln decides to impart some wisdom about Three-Card Monte. The dealer, he explains, never reveals that he actually wants to play. This way, the crowd grows even more desperate to gamble. Lincoln finally plays with Booth, moving around the cards. The objective is for Booth to choose the correct card out of the three on the tabletop. After Lincoln finishes his routine, Booth chooses the right card. “Make room for 3-Card!” he shouts. “Here comes thuh champ!” This happens several times, and Booth grows more and more animated and confident. Then Lincoln tells Booth to show him his skills as a dealer, and they switch roles. When Booth displays his clumsy talents, Lincoln laughs hard, telling him he’s “a little wild with it.” As he laughs, Booth puts his coat on and puts his gun in his pocket. Remembering how late Grace is, Booth grows angry. Link offers to go to the corner to call Grace, but Booth ignores this, saying, “Thuh world puts its foot in yr face and you dont move. You tell thuh world tuh keep on stepping. But Im my own man, Link. I aint you.” With this, he leaves the apartment, slamming the door on his way out. In the final scene, which takes place the following evening, Lincoln bursts into the apartment yelling, “Taaadaaaa!” Alone, he pulls from his pocket $500 and recounts the triumphs of the day, which he spent hustling people on the streets in Three-Card Monte. As he rejoices, Booth appears in the doorway and listens. Upon noticing him, Lincoln asks his brother how his night has been. Booth tells him that Grace has actually proposed to him, which means Lincoln’s going to have to pack his bags and leave, since Grace will want to live in the apartment. Unfazed, Lincoln agrees to be gone the next day. He also advises his brother to get a job, suggesting that Grace won’t like him anymore if he isn’t bringing money into the house. Offended, Booth steers the conversation toward confrontation, revealing that he slept with Cookie right before she left Lincoln. “All she knew was you couldnt get it up,” he says. “I had her. Yr damn wife. Right in that bed.” Lincoln is rather unperturbed by Booth’s outright hostility, saying that he doesn’t think about Cookie anymore anyway. However, the brothers continue to argue, and Link mocks Booth for believing he’s going to survive as a card dealer. They start playing Three-Card Monte, and Booth picks the right card, besting Lincoln, who congratulates his little brother on getting “pretty good.” But Booth feels his victory is empty because there isn’t any money on the line. To remedy this, Lincoln puts down the $500 he made that day, but Booth points out that it’s not real if he doesn’t put some of his own money down, too. Booth fetches his inheritance, which is still tied up tight in the nylon stocking in which his mother gave it to him. “Dont put that down,” Lincoln says, but Booth urges him to deal the cards. After a moment, Lincoln does, on the condition that Booth can only win the money if he wins two rounds. Sure enough, his little brother chooses the right card on the first round. Right before picking for the second time, Booth reiterates the terms of the bet, saying that if he picks right again he wins, and Lincoln agrees. “Plus I beat you for real,” Booth adds, to which Lincoln asks, “You think we’re really brothers?” Lincoln then deals the cards, duping Booth and winning his inheritance. “Aint yr fault if yr eyes aint fast,” Link says to Booth. “Throwing cards aint thuh whole world.” Gloating, he starts untying the nylon stocking, marveling at the fact that Booth never even opened it to count the money. Lincoln then reveals that he has conned Booth, saying, “Cause its thuh first move that separates thuh Player from thuh Played. And thuh first move is to know that there aint no winning.” Furious, Booth suddenly confesses that he shot and killed Grace, and Lincoln decides to give his brother back the inheritance, but Booth’s anger can’t be calmed. “Go on,” Booth shouts. “You won it you open it.” As Link reluctantly cuts open the stocking with a knife, Booth seizes him from behind and shoves the barrel of his gun into his neck. “Dont,” Lincoln pleads, but Booth pulls the trigger, killing him. In the aftermath of the gunshot, Booth paces back and forth, yelling at his brother’s dead body before suddenly falling to the ground, holding Lincoln’s body, and screaming in agony. (litcharts.com)

“Topdog/Underdog” opened on Friday, June 4th, 2010, and then generally played on Thursday through Saturday nights at 7:30 pm, and on Sunday matinees at 2:00 pm. The exception to this schedule was that, there was a show on Wednesday, June 23rd, 2010, to replace the pre-announced show that could not be performed on Friday, June 25th, 2010. In all, audiences enjoyed 15 great shows of a production that turned out to be a huge success.

The Honolulu Star-Advertiser Review For “Top Dog / Underdog”

The Postcard For “Topdog/Underdog”

Young Playwrights Festival – TAG Partners With The VSA (Very Special Arts) To Stage A Great Festival For Young Adults

Ending the 2009-2010 season was a novel series of original one-act plays that TAG produced in association with the VSA (Very Special Arts) Arts of Hawaii-Pacific. VSA Hawaii-Pacific strives to create and maintain a community where people with disabilities can learn though, participate in, and have access to the arts. VSA Hawaii-Pacific provides, promotes, and furthers arts centered activities in inclusive settings for people with and without disabilities can experience the arts together. As part of their mission, VSA provided a grant to TAG for the purposes of inviting middle school and high school students to take a closer look at the world around them, examining how disabilities affect their lives and the lives of others, and express their views through the art of playwriting. Young playwrights could write from their own experience or about an experience in the life of another person or fictional character. Young playwrights with and without disabilities were encouraged to submit a script. Their entries could be the work of an individual student or be a collaboration by a group or class of students. Teacher and/or adult assistance was allowed. All of the entries were to be one-act plays of fewer than 40 pages in length. These scripts could have been of any genre, e.g. comedies, drama, or even musicals. A selection of the entries would be professionally produced and staged on the TAG main stage and entitled the TAG Young Playwrights Festival. One play would be selected for entry in the VSA arts Playwright Discovery Call for Scripts National Competition, for which the plays that wins the national competition would be produced or staged at the John F. Kennedy Center for the Performing Arts in Washington D.C. In staging this festival responsibilities for the VSA and TAG were delineated in a agreed-to Memorandum of Agreement. VSA would be responsible for: oversight of program planning, consultation and development; selection and approval of professional artists and consultants; assistance in programming promotion and marketing; and video, other documentation, evaluation and video permission, release documents. TAG would be responsible for: undertake all aspects of executive administration and decision-making, operation of playwriting review and selection for a summer festival; develop a comprehensive list of theatre art professions — both on and off the stage — and related essential functions and skill sets as the basis for apprenticeship training and development; daily involvement in participatory action evaluation, and student-parent satisfaction evaluation process; during the Festival, collaborate with VSA in apprenticeship programming and transition planning; screen and identify TAG professional mentors for up to 10 student interns; in the course of auditions, rehearsals and training, encourage self-advocacy, students’ problem-solving, independent critical thinking processes; and collect evaluation and performance information data.

The Playbill For “The Young Playwrights Festival”

The Young Playwrights Festival ran for 12 performances, opening on Wednesday, June 30th, 2010 closing on July 11th, 2010. Week night and Saturday performances began at 7:30 p.m. and Sunday matinees were at 2:00 p.m. Four young playwrights had their plays performed. These were “Invalidation,” written and directed by Samuel Spengler and Jackson Shimanoff, “Play In Progress,” written and directed by Kelley Mitchell, “Exceptional Hearing,” written and directed by Aliyah Howe, and “The Honu & The Hare,” written by the Waianae GED Students and directed by Kelly Cazinha. The festival, spearheaded by Brad Powell and Laurie Tanoura, turned into a great success for both organizations.