The History Of The Actors’ Group (TAG)
2010-2011
Compiling the history of any organization can be a great challenge, particularly when the core group is small and rather than chronicle events soon after each production was completed, had spent their energy towards merely keeping alive. So is the case with TAG. As it evolved from a creative curmudgeon to new theater kid on the block and then to becoming 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 information, photos that fortunately was taken then buried, newspaper articles, and recovered video footage that is often way past its prime if not damaged. Nonetheless, these are the sources to create the history of The Actors' Group, told in a series of posts chronicling time periods unique to its development. |

The Great Move To Dole And The Start Of TAG’s New Era
In two years of occupancy at the Mendonca Building in Chinatown, TAG had experienced numerous challenges which fueled a general feeling of discontent that had been brewing from the moment the first great move of the theater had been completed. To be certain, the move to Mendonca was absolutely critical. Had TAG not made the move when it did, it wasn’t out of the question that it would have never moved at all, and if that were the case, its eventual demise would have inevitably happened. And, this was made possible by Mendonca making concessions to the amount of square footage that TAG could take over. In other words, at first, TAG was offered a larger area, which also correspondingly would mean a much greater rent, an amount that was outside TAG’s budget. But because the landlords were willing to redraw the lines of what TAG could occupy – a smaller area yet sufficient enough to be greater than the space TAG occupied in the Yellow Brick Studio back in Kaka’ako – the move was made possible. However, after TAG moved in a number of disappointments would ensue. For one, the beautiful courtyard, a grassy area lined with beautifully landscaped trees and shrubbery, would be off limits when TAG proposed (and followed through on) a fundraiser. From TAG’s perspective, this was not only ludicrous, but also something that was not made clear when it was considering the move. The courtyard was pointed out as being an optimum area to hold an event. This was a critical element in its decision to relocate. The fact that this area was not to be used and that only the surrounding concrete walkways was where patrons could walk was deeply dissatisfying.
But this “bait and switch” matter wasn’t the only thing. In fact, there were many other issues. For one, there was the theater’s air conditioning, something that had always been a problem back on Keawe Street, was not only equally as bad at Mendonca, considering the electricity bill was separate, was even worse. When the need to repair the AC was made to the landlords, it was met with responses that the building’s maintenance man would get on it right away. But of course, this almost never happened. It would take weeks for the AC to be repaired and always the maintenance man would be defended with comments that he was trying his best, he needs to get a part, he actually works part-time as the maintenance man (for he ran a restaurant), and that he’s really a good guy. All these in of itself were true, however the bottom line was that conditions in the theater, particularly when a show attracted a good house, would be near sweltering. Then there was the case of rats. At Yellow Brick Studio, patrons would occasionally see a rat running across the light racks atop the tiny stage. At Mendonca, while there was never an actual sighting, what audience members would hear during a performance, was the sound of what could only be a “herd” of rats running inside the ceiling. Of course, there was always the issue of parking and security. Mendonca was in the heart of Chinatown, where there was no free parking, and which also came a bevy of safety and sanitization issues. Leaving the theater, actors would have to cross Smith Street and then walk to North Pauahi Street, and cross it to get to the elevators that would take them to the municipal parking garage underground (the usual parking place for anyone associated with the theater, and generally at least $3.00 a day). Not a particularly challenging thing to do during the day time, but considering actors would typically make that trek late at night after rehearsals and shows, it seemed to be an accident waiting to happen. The area would be a gathering spot for homeless people and in front of the theater entrance there had been instances of feces appearing on the sidewalk.
The arrangement at Mendonca, considered a community of artists, came with the stipulation that tenants take turns cleaning the building’s restroom; something that not only was onerous to do, but inequitable within TAG itself, as the TAG personnel who would help with the cleaning was often the usual suspects, Laurie Tanoura, Eric Nemoto, Frankie Enos, and Carlynn Wolfe. There was the matter of the theater’s entrance. Over the years, TAG had become the theater of choice for senior citizens, and so its steep stairway from Smith Street to ascend to the second floor (where the theater was located) was no enjoyable jaunt, and for many, surely an unpleasant hike. Sure, there was an elevator that could be used, but this was located in the back of the property, an even longer walk, while obviously not walking vertically, still, a journey that most attendees chose to avoid. And with respect to the AC again, something that TAG had never envisioned when it first started there, was its separate electricity bill would come out to an added cost of $400 to $700 a month, which when applied to its rent (around $3000 when TAG started), made the actual rental costs for TAG way more expensive than what it had anticipated. And with the current lease that TAG had signed (two years, a 10% rent increase after the first year), and negotiating for the next lease looming, it seemed very evident that TAG’s monthly costs would only continue to increase. This prospect, above all else, was the greatest of challenges for TAG. It was coming down to simple math. The costs for staying at Mendonca would continually increase, and when coupled with all of the other concerns, the question began to arise as to why TAG was settling for staying in Chinatown. Of course, there was always the argument brought by some on the board that Chinatown had a certain creative charm to it. That was certainly somewhat true. But another factor that mitigated against finding another place was that TAG was only two years removed from having made the first great move, so making another one seemed implausible at best. TAG board members would consistently complain about the conditions at Mendonca, but doing something about it seemed out of the question.
But then one of TAG’s board members, Richard Tillotson, mentioned at a meeting that he had come across a site at The Shops at Dole Cannery in Iwilei that he thought might be interesting to check out. He communicated to TAG president Eric Nemoto and it led to a meeting with Dole representative Robin Boolukos, who took both Eric and Richard on a tour of the former retail shop, Tuxedo Junction. The space was large enough but the initial price was certainly out of the question. While over time the specifics cannot be recollected, a figure of $5000 plus a month is likely the initial amount mentioned. So at the next TAG board meeting Eric reported of his and Richard’s visit and that the place was indeed interesting, but at the same time totally unaffordable. It was thought that the concept of moving again was put to rest, and that negotiations with Mendonca seemed like the inevitable next step. However, like with how Mendonca was originally negotiated, Eric called Robin back and laid everything on the line. TAG couldn’t afford the asking price, but what the theater could afford was what it was paying now, in other words around $3100 a month. Expecting that this counter offer would be immediately rejected, Eric was surprised to hear that Robin in fact was considering it. He offered the additional benefit for Dole of bringing its audience to the building, that this could manifest in more foot traffic overall. This latter point was no small thing. Dole back in 2010 was like a ghost town. The once very popular shopping mall that would attract buses of tourists from Waikiki back in the late 1990’s had long lost its luster. Perhaps it was the realism that having a tenant paying 60% of the rent that would be ideal, was better than nothing at all, was what changed Robin’s mind. But whatever the reason Robin said if TAG wanted to make the move, they had a deal.
But having a great deal didn’t mean an automatic yes from the TAG board. On the contrary, the great majority of the board wasn’t ready for the move. Even Richard Tillotson, the man who had initially discovered the Dole site, was unconvinced about moving. In a general sense, knowing the conditions of something, seemed better for most than risking an unknown. What if Dole would prove to be an even more unpleasant landlord than Mendonca? What if all the things that seemed so good at Dole would in fact prove to be too good to be true? The compilation of dissenting talk from the rest of the board made even Dole’s main proponent, Eric Nemoto, second guess his pro moving stance. So to get a second opinion, so to speak, he sought the counsel of Allan Okubo, who had acted with him in Miso, was a participant in a movie Eric directed, and whose lawyer background, Eric felt, would lend itself to him rendering an objective, level-headed opinion. In fact, Allan was totally convinced that TAG moving to Dole was a “no brainer.” So satisfied that he wasn’t just promoting a personal desire, Eric went about compiling a side-by-side comparison of why Dole would be better than Mendonca. These included: 1) at Dole TAG would pay for a slightly higher rent but when considering that there was no separate electricity bill, TAG’s monthly rental costs would be much lesser; 2) there would be free parking (parking on the Costco side of the building and a three hour free parking stamp for patrons); 3) 24/7 security provided by Dole, something that was non-existent at Mendonca; 4) no need to share in the restroom maintenance like at Mendonca, for at Dole this was not required; 5) while no one could assured at the time, the air conditioning seemed cold at Dole, primarily because unlike at Keawe Street and in Chinatown, the entire theater could be enclosed and the AC unit seemed capable of adequately servicing the space; 6) because the theater was secured well and the ceiling was opened up entirely, there was less chance for rats coming in; 7) unlike Mendonca where there was only one part-time maintenance man, at Dole the building had a maintenance division; and 8) the location was on the first floor, which was, unlike Mendonca and its steep stairs, ideal for TAG’s senior citizen crowd. When objectively listing these advantages, it seemed it was exactly like Allan said, a “no brainer.”
However, even though these obvious advantages were pointed out, the decision to actually move was anything but a no brainer. In fact, TAG president Eric Nemoto found himself to be the lone proponent. Years later he would liken the meeting that would ultimately decide TAG’s fate to be just like the Henry Fonda classic, “12 Angry Men.” In the movie, Fonda would be the sole juror in a murder trial who wants to “talk about” the case for which the rest of the 11 other jurors feel is, cut-and-dried, an obvious guilty verdict. And through analytical reasoning, he manages to eventually convince every juror that the defendent is not guilty. Similarly, at the onset of the meeting, Eric was the only board member – the rest being Frankie Enos, Ken Marcus, Laurie Tanoura, Brad Powell, Richard Tillotson, Keith Patterson, Rachel Heller – who wanted to move. But in that meeting, after Eric systematically listed all of the pro’s and very little, if at all, con’s, the other board members started to give it some thought. Brad, admittedly, said he could see both sides so essentially said he would support whatever the rest decided. Frankie was perhaps the greatest proponent of appreciating the ambiance that was Chinatown. But to this Eric reminded her of all the challenges that TAG had experienced at Mendonca. Was staying in Chinatown worth the aggravation? Eventually, Frankie acknowledged that it wasn’t. Richard, again, the man who first led TAG to Dole, was convinced to switch his vote after Eric’s line-by-line analysis. Ultimately, the turning point came when Eric convinced Laurie – who among everyone, was the person who always did most of the follow up work for TAG – by proclaiming that if the board would vote for the move, that he would “personally” move everything in the theater himself. That proclamation, Laurie would later say, sold it for her. She turned her vote from no to yes, the others would later follow suit, and the logical, yet still improbable move to The Shops at Dole Cannery, was going to be TAG’s new home. Like in the movie, Eric’s Henry Fonda arguments had worked.

The Star-Advertiser Article About TAG’s Big Move And “Duets”

Duets – The First Show In TAG’s Brand New Home
When everyone associated with TAG looked around the theater on the eve of opening “Duets,” there had to be a sense of wonder. A mere three years earlier, TAG had been faced with the eventual closure of its long-time home (the building had been condemned) on Keawe Street in Kaka’ako, and was facing not only an uncertain future, but the very real prospect of folding, if no affordable new venue could be obtained. In fact, when TAG started the great push to find a new theater with the production of “From Penicillin to Po’okelas,” back in April of 2007, it literally had exactly zero funding for any possible move, and, morever, didn’t have even a clue as to where it could go. But here they were, a mere three years later, having first made the great move to Mendonca, in 2008, and then now the second – and even bigger – great move to Dole, looking to a brand new era. TAG had not only made this great move, but had finally found the ideal location. TAG had found what would become its perfect, permanent home.

The Promotional Poster For “Duets”

To direct the very first production in TAG’s new home in The Shops at Dole Cannery was a tried and true veteran of the stage, particularly that of TAG’s stage. This was talented David Farmer (photo right, a director of many TAG plays). Helping him as his Assistant Director, was his wife, Loren Farmer. With them came eight truly outstanding actors. Ron Heller played Jonathan, Patrice Scott played Wendy, Richard Valasek played Barrie, Allyson West played Janet, John Whyte White played Bobby, Victoria Gail-White played Shelley, Peter Clark played Toby, and Karen Valasek played Angela. The crew included the usual supportive TAG team of specialists. Laurie Tanoura served in her usual capacity of Production Manager, Greg Howell handled Hair and Wigs, Carlynn Wolfe headed up Costume Design, and Thomas Tochiki created the Lighting Design, and also served as the Light and Sound Operator.

The Honolulu Star-Advertiser Review Of “Duets”
“Duets” opened TAG to its brand new era in The Shops of Dole Cannery, on Friday, August 27th, 2010, at 7:30 p.m. Its second show was on the following night, Saturday, August 28th, also at 7:30 p.m. A Sunday matinee followed on August 29th, at 2:00 p.m. The run continued for three more weeks, again, at 7:30 p.m. for Thursday through Saturday night performances, and at 2:00 p.m. for Sunday matinees. “Duets” closed on Sunday, September 19th, 2010. All told, the production played for 15 shows before very consistent and appreciative audiences.
The Promotional Postcard For “Duets”
Ghosts – Brad Powell Translates A Personal Favorite
Paraphrased From ‘The Director’s Note’ Of The “Ghosts” Program: When Brad Powell (see photo left) was a teenager, he was blessed to live in Norway for three years. Because of this he fell in love with the country and the people, and came to appreciate the plays of Henrik Ibsen, the music of Edvard Grieg, the paintings of Edvard Munch, and the amazing sculpture work of Gustav Vigeland. Some years later, as a television producer in Hawaii, he created a series, Hand-In-Hand, dealing with parenting and the relationships between men and women and their children. With grants from the Hawaii State Foundation on Culture and The Arts, and Pan American Airways, he was able to return to Norway, and make a documentary, Images, about the works and life of Vigeland. His statues are found all together in a beautiful park in the middle of Norway’s capital city, Oslo. His statues deal with the powerful forces that draw men and women together and tear them apart. The series, Hand-In-Hand, received the Gold Medal Award and the film, Images (shown in its entirety below), received a Bronze medal at the 1977 New York Film & TV Festival.
“Images” – Brad Powell’s Excellent Documentary On The Life And Works Of Gustav Vigeland
Since that time Brad had longed to direct an Ibsen play and share his love with Norway to others. It was not until 2010 that his dream became a reality. He decided to translate Ghosts, which proved to be one of the most taxing, yet enjoyable, experiences of his life. To appreciate the challenge confronting Brad, it must be understood that he had to first translate the original script that was in Danish, into Norwegian, and then subsequently translate it from Norwegian into English. Let that process filter through our collective minds. It was indeed a Herculean effort, as significant a creative accomplishment as any attained in the history of TAG. And so, it was Ghosts, as translated by Brad, which became the next play up in TAG’s 2010-2011 season, and with it, to also celebrate the four great artists of Norway – Ibsen, Grieg, Munch, and Vigeland.
The Playbill For “Ghosts”
Four Creative Norway Geniuses (from the playbill of Ghosts): ♦ Often referred to as “the father” of modern drama, Henrik Ibsen (top left of photo montage) is one of the founders of Modernism in the theatre. His plays were considered scandalous to many of his era, when European theatre was required to model strict mores of family life and propriety. Ibsen’s work examined the realities that lay behind many facades, revealing much that was disquieting to a critical eye and free inquiry issues of morality. Ibsen is often ranked as one of the truly great playwrights in the European tradition, alongside Shakespeare. Ibsen’s most noted work includes Ghosts, A Doll’s House, Hedda Gabbler, and Enemy Of The People. In addition to being a playwright, he was also a theatre director and a poet. Grieg wrote the music for Ibsen’s plays, Munch designed the set for Ghosts, and Vigeland sculpted a bust of Ibsen. ♦ Edvard Grieg (top right of the photo montage) was a Norwegian composer and pianist who composed in the Romantic period. He is best known for his Piano Concerto in A minor, for his incidental music to Henrik Ibsen’s play Peer Gynt (which includes Morning Mood and In The Hall Of The Mountain King), and for his collection of piano miniatures. Vigeland also sculpted a bust of Grieg. ♦ Here is a quote from Edvard Munch (bottom left of the photo montage), the Norwegian painter best known for the painting, The Scream, which was inspired by his sister’s death from tuberculosis. “At different moments you see with different eyes. You see differently in the morning than you do in the evening. In addition, how you see is also dependent on your emotional state. Because of this, a motif can be seen in many different ways, and this is what makes art interesting.” Munch designed the set for Ibsen’s play, Ghosts. ♦ In 1921, after a long dispute, the City of Oslo granted Gustav Vigeland (bottom right of the photo montage) a building where he could work and live. In exchange, he promised to donate to the city all his subsequent works, including sculptures, drawings, engravings, and models. It was located in the vicinity of Frogner Park, which he had chosen as the definitive location for his fountain. Over the following 20 years, Vigeland was devoted to the project of an open exhibition of his works which later turned into what is universally known as Vigeland Park. The park covers 80 acres and features 212 bronze and granite sculptures designed by Gustave Vigeland. The sculptures culminate in the famous Monolith (Monolitten), with its 121 figures struggling to reach the top of the sculpture. There is a statue of Vigeland in front of the Norwegian National Museum.
Osvald Alving (Mathias Maas) & Helene Alving (Frankie Enos) discuss the legacy of her husband in “Ghosts”
Norwegian Words That Were Inserted Into The Program For “Ghosts”

The Honolulu Star-Advertiser Review Of “Ghosts”

Ghosts had a very popular run. It opened on Friday, October 22nd, 2010. After its opening weekend it played for Thursday through Saturday nights at 7:30 p.m. and Sunday matinees at 2:00 p.m. It closed on Sunday, November 14th, 2010, and in all, played for 15 performances. Director Brad Powell had the great advantage of having cast a group of stellar actors. These included (characters in parentheses): Frankie Enos (Fru Helen Alving); Mathias Maas (Osvald Alving); Alan Picard (Pastor Manders); Scott Robertson (Jakob Engstrand); and Lauren Ballesteros (Regina Engstrand). Brad’s great crew consisted of Denise-Aiko Chinen serving as his Assistant Director, Mikie Fambro as his Universal Assistant, Mary Ann Shirley Gray was the Stage Manager, Andy Alvarado was in charge of Set Design, Construction and Dressing (for which Brad assisted in the Set Design and its Construction), Brad created the Sound Design, Thomas Tochiki created the Light Design and then served as the production’s Light and Sound Operator, Carlynn Wolfe coordinated the Costume Design, Greg Howell handled the Hair and Wig Design, Jason Taglianetti took care of the Photography, and Joyce Powell manned the Box Office. Laurie Tanoura served in her usual capacity as TAG’s Production Manager. Special Thanks was accorded to Manoa Valley Theatre for set pieces, Kumu Kahua Theatre for lights, the University of Hawaii at Manoa for the sofa that was used on the set, Chris Valles for assisting with costumes, and Mara Miller and Scott Robertson for the rosemaling on the set.
The Postcard For “Ghosts”
Merry Christmas, Roberta – A Chinatown Story Not Done In Chinatown
It was just a passing moment during the middle of a fateful phone call. Eric Nemoto, President of TAG, had called Ernie Hunt, TAG’s landlord when they were at the Mendonca Building, and informed him that TAG’s Board of Directors had voted that the theater would be moving to The Shops At Dole Cannery and so he would not be signing another lease. There must’ve been an air of certainty in Eric’s voice at the time, for Ernie’s immediate response was to say, “That’s too bad, is there anything that can we can do to keep you?” Eric responded, no, that it was a done deal, for he had already signed Dole’s lease, and TAG’s move was already being planned. It was the first time that Ernie seemed to let on about being disappointed. Prior to that his tonality during lease discussions with Eric was always that of a negotiator who held all the cards. But upon finally accepting the fate that his unique artists community would be losing one of Hawaii’s best community theaters, he lamented, “It’s unfortunate that we won’t get to see, ‘Merry Christmas, Roberta,’ done in Chinatown.” NOTE: The photo used for the play postcard (see inset image), the cover of the playbill (see below), as well as other promotional material, was taken in front of the old Yellow Brick Studio on Keawe Street, the original stomping grounds of TAG – The Actors’ Group, even though the theater had long since moved from that location for over two years.
The Playbill For The Reprise Of “Merry Christmas, Roberta”
TAG’s next production would be a reprise of the surprise 2007-2008 hit of the same name, “Merry Christmas, Roberta.” The original production had come out of nowhere to win one of the Best Play awards at the 2008 Po’okelas, and coupled with its natural advantage of appealing to a Christmas period audience (always a theater risk to stage a production during the holiday season) since that is when the play occurs, Artistic Director Brad Powell, believed, after three years, that it would be a good pick to now stage it in TAG’s new theater. His belief would prove to be spot on. For more information on the history of “Roberta” see the original production listed in the 2007-2008 season.
The Promotional Postcard For The IHS Benefit Performance Of “Merry Christmas, Roberta”
Though it was a reprise, there were a number of differences in this version of Roberta as compared to the original. First, Jon Brekke would return as director, but solely this time. Michael Wurth, who had co-directed the original version with Jon, had since moved to Texas, and so Jon took on the directorial reins by himself. And while Laurie Tanoura, Eric Nemoto, and Charlotte Dias would return for their respective roles (Eric as Alvin Amino, Laurie as Roberta – which had won her a Po’okela award for her acting excellence – and Charlotte Dias as Mrs. Ketler), the rest of the roles would be cast with new actors. Young Brandi Taylor was cast as Lynette Amino, experienced and talented Maile Holck (see inset photo left) was cast as Nora Amino, Alvin’s wife and Lynette’s mother, Mark Malalis took over the role of the store hand Ben, and Tracy Hanayo Okubo took on the dual role of Candace the street urchin drug addict and Paula Beckman, Lynette’s concerned teacher. Changes to some of the characters were also made by Jon. Charlotte Dias’ character of Mrs. Ketler was changed to Mrs. Delacruz, and more of an emphasis to showcase Maile (who would become an equity actor with the Honolulu Theatre for Youth). In specific, the scene where in the original version Alvin revisits Roberta and learns the details about Roberta’s past, would be changed to Nora being the character that goes over to talk to Roberta. This was a great change to the storyline which essentially focused the play equally onto Nora, and Maile handled the increase of the role flawlessly. Lastly, as the central core of the play is about Roberta, a homeless woman, Jon arranged with Connie Mitchell, the Executive Director of The Institute for Human Services, Inc. (IHS), to have a benefit night for the organization which serves Honolulu’s homeless population. As such, TAG agreed to dedicate one night, December 16th, 2010, a preview just prior to opening night, to be the performance wherein the proceeds would go solely to IHS. This would prove to be immensely successful, as the following letter of appreciation would confirm.
Connie Mitchell’s Letter Of Thanks For TAG’s Support Of IHS
“Merry Christmas, Roberta” attained solid audiences through its entire run. It opened on Friday, December 17th, 2010, and on Saturday and Sunday of that first weekend, and then continued for three more weeks, playing on Thursday through Saturday nights at 7:30 p.m., and two shows on Sundays at 2:00 p.m. and 5:30 p.m. It played for a total of 19 performances and closed on the second show of Sunday, January 9th 2011. The crew that worked this production included (roles and/or responsibilities are in parentheses): Andy Alvarado (Set Design & Construction); Jon Brekke (Sound Design); Thomas Tochiki (Lighting Design, Light & Sound Operator); Carlynn Wolfe (Costume Design); Greg Howell (Hair & Wig Design); Jason Taglianetti (Photography); Laurie Tanoura (Publicity, Program & Web Design); and Joyce Powell (Reservations & Door). Laurie Tanoura, in addition to starring in the play, also served as the Production Manager. Special Thanks were accorded to Oceanic Cable for the airing of the play’s PSA, City Mill for the loaning of the shopping cart seen on stage, and the following for donating food for the set (which was subsequently donated to IHS) – Charlotte Dias, Alan Picard, Frankie Enos, Eric & Mary Ann Nemoto, Eden-Lee Murray, Mara Miller & Scott Robertson, and Linda Mitchell.
The Honolulu Star-Advertiser’s John Berger’s “On The Scene” Write-Up About “Merry Christmas, Roberta”
The Reprise Of The Play, “Merry Christmas, Roberta,” In Its Entirety

Gem Of The Ocean – August Wilson’s First Play Of His Pittsburg Cycle
TAG’s next production was to return to another August Wilson (photo left) play, “Gem Of The Ocean,” for its now tradition of producing an African American play over the Martin Luther King Holiday. Wilson has been referred to as the “theater’s poet of Black America,” who was best known for a series of 10 plays, collectively called The Pittsburgh Cycle (or The Century Cycle), which chronicle the experiences and heritage of the African-American community in the 20th century. And while each of Wilson’s plays were unique and powerful in their own ways, there had to be a first, and this was “Gem Of The Ocean.” TAG had already produced five of Wilson’s plays, “Two Trains Running,” “Joe Turner’s Come And Gone,” “Jitney,” “Fences,”
and “The Piano Lesson.” So “Gem” was now venturing onto the remainder of Wilson’s Pittsburgh Cycle, and for sure by this time, ingrained into TAG (particularly its Artistic Director, Brad Powell) to one day become one of just a handful of theaters across the country to produce all 10 of Wilson’s plays. To direct this latest Wilson edition, Brad got Russell Motter (photo right), already a proven Wilson play director (“Joe Turner’s Come And Gone” in 2006), to once again lend his steady, talented hand towards bringing “Gem” to TAG’s stage.
The Somewhat Blurred (But At Least Available) Playbill For “Gem Of The Ocean”

Director Motter had a winning cast to bring “Gem” to life. Gregory Harris played Eli, who oversees Aunt Ester’s day-to-day life as a spiritual advisor. Myles McGee played Citizen Barlow, the young man from Alabama who comes to the house to be cleansed by Ester. Deborah Pearson was cast as Aunt Ester Tyler, a former slave and a “soul-cleanser”, who is the head of 1839 Wylie Avenue, where the story takes place. Wendy Pearson played Black Mary, who is Aunt Ester’s housekeeper and protégé, and whose brother, Caesar, is a domineering official in the Hill District. Neal Milner played Rutherford Selig, the traveling salesman who often visits Aunt Ester’s house. William Ammons played Solly Two Kings, an older man who often visits Aunt Ester’s house, and talks about wanting to devote himself as her lover, but they never actually get together. And Curtis Duncan played Caesar Wilks, a domineering but not very powerful member of the Hill District’s law enforcement, who, unlike his sister, Black Mary, thinks only of himself and is skeptical of Aunt Ester’s ability.
The Honolulu Star-Advertiser Review For “Gem Of The Ocean”
“Gem” was supported by a great crew that included (roles are in parentheses): Anette Kauahikaua (Assistant Director); Mary Ann Shirley Gray (Stage Manager); Andy Alvarado (Set Design & Construction); Russell Motter (Sound Design); Thomas Tochiki (Lighting Design, Light & Sound Operator); Carlynn Wolfe (Costume Design); Greg Howell (Hair & Makeup); Jason Taglianetti (Photography); Laurie Tanoura (Publicity, Program & Web Design); and Joyce Powell (Reservations & Door). Production Manager, Laurie Tanoura was everyone’s go-to person. Special Thanks went to Dave Roberts of Iolani School for Solly’s stick and Jeff Moses for the use of his antique rifle, and Catherine’s Closet, Deborah Masterson, Chris Valles, Hawaii Shakespeare Festival, Kennedy Theatre and UH-Manoa for costume assistance. And thanks to (only first names and acronym provided) Jacin, Parker, Derek, VSA, Darla, Desmond, and Sue for helping on the set.
John Berger’s “On The Scene” With Members Of The “Gem” Play
“Gem Of The Ocean” played for a total of 15 performances. It opened on Friday, February 18th, 2011, and after its opening weekend, went on to play on Thursday through Saturday nights at 7:30 p.m., and on Sunday matinees at 2:00 p.m. It closed on Sunday, March 13th, 2011. Overall, “Gem” was a hugely successful production that drew consistently great audiences, received both critical acclaim and great financial returns, and continued TAG’s climb toward the pinnacle of producing all of August Wilson’s “Pittsburgh Cycle.”
The Miracle Worker – Staging A Movie Classic
Mention to any of the largely Baby Boomer members of TAG’s regular attendees, ‘The Miracle Worker,’ and you would undoubtedly be told that it is the title of the 1962 movie of the same name that was about deaf and blind Helen Keller and her amazing tutor, governess, companion, and subsequent life-long friend, Anne Sullivan. The film went on to be an instant critical success and a moderate commercial success, and was nominated for five Academy Awards, including Best Director for Arthur Penn, and won two awards, Best Actress for Anne Bancroft (left in inset photo) and Best Supporting Actress for Patty Duke (right in inset photo), the latter of whom, at age 16, became the youngest competitive Oscar winner at the time. Its pivotal moment (“She knows!”) in which Sullivan makes a breakthrough with Keller as the latter touches water, remains one of the most riveting and remembered scenes in all the annals of movie-making. In 2024, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.” But few realize that this amazing movie was actually initially written as a play by William Gibson (see below), and that it premiered on Broadway at the Playhouse Theatre on October 19th, 1959, and closed on July 1st, 1961, after 719 performances, where both Bancroft and Duke first portrayed their characters, under the direction of Penn.
The Blurred (But At Least Available) Playbill For “The Miracle Worker”
To direct the stage version of “The Miracle Worker,” was TAG’s Production Manager, Laurie Tanoura, taking her turn at directing, on top of maintaining her usual full-plate schedule. She brought with her an outstanding cast (characters are in parentheses): Hoku Gilbert (Anne Sullivan); Kathryn Jurbala (Helen Keller); Gerald Altwies (Captain Keller); Lea Grupen (Kate Keller); Suzanne Maloney (Aunt Ev); Scott Francis Russell (James Keller); S. Rick Crump (Doctor); Richard Goodman (Anagnos); Mary Ann Shirley Gray (Viney); Wesley Westbrooke (Percy); Dila Westbrooke (Martha); Lanihuli Gilbert (Beatrice); Kira Stone (Emma); Alyse Glaser (Sara); Alana Glaser (Alice); Cova Li (Jane); and Maile (Belle). Supporting Director and Production Manager Laurie was a small but totally dedicated crew (roles or responsibilities in parentheses): Terri Madden (Assistant Director & Stage Manager); Carlynn Wolfe (Costume Design); Andy Alvarado (Set Design & Construction); Thomas Tochiki (Lighting Design, Light & Sound Operator); and Clara Lam (Props & Backstage Manager).

William Gibson (photo right) was born on November 13, 1914 in the Bronx, New York City, New York, USA. He was a writer, known for The Miracle Worker (1962), Playhouse 90 (1956) and Two for the Seesaw (1962). He was married to Margaret Brenman-Gibson. He died on November 25, 2008 in Stockbridge, Massachusetts, USA. Most of his work is about helping people, such as his play, “The Miracle Worker,” based on Helen Keller’s teacher, Anne Sullivan. He won two Tony Awards in 1960 for “The Miracle Worker,” as Best Author (Dramatic) and as author of the Best Play winner. He was also nominated two other times: in 1958 as author of the Best Play nominee, “Two for the Seesaw,” and in 1965 as co-author, with Clifford Odets, of the book for Best Musical nominee, “Golden Boy.” (imdb.com)

“Deliverance” – The First Film Media Depiction Of The Anne Sullivan & Helen Keller Story
The Honolulu Star-Advertiser Review For “The Miracle Worker”
Production Manager And Director Laurie Tanoura
With Laurie Tanoura wearing many hats, “The Miracle Worker” turned into a great TAG success and played for a total of 15 performances. It opened on Friday, April 22nd, 2011 and closed on Sunday, May 15th, 2011. Thursday through Saturday night performances were at 7:30 p.m., and Sunday matinees at 2:00 p.m. It attracted good audiences who greatly appreciated the re-staging of a Hollywood classic.
The Postcard For “The Miracle Worker”
A Delicate Balance – Brother Gary Directs Another Great Albee Play
For the final play of the 2010-2011 season, TAG Artistic Director Brad Powell arranged for Brother Gary Morris to direct another great play by Edward Albee (see photo right), “A Delicate Balance,” which was Albee’s three-act play that was written in 1965. It premiered in 1966, on Broadway when it was directed by Alan Schneider, opening at the Martin Beck Theatre on September 22, 1966, and closing on January 14, 1967, after 132 performances and 12 previews. It won the Pulitzer Prize for Drama in 1967, the first of three that Albee would receive for his work. A revival produced by the Lincoln Center Theater at the Plymouth Theatre opened on April 21, 1996, and ran for 185 performances and 27 previews. It was directed by Gerald Gutierrez. The production won the Tony Award for Best Revival of a Play, as well as a Tony Award for Gutierrez, and the Drama Desk Award for Outstanding Revival of a Play. A 1973 film adaptation was directed by Tony Richardson for the short-lived American Film Theater series. Subsequently produced innumerable times by theaters across the U.S.A and abroad, “A Delicate Balance,” one of Albee’s best, would be the next outstanding play on tap for TAG.
The Playbill For “A Delicate Balance”
Brother Gary (photo left) was able to round up a first class cast. To play Agnes, the handsome wife and mother in her late fifties, was Frankie Enos. Haunted by the possibility of losing her mind, which she defines as a kind of “drifting,” whereby she would become a stranger in the world, she attempts to maintain order, a “delicate balance,” in her world. She deals with the emotional withdrawal of her husband and the “embarrassment” of her sister by taking the verbal initiative to judge and thereby control them. She comes to realize that her hold on reality depends more on them than she has been willing to admit, and that frightens her. To play Tobias, her husband, a few years older, was Wil Kahele. An emotionally repressed and withdrawn man, Tobias covers his deepest fears with a mask of self-control and quiet, and he suppresses them with alcohol. Forced by Agnes to make a decision about whether Harry and Edna will stay, he breaks down under the weight of trying to be honest about how he really feels, not only about them but also about his own family. He has a hysterical fear of death and of being alone, and this allows him to tolerate demands of his family. To play Claire, Agnes’ alcoholic younger sister, was Laurie Tanoura. Called an ingrate and one of the walking wounded by Agnes, Claire is nevertheless the most honest person in the family. She does not hide her feelings or her dark side. She uses her drinking to annoy and embarrass Agnes; to amuse Tobias, with whom she might have had an affair; to prick Julia’s pretensions; and to thumb her nose at society. She is a weary, but tough, survivor. To play Julia, Agnes and Tobias’ thirty-six-year-old daughter, recently separated from her fourth husband, was Danielle Zalopany. Returning home with a sense of failure and with raw emotions, she is like a younger version of Claire, for whom she has much admiration and affection. She needs her childhood room, which symbolizes a measure of order in her chaotic emotional life; the fact that it is occupied by her godparents causes her to become hysterical. She realizes that her arrival will necessitate changes in the alliances that have held Agnes, Tobias, and Claire in their uncomfortable triangle. To play Harry and Edna, Agnes’ and Tobias’ best friends and godparents to Julia, were Dale Hathaway and Suzanne Maloney. Frightened by a “terror” that remains unnameable, they are “intruders” in the household. Like the plague, their fear is contagious; each character reads his or her own personal agony into it. The women of the house want them to go; Tobias begs them to stay. In leaving by their own choice, they force the family to confront and acknowledge their personal fears. The terror seems to be existential in nature, a glimpse into the passage of time, death, and alienation. (descriptions taken from ebsco.com)

To assist Brother Gary was the usual TAG crew of outstanding volunteers and specialists. These included (roles and responsibilities in parentheses): Jaren Maluyo (Assistant Director & Stage Manager); Sam Spengler (Stage Manager); Andy Alvarado & Brother Gary Morris (Set Design); Andy Alvarado (Set Construction); Brother Gary Morris (Sound Design); Thomas Tochiki (Lighting Design, Light & Sound Operator); Carlynn Wolfe (Costume Design); Greg Howell (Hair & Makeup); and Jason Taglianetti (Photography). Special Thanks were accorded to Sara Ward and Manoa Valley Theatre for the accordion, Chaminade University Performing Arts Department for props and decor, and Rose Wolfe and Terry Oshiro.
The Honolulu Star-Advertiser Review Of “A Delicate Balance”
The Postcard For “A Delicate Balance”
“A Delicate Balance” opened to a warm and appreciative crowd on Friday, June 24th, 2011 and went on to attract consistently good audiences during a run of 15 total performances until closing on Sunday, July 17th, 2011. Thursday through Saturday night shows were at 7:30 p.m. and Sunday matinees were at 2:00 pm.
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