The History Of The Actors’ Group (TAG)

Part 7 – The 2003-2004 Season

Compiling the history of any organization can be a great challenge, particularly when the core group is small and rather than chronicle events, had spent their energy towards merely keeping alive. So is the case with TAG. As it evolved from a creative curmudgeon to become one of Hawaii's finest community theaters, all TAG could do was focus on its next production, for it had little time for anything else. Hence, this history has been cobbled together utilizing the recollection of participants at the time, dog-eared old files containing memorabilia and other forms of information, photos, newspaper articles, and recovered video footage that is often way past its prime if not damaged. Nonetheless, these have been the sources to create the history of TAG - The Actors' Group, told in a series of posts chronicling time periods unique to its development.

The Guys – Helping A Nation To Heal

As the years pass, in spite of the countless documentaries, annual memorial events, and flashback news accounts, it becomes more and more challenging to recall just how much of a nationwide trauma that 9-11 caused. But its effects went far beyond the 2996 lives lost in the crashing of the twin towers, the pentagon, and United Flight 93 (including over firemen) was transformed the country. Looking back it was the seminal event of its day, shaking America as she had been similarly affected by the Civil War, the Spanish Flu, the Great Depression, Pearl Harbor, the assassination of JFK, and after that, COVID and the great pandemic. Because of 9-11, the United States embarked on the War on Terror, would create a government agency (the Department of Homeland Security), and we would enter the era of the airport security check. In the wake of this came the play, “The Guys,” written by Anne Nelson (see inset photo), an author and lecturer in the fields of international affairs, media and human rights. Nelson’s play follows Joan, an editor, who helps Nick, a New York Fire Department captain, prepare the eulogies for the eight firefighters who died under his command that day, out of a crew of twelve. Her play debuted off-Broadway at The Flea Theater on December 4, 2001, directed by Jim Simpson and starring Sigourney Weaver and Bill Murray. The fact that the play opened less than two months after September 11th suggests that it was written incredibly fast amidst the emotional upheaval that ensued in the aftermath. One surmises that writing the play was Nelson’s way of dealing with the tragedy. All of us, in fact, had to make sense of things in our own ways. In a time when America was still reeling from the visceral events of that awful day, TAG chose to stage this relatively new play to begin its 2003-2004 season.

The Postcard For “The Guys”

Directed by Brad Powell, and starring Frankie Enos as Joan, and Eric Nemoto as Nick, “The Guys” was a Hawaii premiere and was staged at the Yellow Brick Studio from Friday, August 27th, 2003, to Sunday, September 28th, 2003. It played at 7:30 pm on Thursday, Friday, and Saturday nights and Sunday matinees at 4:00 pm. The rest of the crew was an assemblage of great TAG volunteers. Liz Kane served as Brad’s AD, Paul Guncheon and Henry Deardorff designed the set (with Sam Polson and Brad doing the constructing), Peggy handled the costumes, Brenda Lee Hillebrenner created the lighting design, Brad handled the sound design, Helen Rapozo served as the lighting sound technician, Mike Mazzola provided his photography and publicity services, Joyce Powell provided the refreshments at intermission, and Keith Watamura for graphic design. Special thanks went out to Honolulu Fire Department Chief, Attilio Leonardi, Captain Ben Suiso, the Friends of the Kaneohe Library, Manoa Valley Theatre, and John Kendrick lent his firefighter’s helmet as one of the props.

The Review Of “The Guys” By The Honolulu Advertiser’s Joe Rozmiarek

Producing “The Guys” originated through Brad Powell’s disbelief as he watched the events of that day materialize on television. After he subsequently visited the devastation of “ground zero,” he was left with a strong impression on what the terrorist attack on the World Trade Center resulted in. An impression, he felt at the time, would last for the rest of his life. Later, when he heard about the play, “The Guys,” he knew that he had to read it. When he finished, he felt a lot like Joan in the play. He became angry. Angry at the terrorists for their senseless act, angry at our government for not being better prepared, angry at God for allowing it to happen, and angry at himself because he could do nothing about it. At the time, just like Joan says in the play, Brad said,  “I just have nothing to bring to the table.” And then he thought, “At least TAG can bring this play to Honolulu.” So on the eve of the anniversary of this tragic event, TAG was privileged to “bring to the table” the Hawaii premiere of this meaningful play to do its share in the healing of America.

The Article By Shawn “Speedy” Lopes Featured A Great Interview With Star Frankie Enos

Ten Million Reawakenings – (and just as many challenges)

Anyone who has ever participated in the production of a play knows all about the meaning of certain stage realities. For example, no matter what, the show must do on. Hell week always seems to arrive one week sooner than desired. But despite it seeming like it will never come together, somehow, everything seems to do exactly that in the end. No truer an example of this was the production of “Ten Million Reawakenings, a play written by Richard C. Goodman (with contributions from Eric Nemoto and Brad Powell), suggested by a story from Lafcadio Hearn.

“Ten Million Reawakenings” was a play about a samurai in medieval Japan, who falls in love with a woman whom he promises to honor forever. As she becomes gravely ill, he pledges a sacred oath that upon her death, no one will ever take her place and that he shall never remarry. When he breaks that vow with the marriage to an innocent young woman, the ghost of his first wife returns from the dead to haunt the samurai’s new bride. When the specter succeeds in killing the second wife, and the samurai subsequently takes his own life, the fate of all three becomes intertwined for an eternity in a dark, foreboding nether world. Based on a “Kwaidan” (ghost) tale by turn of the century writer Lafcadio Hearn (his signature book is in the inset photo), “Ten Million Reawakenings” is a ghost story revolving around themes of honor, passion, and vengeance. It promised to be one of TAG’s most innovative and exciting productions ever, and to cut to the chase, in the end it could be argued that it was just that. It was an original script and was another venture into a world of a vastly different culture. It wasn’t just that it was a play based in Japan, but a story based in feudal Japan during another time, the era of the samurai. It wasn’t just that it featured Japanese costumes, but they were authentic period piece kimonos which came with an expressly stated protocol for how it should be put on and worn. It wasn’t just that it would be culturally authentic, but it would be properly counseled by a host of cultural consultants. Indeed, certainly it was all this and more, and because of this the production became one of the most challenging in TAG’s history for a number of reasons.

The Amazing Culture & Costumes Of  “Ten Million Reawakenings”

The first challenge had to do with the script. In a reading that director Brad Powell held with Eric Nemoto (who would play the samurai Shimizu) and Dorothy Stamp (who would play his ill-fated wife Miya), both actors reacted enthusiastically to a 40 plus page script, Richard’s first act. When they ended, thinking they were just taking a break before continuing on to the second act, both were surprised to find out from Brad that what they had just read was everything that Richard had written to date. With a looming production schedule upcoming in two months, Eric and Dorothy asked when would the full play be written. Brad advised them that Richard was presently working on the second act. As they waited, Brad assembled the rest of his cast. Shaula Voge, a senior at Saint Francis High School was picked to play the young second wife, Shino. Blossom Lam was cast as the narrator. Bill Carr would portray the guard. Didi Leong would play the mother of Shimizu, Hahaue. And Hideko Usami appeared as Mine. Later, Akiko Kaji and Jenny Ryun Foster Cheung joined the production as traditional dancers. For his crew, Brad was supported by a bevy of great volunteers and consultants. To handle the beautiful kimonos, including the dressing of the cast, was Jean Sakihara and Reverend Masatoshi Shamoto, where Hideko Usami assisted as well. The choreography of how the cast, particularly the women, would move about was supervised by Reverend Masatoshi Shamoto, Reverend Akihiro Okada, Onoe Kikonobu, and Onoe Kikonobukazu. Special props and the handling of the costumes were the responsibility of Joyce Powell. Mary Ann Shirley-Gray was the stage manager. Bill Carr created the set design and constructed the set. The light design was created by Brenda Lee Hillebrenner and the lights and sound technician was Helen Rapozo. And the production’s program was created by Pat Matsueda. Of course, first and foremost of those supporting Brad, was producer Loretta Krause, whose assistance and connections enabled this original story to come to life. It was Loretta (see inset photo), principal of the University Lab School for 32 years (1971-2003), provided the colorful kimono from her school’s collection that was once featured in Paris at Pierre Cardin’s salon.

The Beautiful Playbill For “Ten Million Reawakenings” By Pat Matsueda – One Of TAG’s Best Ever

Nearly two weeks after Brad had Eric and Dorothy read their roles, Richard had not as yet produced the second act. So Dorothy, concerned about the production drawing near, suggested to Eric that he take a stab at writing. Eric subsequently asked Brad, who relayed the idea to Richard, who gave his approval. Eric then went at it, and in a week, completed the second act. Brad, in turn, reviewed both Richard’s first act and Eric’s draft second act, and contributed his thoughts, which Eric then incorporated into a subsequent draft that was approved by Richard. This then created the final script for which all three agreed to share in the script’s credit with primary writing acknowledgement given to Richard since he had conceptualized the story. Their agreement can be viewed here.

John Berger’s Review In The Honolulu Star Bulletin

“Ten Million Reawakenings” opened on Wednesday, November 12th, 2003, and went on to play for another 16 performances (17 in total) and closing on Sunday, December 7th, 2003. It played at 7:30 pm on Thursday through Saturday nights and at 4:00 pm on Sundays. As is true with most original pieces of work, changes became the norm through the rehearsal period, largely in response to the multitude of input put in by various consultants. The cast would work on one section of the play, receive input from certain consultants who would advise Brad, who in turn would convey the message to an actor. “When you bow, bow this way, instead of that way.” “When you walk, try to walk this way, instead of that way.” It would go on. Of course this was, in a way, all expected, as the background of all the characters in the play was based in a Japan of long ago, something none of the actors could even approach knowing anything about. Still, the ever present advice that resulted in changes made to each scene contributed to, at times, a manic experience for the cast. But again, it was all understandable. It was important for the play to reflect its cultural aspects accurately, and it was in this spirit that each of the consultants contributed. Brad, showing an amazing ability to listen to every consultant and to keep all the actors’ morale up. Given everything that was tugging at him, he did an amazing job to keep the production going forward. Richard Goodman, too, played a great role in the development of everything. His openness towards Eric and Brad reworking the script and collaborating with them to achieve the final script version, showed an amazing commitment to creating the best possible art there is. In fact, “Ten Million Reawakenings” didn’t garner the highest of reviews but that wasn’t the point. What Brad, and Richard, and Loretta put together was an amazing amalgam of talent and passion. The complete list of amazing contributors was reflected the special thanks of the play’s program. These were as follows. Reverend Daiya Amano, Izumo Taisha Mission of Hawaii, for elements of the Shinto shrine, instruction, and advice. Reverend Owen and Reverend Taeko Nakao, Tenrikyo Pearl Church, for props, instruction, and advice. Reverend Akihiro Okada, Daijinju Temple of Hawaii, choreography of the wedding dance. Reverend Sumitoshi Sakamoto, Waimea Shingon Mission, for the pilgrim’s bell. Reverend Masatoshi Shamoto, Hawaii Gagaku Kenkyukai, choreography, costumes, music, and props for the shrine dances. Onoe Kikunobu and Onoe Kikonobukazu, Onoe School, choreography of Shino’s dance, instruction, and advice. Yoko Nakayama, professional dresser of bridal wear. Jean Sakihara, chair, Kimono Program, Education Laboratory School, kimono dresser. Hideko Usami, Charlene Hosokawa, and Toyoko Hattori, assistant kimono dressers. Masashi and Mariko Saito, Charm Salon Sumire, Hokkaido, Japan, for the bridal costume and wig. Kazuto and Yoko Takahashi for introducing Masashi and Mariko Saito. Nobuko Weeks, designer, plum blossoms. Kazuko Yoza, instructor, Ikenobo School of Floral Art, for the traditional, formal floral arrangement. Kazuo Nakamine, president and editor, Hawaii Pacific Press, special publicity. Warren Iwasa, editor, The Hawaii Herald, special publicity. Michelle Matsuo, special publicity. Yasuko and Wataru Harada, Garakuta-Do, for ornamental pieces of the bridal wig. Theo Coumbis for the use of masks. The Education Laboratory School, Curriculum Research and Development Group, for instruction and advice. Cover illustration courtesy of the University of Hawaii Press. In essence “Ten Million Reawakenings” was the coming together of dozens of talented people. Two in particular, Richard Goodman and Brad Powell, contributed greatly to a wonderful production. Eric Nemoto, TAG president, appreciative of their efforts, wrote each a memento and read them out loud to the after opening party.

The Tribute To Richard Goodman

The Tribute To Brad Powell

Two Trains Running – The Beginning Of A New TAG Tradition

I write the black experience in America, and contained within that experience, because it is a human experience, are all the universalities.           August Wilson

The Playbill For “Two Trains Running”

In 1984 Leonard Piggee (see inset photo) saw August Wilson’s play, Ma Rainey’s Black Bottom on Broadway. Later he saw James Earl Jones in Fences, Joe Turner’s Come and Gone, and The Piano Lesson on Hallmark Hall of Fame. Because of these he became a big August Wilson fan. Subsequently, ten years later, in 1994, he would found the Honolulu African American Repertory Theatre (HAART). HAART would offer free acting classes to the community using scene study. Many of these scenes were taken from Wilson’s plays. HAART began performing their scenes for civic events, military installations, Halawa prison, and senior citizen groups. They served for free. For their only funding came from Mrs. K. Jewel McDonald and Steven Bartlett. But sometime in 2003 Leonard had the great fortune of meeting Frankie Enos, who was by this time very active with TAG, and the two hit it off immediately. Leonard had had a vision of staging August Wilson’s Two Trains Running for quite some time and according to Frankie, he had yet to find a theater in which he could produce it. But as Leonard would later come to say, he knew somehow that his search for a theater had ended. “Frankie had my back from the moment we met.” In fact, Frankie did bring forth the then new concept of partnering up with another theatre company and at the beginning the TAG board knew very little of either Piggee or HAART. But TAG was then, as it has always been, open to new ideas. Basically, here was another theatre company who could come in and fill a slot (always a benefit to TAG’S core group of workers who would normally get no rest from having to produce the next show) and would bring with it something that TAG had never done before (doing new things has always been TAG’s modus operandi). So based on Frankie’s endorsement, TAG approved Leonard Piggee directing “Two Trains Running.”

Of course, looking back through the benefit of time, the production of “Two Trains Running” is extremely significant. For it was the very beginning of a tradition that would become synonymous with TAG, that of producing an African American play eventually during the Martin Luther King Jr. holiday in January. But at the time, it was just viewed as just another TAG play. For the still young and struggling local theater that operated in the shoe box that was Yellow Brick Studio on Keawe Street in the then industrial section of Honolulu known as Kaka’ako, “Two Trains Running” was just “the next play” and Frankie Enos, who would go on to be heralded as the creator of the African American play series, was merely looking to get a quality play staged in the next available TAG opening. Still, it needs to be stated here (though it will certainly be discussed further in he documentation of TAG’s history), that this was the beginning, the start of what would become one of TAG’s great traditions.

The Start Of Something Great – The Audition Notice For “Two Trains Running”

“Two Trains Running” was able to garner a great slate for its cast and crew. The cast brought a group of outstanding actors. Leonard Piggee played Memphis, Derrick Brown played Sterling, Henry Brown played West, Gemini Burke played Holloway, Russ Goode played Hambone, Moses Goods played Wolf, Donna Sallee played Risa, and Adelina Gregor was the understudy for the part of Risa. As for the crew, the production was surrounded by a great supporting team. Leonard Piggee doubled up duties as director. Liz Kane served as his assistant director. Gordon Svec of the Hawaii Opera Theatre created the set design. Brad Powell, TAG’s artistic director, handled the sound design. The light design was created by Helen Rapozo, who also served as the lighting and sound technician. Adelina Gregor was in charge of props and costumes, Dennis Proulx constructed the set, Mike Mazzola and Louise Cavanaugh shot the photography, Jeanne Scott helped with wigs, Stuart Igaurta at Kauhale provided additional rehearsal space, Sam Polson created the playbill, and Joyce Powell provided the refreshments at intermission. Added special thanks were expressed to Brad Powell and Stephen Bibbs.

The Honolulu Advertiser Review

“Two Trains Running” opened to an enthusiastic crowd on Wednesday, January 7th, 2004, and went on to perform for an additional 19 performances (20 in total) until it closed on Sunday, February 8th, 2004. In retrospect, this was the longest run of any play that TAG had produced, and it ushered in a performance model that TAG adopted for quite some time. It played at 7:00 pm on Thursday, Friday, and Saturday nights, and at 4:00 pm for Sunday matinees (with the exception of Friday, January 30th, 2004). As the review of Joseph Rozmiarek intimated (see above), the play often played before sold out audiences, and in particular the local African American community turned out in great numbers to take in this great show. Truth be told, during the rehearsal schedule, word had it that the production was having its challenges, and it seemed doubtful whether the cast could pull it together. But, as they say, all’s well that ends well, and certainly, “Two Trains Running” landed a 10. The terrific ensemble cast worked August Wilson’s play beautifully and gave Honolulu audiences their first glimpse into the works of August Wilson, which, because of the success of this production, would eventually lead to TAG producing all of his shows. But that, again as they say, is another story.

The Honolulu Star-Bulletin Review By John Berger

The Trip To Bountiful – A Moving Play (Literally)

TAG’s next production was the heartwarming drama by Horton Foote, “The Trip To Bountiful.” It told the story of an elderly woman, Carrie Watts, who in post-World War II 1940s, wants to return to her home in the town of Bountiful near the Texas Gulf coast between Houston and Corpus Christi, where she grew up, but she’s frequently stopped from leaving Houston by her daughter-in-law and her overprotective son. They both know that the town has long since disappeared, due to the Depression. Long-term out-migration was caused by the draw-down of all the town’s able-bodied men to the wartime draft calls and by the demand for industrial workers in the war production plants of the big cities. Old Mrs. Watts is determined to outwit her son and bossy daughter-in-law, and sets out to catch a train, only to find that trains do not go to Bountiful anymore. She eventually boards a bus to a town near her childhood home. On the journey, she befriends a woman traveling alone and reminisces about her younger years and grieves for her lost relatives. Her son and daughter-in-law eventually track her down, with the help of the local police force. However, Mrs. Watts is determined and the local sheriff, moved by her yearning to visit her girlhood home, offers to drive her out to what remains of Bountiful. When they get there they find that the town is deserted and the few remaining structures are derelict. Mrs. Watts learns that the last occupant of the town and the woman with whom she had hoped to live, has recently died. She is moved to tears as she surveys her father’s land and the remains of the family home. Having accepted the reality of the current condition of Bountiful and knowing that she has reached her goal of returning there before dying, she is ready to return to Houston when her son and daughter-in-law arrive to drive her back. Having confronted their common history in Bountiful, the three commit to live more peacefully together and begin their drive back to Houston.

The TAG Postcard For “The Trip To Bountiful”

To direct the production was longtime Hawaii actor and director, Sharon Adair, who, like most of the productions done in the early years of TAG, was largely recruited by TAG Artistic Director, Brad Powell, who, in addition to his own personal favorites, would ask what productions the director would like to direct. To support her, Sharon cast an outstanding ensemble of actors: Jo Pruden played Cassie; Patrick Casey played Cassie’s son, Lutie; Holly Hollowach played Jessie Mae, Lutie’s wife and Cassie’s daughter-in-law; Rasa Fournier, plays the young military wife who travels with Cassie; and Sam Polson plays the sheriff who helps Cassie.

The Honolulu Advertiser’s Stage Review By Joe Rozmiarek

“The Trip To Bountiful” was a three act play that opened on Wednesday, March 17th, 2004, and continued for another 20 performances (21 total) and closed on Sunday, April 18th, 2004. The performances were at 7:30 pm on Thursday through Saturday nights, and at 4:00 for Sunday matinees. It played to very enthusiastic crowds who were entreated to a TAG first, the ushering out of the entire audience in between Acts I and II, and II and III, in order for the crew to make set changes. Though it was considered very unusual at the time, one could not argue with the results.

The Honolulu Star-Bulletin’s John Berger’s On The Town Commentary

The Sunshine Boys – A Hawaii Acting Icon Arrives

Glenn Cannon (see inset photo) would be up next to both star and direct Neil Simon’s “The Sunshine Boys.” At the time, he was the head of the Drama Department at the University of Hawaii at Manoa, and had long been an acting and directing icon on the Hawaii performing arts scene. This was due to an acting resume that spanned generations. From 1955 – 1960, he was in New York City. He appeared on Broadway in A Moon for the Misbegotten and The Good Woman of Setzuan, and Off Broadway in 20 plays, among which were the famed productions of The Three Penny Opera at the Theatre DeLys and The Iceman Cometh at Circle in the Square. His tours included leading roles in West Side Story, Tea and Sympathy, and I Can Get It for You Wholesale. His television appearances in leading and supporting roles included such network live productions at Studio One (1948), Playwrights ’56 (1955), Camera Three (1954), Hallmark Hall of Fame (1951). He also worked on two motion pictures shot in New York City during this time period: Cop Hater (1958) and Mad Dog Coll (1961), both are still seen on late-night TV in the United States. From 1960 – 1965, Cannon was in Los Angeles. He appeared in supporting and starring roles on television, which included episodes of Combat! (1962), 77 Sunset Strip (1958), The Gallant Men (1962), Alfred Hitchcock Presents (1955), Johnny Staccato (1959), No Time for Sergeants (1964), and The Outer Limits (1963). From 1965 – 1968, Glenn was a resident actor-director-teacher with the Stanford Repertory Theatre, an Equity company of nine actors supplemented by students in Stanford’s theatre program. This was a pilot project for three years funded by the Rockefeller Foundation. During his time in California, he directed 15 stage productions. In 1968, Cannon came to the University of Hawaii at Manoa as a drama professor. Shortly thereafter, he was cast as District Attorney John Manicote in Hawaii Five-O (1968), and played this recurrent role for eight years on the CBS series. He later played Dr. Ibold for eight years on Magnum, P.I. (1980) and made several appearances in principal roles on Tour of Duty (1987) and Jake and the Fatman (1987). He subsequently acted in several made-for-television movies filmed in Honolulu and played the recurring role of Dr. Landowski on the short-lived CBS series Island Son (1989) with Richard Chamberlain. Cannon also appeared in Miracle Landing (1990), based on the real-life air accident of Aloha Airlines Flight 243, and the feature film Picture Bride (1994) that included in its cast, Toshirô Mifune and Tamlyn Tomita. Since making Hawaii his home, in addition to teaching, Cannon remained active in acting and directing for the stage. Presently, he has directed over 108 plays at Kennedy Theatre, Diamond Head Theatre, Manoa Valley Theatre, and other venues in Hawaii. His stage appearances in Hawaii include starring roles in Othello (as Iago), J.B. (as The Devil), The Sunshine Boys (as Willie), Death of a Salesman (as Willy Loman), Follies (as Buddy), and I’m Not Rappaport (as Nat) among others. His efforts have not gone unnoticed by the local theatre community. Cannon is the winner of a total of 11 Po’okela Awards for Excellence in Directing and another for Best Actor since the awards were instituted in 1983 by the Hawaii State Theatre Council. NOTE: While some of these credits were attained after Glenn first participated with TAG, the point here is that through Brad Powell’s networking and career long list of relationships, TAG was attracting the very best of Hawaii’s actors and directors.

The Playbill For “The Sunshine Boys”

A wonderful cast and crew was assembled to bring this great comedy to TAG’s stage. Glenn Cannon played Willie Clark, David Farmer played Bert Silverman, Sam Polson played Al Lewis, Jennifer Sur played Edie (the TV assistant), Ginnie Little was the Voice of Phil (TV director), Larry Fukumoto was the patient in the Doctor Sketch, Lauren Murata was the nurse in the Doctor Sketch, and Mane played a registered nurse (Meryle Carr was the understudy). As mentioned, Glenn directed and Coco Wiel served as his associate director, Ginnie Little also served as the producer and the light and sound technician, John Black designed the set, Bill Carr constructed the set, and Brenda Lee Hillebrenner created the lighting design. As with any production a number of additional volunteers supported the production. As such, special thanks was given to Bill and Meryle Carr, Darlene Jay-Hsu, Ron Hsu, Diana Mills, Kathy Benson, Jerry Stewart, Hawaii Opera Theatre, Keikilani Lee, Linda Tomita, Mike Darcey, Grace and Mikel Humerickhouse, Stephanie and Mark Conching, Theresa Riedman, Tom Giza, Brad Powell, Frankie Enos, Mike Mazzola, and Joyce Powell (for her scrumptious refreshments).

The Honolulu Star-Bulletin Review By John Berger

“The Sunshine Boys” was received warmly by TAG’s audiences and was a very successful production that completed another great season for TAG, which had produced drama, cultural mystery, and so to end the season with a trusted comedy was a great finish to a great year.