'

KENNEDY THEATRE 1992-93 SEASON

Laundry& Bourbon~·~

) and

LONE STAR

March 12, 13, 18, 19, 20, 21

Benefit performance March 14

Join the Friends of Kennedy Theatre

... and help support special projects, sponsorship of guest scholars from all over the world, and promising theatre students with scholarship assistance. Just this February Friends helped to send The Legend of Prince Lanling to the American College Theatre Festival in Las Vegas where it was recognized as "Best Production."

Make your donation to the University of Hawaii Foundation and mail to UH Foundation - Friends ot Kennedy Theatre, Box 11270, Honolulu, HI 96822.

All contributions are tax deductible.

Thank you for becoming a Friend of Kennedy Theatre!

4

.... I

q

• •

A thousand thanks! - W. Shakespeare

..

..

Cast

Laundry and Bourbon

Elizabeth Caulder Ivy Geneva Waller

Hattie Dealing Shelby Hailer

Amy Lee Fullernoy laura louise Bach

Place: The rear porch of the home of Elizabeth and Roy Caulder.

Maynard, Texas. An afternoon in 1973.

Intermission

Lone Star

Roy Caulder Roy Franklin Hellen , Jr.

Ray Caulder Gemini John Curtis Burke

Cletis Fullernoy Jonathan Schloss

Place: The rear of Angel's bar. Just outside Maynard, Texas.

Later that night.

5

Director's Notes

T hese one act plays were first presented at the Actor's Theatre 1n LOUISVIlle. Kentucky, In the mid-1970's This reg1onal theatre IS renown for producing a large number of

new plays each year. Laundry and Bourbon and Lone Star subsequently were produced in 1979 and 1980 in regional theatre and off-Broadway, and since then have been seen myriad times at other regional and university theatres across the country.

Both plays came to my attention initially when student actors began presenting scenes from the plays in my acting classes. They became a favorne source of material for the young actors, and it became clear to me that the tandem would be an enjoyable production for Kennedy Theatre.

A Note About the Casting I

On the mainland, actors have been battling for "color-blind cast1ng· for dozens of years. Only recently has some success been ach1eved in this area (color and/or ethn1city is dispensed with as a factor 1n choos1ng an actor for a role). Here 1n Hawaii, however. color-blind casting has been ongo1ng at least as long as I remember. and I am now 1n my 25th year as a professor and director in the Department of Theatre and Dance. Theatre in this state has. indeed, led the nat1on in mounting productions with little regard to color or ethnicity. And at Kennedy Theatre the criterion has been to cast the best actors available (usually students) from those who audition. I was delighted, then. to be able to choose two African-American actors for these plays, for the reason just stated Unfortunately, relatively few African-Amencan actors seem to make themselves available for plays cast in Hawaii. It is my hope that this might be a s1gnal to other Afncan-Americans-and indeed to anyone who feels he or she IS not appropnate for this or that play because of color or ethnicity-that such factors can be placed aside if talent and ability are present.

Glenn Cannon

6

..

Commentary

They said it was Texas Kulcher/ but it was only railroad gin

rt is paintings of bluebonnets and broncos, done. on velvet. Music is mariachiS, blues, and country. Eddie Wilson, who used to be a beer lobbyist, started a place in Austin, in an

old NatiOnal Guard armory, called Armadillo World Headquarters. Willie Nelson, Freddie King, Leon Russell, Rav1 Shankar. the Austin Ballet, the AFL·CIO Chnstmas Party. the Mahavishnu Band. and several basketball teams have held forth in this, and southwest's largest country-western bohem1an mghtclub.

Kinky Fnedman and the Texas Jewboys cut a s1ngle recently w1th "The Ballad of Charles Whitman" on the s1de and "Get Your BISCUits in the Oven and Your Buns 1n the Bed' on the flip. Part of the lyrics of "The Ballad" go like lhis "There was rumor/Of a tumor/nestled at the base of his brain ... " Kinky lives on a ranch in Central Texas called Rio Duckworth, reportedly in a garbage can.

There is a radio station just across the border from Del Rio. Texas It plays hymns during the day and broadcasts religious advertiSements at night. They sell autographed pictures of Jesus to all you fnends 1n radioland Also prayer rugs as a special g1ft for all your travelin' salesmen friends with a p!Ciure of the face of Jesus on the prayer rug that glows in the dark. And underneath the picture is a legend that also glows in the dark; it's written, "Thou Shalt Not Commit Adultery •

Texas is not full of rich people. Texas is full of poor people. The latest count is 22 percent of the folks here under the federal poverty line-and the feds don't sel the line high. The rest of the country, they tell us, has 13 percent poor folks, including such no­account states as Mississippi. Because Texas is racist, 45 percent of the black folks and the brown folks are poor.

Onliest foreign thang that approaches Texas pol nics is Illinois politics. We ain't never left 11 lyin' around in shoeboxes, elsewise, we got the jump on everybody.

Texans do not talk like other Americans. They drawl, twang, or sound like the Frito Bandito, only not jolly. Shit is a three­syllable word with a yin it.

Texans invent their own metaphors and similes, often of a scatological nature, which is kind of fun. As a group, they tell good stories well. The reason they are good at stories is because this is what anthropologists call an oral culture. That means people here don't read and write much. Neither would you if the Dallas Morning News was all you had to read.

Texas-1 believe it has been noted elsewhere-is a big state. Someone else can tell you about the symphony orchestras and

7

the experimental theatres and those Texans who are writing their Ph.D. theses on U.S. imperialism in Paraquay and seventeenth· century Sanskrit literature. I'm just talking about what makes Texas Texas.

Molly Ivins Place, 1972

Molly Ivins was born and reared in Texas and has been a journalist for more than twenty years. She was managing editor of the legendary Texas Obse!Yerand wrote for The New York Times in New Yor1< and Denver before returning home. She is currently a columnist and a contributer to several national magazines. She lives in Austin, Texas.

Taken from Mo/ly Ivins Can't Say That, Can She, Molly Ivins, Random House, New York, 1991.

8

M·F 7a m ·9p m./Sal Sam · 9p m./Sun Sam ·4p.m 988-5113

MA:-<OA MA~KF"I PLACE • HO'IOU:LU, H AWAII

l 1

1 1

Behind the Scenes '

PROSPECTS: THEATRE HAWAII IN 2000

D n January 1990, Governor Waihee unveiled a master plan for Honolulu's downtown harbor area-a "remarkable resource with vast potential unrealized." Envisaged in the plan· is the

dynamic transformation of the whole area from Kalihi Kai to Ala Moana Park into a series of "great parks" providing major public access to the waterfront areas. The Honolulu waterfront will be transformed into a "dynamic, people-oriented 'gathering place' -a waterfront that features a vibrant mixture of recreational, cultural and commercial activity ... " The plan is conceived in two stages, the first to be complete by the year 2000, the second by 2010. Within twenty years, then, we can look forward to a totally revitalized downtown shorefront area; and these plans include construction of a new performing arts center with two theatres, an amphitheater, and a children's museum. Walking north out of the great park into the downtown area proper, the visitor or resident alike will experience a revivified downtown, and the beginnings of a Theatre Row, including not only the two projected spaces in the park performing arts center but at least two venues at polar opposites of the theatre-space spectrum: Kumu Kahua Theatre, on the corner of Merchant and Bethel Streets, with its intimate 100 seat house snugly ensconced in the historic Kamehameha V Post Office; and, to the north, the 1,400 seat restored Hawaii Theatre, a glamorous space for both local productions and visiting extravaganzas.

But what kind of theatre might be nurtured by this Theatre Row? American Theatre magazine recently predicted the demise in this country of the kind of regional professional theatre with "middle size" operating budgets-($500,000 to 1 million} with unadventurous, pseudo-commercial play seasons and with top· heavy administrations. Several such institutions have already closed, victims of the recession and their own bureaucracies. Instead, the prognosis goes, the year 2000 will see many smaller multicultural professional theatres catering to cultural diversity and theatrical venturesomeness, housed in modest premises but offering livelihood for the artists committed to them.

Already in 1993, Honolulu has some way to go to catch up with the theatrical development in several mainland cities of comparable size; it still has no adult, professional theatre of any kind-theatrical culture has developed here through the efforts of The Honolulu Theatre for Youth, various community theatres, and the Department of Theatre and Dance at UHM.

In September 1991 our faculty endorsed an exciting new thrust for this Department. Long famous for our unique Asian

9

Theatre productions and our nationally-known Youth Theatre program, we have now decisively committed ourselves to focusing on a more rigorous and comprehensive performance training for our students who intend to make careers in the predominantly multicultural American professional theatre of the near-future. In the past few years the long-touted Kennedy Theatre Addition has slipped further down the University's priority list, and we have had continued crises with inadequate space and, more recently, budget cuts which have affected the whole university as well. But in spite of these set-backs we have initiated and had accepted into the university curriculum twenty new courses in performance training and related skills, with focus on more rigorous voice and body training for our performers and closer integration training already available in our Dance program. And we have expanded our MFA degrees from 45 to 60 credits, to bring them into line with the national standard set by the National Association of Schools of Theatre. Within this degree. our long­established concentration choices of Direction, Playwriting and Design will be joined by three more: Asian Theatre Performance, Acting, and Youth Theatre. We have also increased our opportu­nities for student performance: a record of 16 productions in the 1992-93 seaso~·. spiced with the resounding success of our pioneering experiment for Honolulu in Late Night Theatre.

When the new multicultural professional theatre finally develops in Honolulu, and when the film industry really utilizes the special insights and skills of locally-trained writers and perform­ers, we will be the prime supplier of skills for these professions. Our students will have proudly earned their right to take their place in the realised, fully mature articulation of a unique theatre and film culture which expresses life in Hawaii in all its exciting variegation.

10

.... ,.

.. ' Dennis Carroll

Chair Dept. of Theatre and Dance

Coming to Kennedy Theatre Late Night....

BACKSTAGE By Shimizu Kunia Directed by Mari Boyd March 12, 13, 19, 20, 26, 27 at 10:30pm Tickets may be purchased at the door one hour prior to curtain. Two ghostly actresses compete for stardom in Japan's shingeki

theatre!

In the LAB Theatre ....

THE TEMPEST Island Bound Adapted from William Shakespeare Directed by Aaron Levine April1, 2, 3 at 8pm April 4 at 2pm Tickets on sale March 29. Adapted from Shakespeare's popular tale of a ship-wreck, an island, and wandering souls.

On the Mainstage ...

VALLEY OF THE DOLLS HOUSE Created in workshop by THE SPLIT BRITCHES COMPANY from New York City, and UHM students April23, 24, 29, 30 and May 1 at 8pm May 2 at 2pm Tickets on sale April12. A world premiere which tears open Ibsen's drama of a woman who comes into her own and leaves her husband to reveal lots of women who come into their own and leave their husbands. An exciting new look at this theatre classic and at our images of women .

11

Meet the Cast

Laura Louise Bach (Amy Lee) is a senior maJoring in theatre. She appeared on the Kennedy stage in productions of The Blind Giant 1s Dancing, The Tempest and Tales of the Lost Formicans 1n the Kennedy LAB Theatre. Last Fall she portrayed the title role in Ibsen's Hedda Gabler. Other performances include principle roles in SATCO's Les Liaisons Dangereuses and Manoa Valley Theatre's Twelfth Night.

Shelby Hailer (Hattie) came to UHM on an athletiC scholorsh1p. runmng on the Cross Country Team 1n 89 90 and 90 She has prev1ously been involved 1n MVTs I Hate Hamlet as Detdre. and in The He1di Chromcles She has been seen 1n Kennedy's LAB Theatre as the Iitie role 1n the play Agnes of God Th1s is Shelby's debut on Kennedy's Mainstage.

Roy Franklin HeHen,Jr. (Roy) was born and raised in Texas. He worked with Very Special Arts and The Honolulu Theatre for Youth. He has performed with Shakesperience in Macbeth as Prince Malcolm and with The Hawa11 School for Girls·la Pietra in Cinderella as the Pnnce.

Jonathan Schloss (Cietis) is a first year MFA student in Children's Theatre at UHM. He was last seen as Frank in Kvetch 1n Kennedy's LAB Theatre. His professional experience is in theme park entertainment as a street performer and stage manager for Anheuser Busch Entertainment in Williamsburg, Virginia since 1989. This is Jonathan's first time performing on the Mainstage here at Kennedy.

Ivy Geneva Waller (Elizabeth) is making her debut on the Mainstage. She has performed in Play On at the MaUl Community Theatre, The Collen Bawn at Clackmas Community College, and Go Ask Alice at the Baldwin Theatre Guild.

Gemini John Curtis Burke (Ray) is making his debut on the Kennedy Mainstage. He last peformed in Kumu Kahua's Morning Has Broken as the Soldier Boy. He has also perfomed in The Lottery and The Music Man. Gemini enjoys singing as well as acting. He also produces and directs video shows.

12

Meet the Student Designer

Lisa Ann M. Omoto (Costume Designer) is a first year graduate student in the Department of Theatre and Dance. She last designed for Kumu Kahua's touring show, Maui the DemiGod. Lisa acts, as well as designs, and was recently seen as Donna in Kvetch at the Kennedy LAB Theatre. She has also been seen as Chottomatte in Kennedy's sold-out show, Once Upon One Noddah Time. and as Honey Girl in Once Upon One Time. Last year she performed as Spring Blossom in the LAB Theatre production of U K'uei T~ghtens His Belt.

Costume sketches by Usa Ann M. Omoto

13

Production Staff

Assistant to the Director/Stage Manager: Patnaa Porter

Assistant Stage Manager/ Props Chief: Shehzi Zhan

Associate Technical Director: Gerald R. Kawaoka

Set Construction: Roy Franklin Heller, Jr., Nathan K. Lee, Trey Mikolasky, Michelle Ojeda, Joseph Rial, Heyue Wang, Harry Wong ill

Stage Crew: Juan Balila, Jr., Eric Balinbin, Dan, McAiinden

Wardrobe Crew Supervisor: Margaret McKea

Costume Crew: Kevin Sullivan

Costume Construction: Debra Blandin, Jonel Langenfeld-Rial, Mei Sun, Janet Mikealson, Lisa Omoto, Staci Shember

Costume Cutter: Linda Yara

Box Office Supervisors: Michelle Kono-Forsythe, John Paul

Box Office Staff: Michael W. Engler, Janet Hohi,Laura Kuioka, Heidi Schiller

Poster Design: Rowen Tabusa, Office of University RelatiOns

Program Design: Billie Ikeda, Center for Instructional Support

Photographers: Cory Lum

Season Brochure: Miko Suzuki

Publicity Director: RKevin Doyle

Publicity Staff: Eric Schmied!

Kennedy Theatre Manager: Marty Myers

House Manager/Program Ed~or: A.E. Luhrmann

Front of House Staff: TanNa Young, Benly Legiman

Custodian: Christopher Chun

Acknowledgements: Thank you very much to The Lex Brodie Tire Company, Peni Taico, UH Transportation Services, UH Facilities A.C. Shop

14

The Faculty and Staff

Faculty Dennis Carroll Chair. Director of Graduate Studies,

Playwnting,Directing

James R. Brandon Asian Theatre Mark Boyd Technical Theatre, Lighting Jull Thompson Burk Dramatic Literature, Theory, Directing Glenn Cannon Acting, Directing, TV/Film. Musical Theatre Joseph D. Dodd Director of Theatre, Scenic Design

Sandra Anney Director of Undergraduate Studies, Costume DesiQn

Peggy Gaither Dance Product1on Coordinator. Modem Dance, Dance Composition Sandra Hammond Acting Director of Dance Ballet, Dance History Peggy Hunt Dance Outreach Coordinator, Modern Dance Tamara Hunt Director of Children's Theatre, Creative Drama,

Puppetry Terence Knapp Acting, Directing, Voice

Gregg E.R. Uzenbery Modem Dance, Dance Kinesiology Roger A. Long Asian Theatre, Act1ng lurana D. O'Malley Theatre HIStory, Research Judy Van Zile Dance Ethnology

Elizabeth Wichmann Director of Asian Theatre, Asian Theatre, Directing

Staff Gerald R. Kawaoka Theatre Technician RoseMarie McDonald Theatre Secretary

Char1otte Mitsutani Dance Secretary Marty Myers Theatre Manager

Lecturers Stephen K. Akina, Ann Elizabeth Armstrong, Marilyn Cristofori, Bettina Entell, Megan Evans, Claudia Fornasiero-Johnson, Rodwic Fukino, Alaine Haubert, Abigail Herrly, Sherwood Xuehua Hu, Halla Huhm, Janeice A. Jefferies James B. McCarthy, H. Wayne Mendoza, Heidi Miller, Yoshino Nakasone, EricK. Schank, Synthia M.T. Sumukti, Caroline Sulton, Gertrude Y. Tsutsumi, Stephanie Winieski, Noe Zultermeister

Graduate and Special Assistants Debra Toy Bressem, Wa~er T. Cassidy, Tina L. Clark, RKevin Ooyte, A.E. Luhrmann, Trey Mikolasky, Michelle L. O)eda, Sharon Oppenheimer, Kirstin Pauka, Staci A. Shember, Mei Sun, Heyue Wang, Harry Wong Ill, Linda Yara

15