Bertram and Ernesto are two roommates who suddenly find themselves jobless
and homeless. Ernesto has a drug habit and Bertram has an irrational but
intense fear of tilapia. They take up residence beside the Ala Wai Canal,
where they soon become engaged in a BB gun battle with Oscar, a
seventh-floor resident of a nearby apartment, bringing the police. This
fast-paced pidgin comedy turns surrealistic when Bert is stung on his
privates by a portuguese man-o-war and miraculously acquires the ability,
via urination, to heal wounds and clean up the waters of the canal. Will
Bert use his new powers benevolently, or will greed prevail?
First produced by Kumu Kahua during its 24th season (1994-'95), and
written by a prolific playwright whose works have been regularly produced
by Kumu Kahua and who has taught playwriting at Kumu, Ola Nā
Iwi (The Bones Live) investigates the serious issues involving
the treatment of indigenous human remains while simultaneously telling a
story that is tender, humorous, mysterious and filled with plot twists and
turns. Kneubuhl skillfully conducts a historical exploration of the
pseudo-scientific and often racist motivations behind grave-robbing via a
series of historical monologues presented by 19th-century professors,
physicians and phrenologists. But the central story is contemporary, with
the plot set in motion when a Honolulu theater group returns from an
international tour with a set of Hawaiian bones "illegally" reclaimed from
a German museum. Several characters appear in pursuit of the bones, for
reasons which are not immediately clear, including the enigmatic Nanea,
whose knowledge of Hawaiian history indicates that she may have the
deepest connection and most important motivation of all.
adapted by John Wat, Laurel Nakanishi, and Kennly Asato
Pele Mā is a narrative theater adaptation based on the book Pele Mā: Legends of Pele from Kaua`i (Bamboo Ridge Press,
2001) by Frederick Wichman. The first act is a series of stories about
Pele and her companions, beginning with Pele's arrival on Kaua`i in a
canoe, pursued by her angry older sister, Nāmakaokaha`i, goddess of
the sea. Pele herself is a refugee from her homeland, which she has set
afire. Also included in the first act are several stories about the pig
demigod, Kamapua`a. The second act focuses on the famous love triangle
among Pele, her sister Hi`iaka and Kaua`i chief Lohiau. Although Pele is
most often associated with the Big Island, these stories remind us that
the Pele legends have a strong link to the island of Kaua`i. Pele Mā
was originally performed at Mid-Pacific School of the Arts. It also
toured as part of the American High School Theatre Festival to the annual
Edinburgh Fringe Festival in Scotland.
Kumu Kahua presents the Hawai`i premiere of an award-winning play based on
a short story by Carlos Bulosan, a migrant worker in the Depression-era
California canneries who became a respected writer and activist. Magno
Rubio was originally produced by the Ma-Yi Theater Company of New
York. Set in a bunkhouse for migrant Filipino farm workers, the play
tells the story of Magno Rubio, an idealist and dreamer who is both
admired and taunted by his fellow workers. Nick, the resident
intellectual, narrates Magno's long-distance courtship (via letters) of
Clarabelle, an Arkansas woman he meets via a lonely hearts magazine. He
sends her jewelry and money. Has Magno Rubio found true love? How do we
define happiness or measure love? The play poses these questions while
also dealing with the larger political issues of stoop labor and racism.
Parts of Magno Rubio are written in rhyming verse and set to music.
Kati Kuroda will direct the production, with set design by Elizabeth
Harwood, lighting design by Abel Coelho, costume design by Dusty Behner,
sound design by Stu Hirayama, and Lynne Nohara is the stage manager. The
cast features Kumu veterans Troy Apostol, Lito Capina, Cheyne Gallarde ,
MJ Gonzalvo, and Kumu newcomer Wayland Quintero.
A Kumu Kahua world premiere, Hostage Wife is an award-winning play
which has received a reading in New York. It tells the story of Dee
Fernandez, a woman whose husband works as a private-sector security guard
watching over a power station in Iraq. When her husband is taken hostage,
Dee is visited by Alan Baker, a government agent who offers her comfort,
companionship and, as they grow closer and when it is revealed that Dee's
husband is violent, racist and abusive, the possibility of a new and
brighter future. As the negotiations proceed, Dee's daughter returns from
the mainland to help field phone calls from the media and visits from nosy
neighbors and Dee herself, wafted into a semi-dream world through sleeping
pills and pain pills, becomes ambivalent about herself, her marriage, and
her desires for the outcome of the hostage situation.
Kumu Kahua artistic director, Harry Wong III will direct the production,
with set design by Molly McKenna, light design by Abel Dulles-Coelho,
costume design by Dusty Behner, sound design by Stu Hirayama, and props
are by Jason Ellinwood, who will also serve as assistant director and
stage manager. The cast features Kumu veterans Denise Aiko-Chinen, Jason
Kanda, Will Kahele, Nani Morita, and Jodi A. Yamada, along with Kumu
newcomers Mish Raboteau and Tyler Tanabe.
Kumu Kahua's 100-seat playhouse puts you at the heart of the drama. And
with well over 100 plays to our credit, our reputation attracts some of
Hawaii's most talented actors, directors, playwrights, designers and other
theater artists and technicians.