The Queen’s Will
BY SEAN T.C. O'MALLEY
Director Reyn Afaga
Assistant Director Darryl Soriano
Scenic Design Teia O'Malley
LightING DESIGN Chelsea LC Yamashiro
Costume Design Reyn Afaga & Darryl Soriano
Properties Design Sara Ward
OUR PRODUCTIONS ARE SPONSORED IN PART BY THE FOLLOWING:
Kumu Kahua productions are supported in part by a Grant in Aid from the City and County of Honolulu, The Kim Coco Fund for Justice of the Iwamoto Family Foundation, the NME Fund of, and the Hawaiʻi Community Foundation, the Island Insurance Foundation, The State Foundation on Culture and the Arts, through appropriations from the Legislature of the State of Hawaiʻi, The AAPI Community Fund, The Asian American Arts Alliance, The Richard Aadland Fund, The Hawaiʻi Tourism Authority, The Honolulu Star-Advertiser, The John R. Halligan Charitable Fund, Spectrum/Charter Communications, ABC Stores, The Kosasa Foundation, the Gloria Kosasa Gainsley Fund, Hawaiʻi Public Radio, H. Hawaii Media, Simply Storage, Vacations Hawaiʻi, Zippy’s Restaurants, Highway Inn, Generations Magazine, CVS/Longs Drugs, HMSA, Hawaiian Electric, MonkeyPod, Ron and Rachel Heller, and other foundations, businesses, and loyal patrons.
THERE WILL BE A 15 MINUTE INTERMISSION.
No photography or recording of any kind during the performance, except by prior arrangement with Kumu Kahua Theatre.
IN CONSIDERATION OF THOSE AROUND YOU, PLEASE PUT YOUR ELECTRONIC DEVICES IN AIRPLANE mode OR DO NOT DISTURB MODE.
Cast of Characters
Princess Theresa Owana Kaʻōhelelani Laʻanui Wilcox Belliveau Hōkū Gilbert
Lorrin Andrews Reb Beau Allen
Mary Kapuaikahikinaheala Jarrett Maile Kapuaʻala
Setting: Time: 1918 and 1921. Place: Honolulu, Territory of Hawaiʻi, and the fraying paper-thin edge between history and memory.
SEAN T.C. O'MALLEY,
PLAYWRIGHT
ABOUT THE PLAYWRIGHT
SEAN T.C. O'MALLEY is a playwright, improviser, photographer, songwriter, and recently retired medicinal chemist. The Queen’s Will, commissioned by Kumu Kahua, is the fourth in his series of historical Hawai‛i plays dealing with key moments in the political lives of Princess Theresa and her husband Robert Wilcox. All four full-length plays premiered at Kumu: Island Skin Songs in 1998 (winner of the Kumu Kahua Hawai‛i Playwriting Prize), To The Last Hawaiian Soldier in 2002, and Wilcox’s Shot in 2012 (which was also commissioned by Kumu, and received a Po‛okela award). Shorter pieces were featured in the Kumu productions The Statehood Project and 38 Minutes. His short works for the Honolulu Theatre for Youth include “The Med Is In,” “The Frog Dance,” and several pieces for their Christmas Talk Story and Mixed Plate: Stories That Feed Us projects.
He is a founding member of the experimental Vortex Theatre in Austin, Texas, and the long-lived improv group Loose Screws in Honolulu. Sean has also written over 700 songs on the fly in the mega-rockstar improv comedy act Oil in the Alley.
He’d like to acknowledge playwriting mentors Dennis Carroll and Y York for honing his skills at structure and subtext.
PLAYWRIGHT'S NOTE
This play deals with an excruciating and pivotal moment in the life of an amazing woman. In 1918, Princess Theresa’s sensational trial for conspiracy and forgery was seen as the trial of the century, but a century later most people have never heard of it. I hadn’t either, at least until I got a call in early 2024 from Prince Phil, Theresa’s great-grandson, who I met during the production of Wilcox’s Shot fifteen years ago. I’m grateful to him for not only encouraging me to write about this story, but for giving me a head start on the research by presenting me with a thumb drive of 500+ newspaper articles at the first of our many spirited discussions.
A historical play is not a documentary. The events in the script are based on factual—if sometimes contradictory—historical accounts from newspapers, court filings, and personal correspondence. However, the written record is often silent on personalities and relationship conflicts; that’s where the playwright comes in. I’ve tried to create plausible scenes, dialogue, and theatrical images that, when presented by actors live onstage, crystallize moments of truth. I hope that after seeing tonight’s performance, you will leave with some understanding of who these people were, what their world was like, and what these events meant to them.
I’d like to extend my special thanks to: Harry Wong III and Kumu Kahua for commissioning this play; Iāsona Kaper, Craig Howes, Victoria Kneubuhl, Jon & Mary Osorio, and Matt Mattice for valuable discussion; the clerks and librarians at The State Archive, the Supreme Court Law Library and Clerks’ Office, the First Circuit Court Records Room, and the Hawaiian Collection Reference Desk at the State Library, who all gave me the same look when I asked about retrieving materials from a hundred-and-six-year-old trial; Monica Nucciarone for her book Political Princess; Jorin Young, Kevin Keaveney, Kahana Ho, Hōkū Gilbert, Ruby O’Malley, and Teia O’Malley, whose readings of early drafts helped me hear the characters’ voices; and many others who contributed their feedback to an invited reading hosted by Kumu. Finally, my gratitude to the endlessly tolerant Lurana O’Malley, who understands the joy of historical research and lets me talk her ear off about every exciting archival discovery and inspired iteration of the script.
REYN AFAGA,
CO-Director
ABOUT THE Director
REYN AFAGA is a theatrical artist currently living in Kapahulu, trained primarily as an actor and director by Dr. Paul Cravath and Betty Burdick, with tutelage from Harry Wong III. His KKT credits include actor, assistant director, costume designer, and hair/makeup artist. Reyn currently serves as the Associate Artistic Director for the Hawaiʻi Shakespeare Festival, as well as the Chair of the Space Committee and member of the Board of Stakeholders at Kumu Kahua Theatre. Directing credits include Cymbeline for HSF’s 2024 season and Outlandish at KKT.
DIRECTOR'S NOTE
What do we owe the truth when we can never know all of it?
The Queen’s Will invites us to listen closely—not only to what is said in a courtroom, but also to what can be lost, distorted, or silenced. Truth is not always a single, clean narrative. It can be remembered differently, witnessed differently, and defended differently. That doesn’t mean truth and falsehood are interchangeable—quite the opposite. It asks us to think about how carefully we listen, whom we trust, what evidence we value, and who has historically been given the authority to decide what is true.
This story also asks us to think about integrity—not simply as a matter of personal morality, but as a responsibility to something larger than ourselves. What we say, what we preserve, what we pass on, and how we represent one another all become part of the historical record. When that record is fractured, incomplete, or manipulated, the consequences reach far beyond one person. They touch memory, sovereignty, identity, and a people’s relationship to their own history.
Throughout our journey with this story, I’ve had many lively and meaningful conversations with the cast, Sean, and Darryl. We’ve talked about the history of the contested will, the repercussions of the trial, and the details of Theresa’s life. One thing that has stayed with us is the importance of seeing Theresa as a whole person. She doesn’t need to be reduced to a symbol, a defendant, or a victim; she was a human being navigating a world where reputation, power, gender, and truth were deeply intertwined.
As we worked, we discovered that we didn’t want to offer an easy verdict. Instead, we hope to leave you with better questions: Whose voice have we overlooked? What makes one version of events more believable than another? Can we hold competing truths in the same space? And what does it mean to act with integrity when the stakes are greater than ourselves?
Ultimately, this is a story about listening. Listening across disagreement. Listening for voices that have been diminished or dismissed. And listening with enough humility to recognize that our understanding of history is always shaped by the people who are allowed to tell it.
I hope this production honors the complexity of those voices and invites you to listen a little more closely—to the story, to one another, and perhaps even to the parts of history we think we already know.
ABOUT THE CAST
Hōkū Gilbert (Princess Theresa Owana Kaʻōhelelani Laʻanui Wilcox Belliveau) graduated from Kamehameha School and has a minor in theatre from San Diego State University. Recent theatre credits include Marjorie Prime (KOA), Outage (TAG), A Kind of Alaska (TAG) and Bakersfield Mist (TAG). TV credits include Doogie Kamealoha, MD, Hawaii 5-0 and Magnum P.I. She has received two Poʻokela Awards for her acting work.
Reb Beau Allen (Lorrin Andrews) The Queen’s Will marks the return of Reb Beau Allen to stage after nearly a 10-year absence from acting. He currently is a Designer Toy Artist, with production toys of his art produced and distributed around the world. When he is not traveling to conventions and art shows he works as an on-call Submarine pilot (No Joke). Reb is one of roughly around 8 people in the world certified and licensed to pilot the world's largest tourist submersible. Former professional Acting experience includes being a past company member of HTY. Along with a short stint with New York’s "Living Theatre Company" performing The Brig. He also has had roles for T.V. and film, including Hawaii 5-0 (CBS) and Last Resort (ABC).
Awards received include Poʻokelas for Best Director and Best Lead Actor, along with numerous others.
MAILE KAPUA‘ALA (Mary Kapuaikahikinaheala Jarrett) is from Nānākuli. Some of her acting credits include Ua Pau, UchinaAloha, and Uncle's Regularly Scheduled Garage Party is CANCELLED Tonight!, all at KKT.
ABOUT THE CREW
Darryl Soriano (Assistant Director) was last seen in Beretania Snapshots at KKT. Recent credits include Beretania Snapshots (KKT), Kāmau Aʻe (KKT), Haoleland (KKT), Folks You Meet at Longs (KKT). Her previous acting credits include Chinee, Japanee, All Mix Up (UHM), The Watcher of Waipuna (KKT), and 38 Minutes (KKT). Darryl was the assistant director and costume designer for Smother by Sara Ward.
Teia O’Malley (Scenic Design) This is Teia O’Malley’s fourth KKT production—she has previously worked as scenic designer on Aitu Fafine and The Conversion of Kaʻahumanu, and as props designer for June Is The First Fall. Also in Honolulu, she was recently the scenic designer for Spring Awakening at MVT. She is currently the Lead Scenic Artist for the Seattle Children’s Theatre; in Seattle she has been the scenic designer for Li: A Mongolian Comedy, They Don’t Pay, We Won’t Pay!, Blue to Blue, and June is The First Fall. KKT has been a fundamental part of her understanding of theatre and its purpose for as long as she can remember, and she is grateful for this opportunity to continue to make theatre at home, even from across the ocean.
Chelsea Yamashiro (Lighting designer) tells stories through light, shaping emotion and rhythm that move across the stage like breath. Lighting her third show at Kumu Kahua Theatre, she continues a creative partnership spanning nearly 20 years with director Jonathan Reyn. Chelsea serves as a Technical Director & Interim Theatre Manager at Leeward Theatre, collaborating with artists and organizations across Hawaii's vibrant creative landscape.
Reyn Afaga and Darryl Soriano (Costume Design) See Bios Above.
Sara Ward (Properties Design) is a multi-hyphenate theatre practitioner. Her contributions in theatre range from playwriting, props design and spot op to box office management. She has received four Po‘okela awards for her prop work, from the Hawaiʻi State Theatre Council. In 2019 Sara was awarded the Pierre Bowman Award which is given each year to a person “through whose efforts the life of theater in Hawaiʻi has been uplifted.” Favorite prop designs include Fiddler on the Roof (HPU), The Rocky Horror Show (MVT), Kim’s Convenience (MVT), Folks You Meet at Longs (KKT), and The Kāmau Trilogy (KKT).
PRODUCTION CREDITS
Technical Director Chelsea Yamashiro
ASSISTANT Technical Director Ben Werth
stage manager Jackson Murphy
Light and Sound Board Op Shannon Murphy
POSTER Design and Program Layout Grace Chee
Photography Brandon Miyagi
ACKNOWLEDGMENTS AND PERMISSIONS
Jason Kanda, John Wat, Michael Flumian, Justina Mattos and the Keakalehua Playreading Hui, DAC (Downtown Art Center), Carlynn Wolfe, Matthew Nakamura, Pauli N. Amornkul, Maajiru the Band, Teruya’s Andagi, Wil Kāhele, Rene Afaga, Leeward Theatre, Brando Cutts, Hawai’i Shakespeare Festival, Danielle Patlingrao, Helen Patlingrao, Iasona Kaper, Carlynn Wolfe, Downtown Arts Center and Hope De Los Santos.
ushers
Alan Picard, Alaura Ward, Beth Young, Bobbie Foster, Brian Jahnke, Charlene Oshiro, Claire Motodo, Denise Aiko Chinen, Denise Nakamura, Diane Minsky, Diane Saki, Dimpna Figuracion, Evelyn Nakamura, Gail Levy, Harriet Miyasaki, Harvey Minsky, Jackson Murphy, Joanne Kealoha, Joe Pierce, Justin Lerner, Katherine Croze, Kevin Wallace, Lynda Dybal, Maggie McGhee, Mar Mizuno, Marie Anne, Marie LaBerge, Marja Leivo, Mike Fujita, Nanette Au, Nicole Tessier, Pearl Wong, Ren Ishii, Roman Druker, Ruth Hirai, Sandi Shiroma, Shannon Murphy, Simon Sanidad, Tom Murray, Vincent Goo, Sabrina Irish, Monica Lee.
THEATRE ABBREVIATIONS
Army Community Theatre: ACT
The ARTS at Marks Garage: AMG
All the World's a Stage: ATWAS
Central Theatre Arts Academy: CTAA
Diamond Head Theatre: DHT
EVOLVE Theatre Company: ETC
Hawaiian Mission Houses: HMH
Hawaiʻi Opera Theatre: HOT
Hawaiʻi Pacific University: HPU
Hawaiʻi Shakespeare Festival: HSF
Honolulu Theatre for Youth: HTY
Iona Contemporary Dance Theatre: IONA
Kaimukī High School: KHS
Kumu Kahua Theatre: KKT
KOA Theater: KOA
Kīlauea Military Camp Theater: KMC
Kīpuka Theatre: KT
Leeward Theatre: LCC
Mid-Pacific Institute: MPI
Mānoa Valley Theatre: MVT
‘Ohana Arts: OA
Open Home Performance Network: OHPN
‘Ōhi‘a Productions: OP
On the Spot: OTS
Performing Arts Center of Kapolei: PACK
PlayBuilders of Hawai‘i: PBH
Palikū Theatre: PTW
The Actors’ Group: TAG
University of Hawai‘i Mānoa: UHM
Windward Community College (Palikū): WCC
KUMU KAHUA THEATRE
2025-2026
Managing Director: Donna Blanchard
Artistic Director: Harry Wong III
Office Manager: Sara Ward
Box Office Associates: Alyson Wong, Kathy Dombrigues, Max Pennington
BOARD OF DIRECTORS
Jason Kanda
Brook Lee
Dann Seki
Ron Heller
Victoria Wei
Board of Stakeholders
Alvin Chan
Julia Gilman
Brandon Haggio
Denny Hironaga
Karen Hironaga
Kahana Ho
Jason Kanda
Iāsona Kaper
Monica Lee
Shannon Murphy
Ryan Okinaka
Jonathan Reyn
Dann Seki
Teri Skillman
Darryl Soriano
John Wat
Elizabeth Wichmann-Walczak
Jeremyah Wubben
Victoria Amara
DONORS
Mahalo to our supporters! For a list of our season donors, please click here.