Stage Manager: Philip TumbagaAssistant Stage Manager: Anne AlvesAssistant Director: Erin ChungComposer: Thomas OsborneAerial Specialist: Andrea Torres, Samadhi Hawai‘iAerial Captain: Tony YoungSilks Rigger: David A GriffithShamisen Player: Jakob BarskyLight Console Operator: Angela GosalvezSound Console Operator: Matthew PescadorProduction Electrician: Daniel SakimuraElectrics, Sound, and Projection Crew: David Gerke, Angela Gonsalez, Rebekah “Wednesday” Harter, Kelsi Ju, Philip Tumbaga, Leia Nakao, D’neka Patten, and students from THEA 345, THEA 240, THEA 221Stage Crew: Michael Hardy, Matthew Toyama, Keely UrbanichSet Construction Crew: Chesley Cannon, Luke Cheng, David Gerke, Angela Gonsalez, Kelsi Ju, Leia Nakao, D’neka Patten, Philip Tumbaga, Donald Quilinquin, and students from THEA 221, 240 and 474Staff Technical Director: Gerald KawaokaFaculty Technical Director: David A GriffithFaculty Design Consultants: Joseph D. Dodd, David A Griffith, Sandra FinneyStaff Costume Shop Manager: Hannah Schauer GalliAssistant to the Costume Designer: Toby RinaldiCostume Construction Crew: Johnna Batiste, Jenilea Heath, Morgan Lane-Tanner, Corinne Powell, and students from THEA 240Wardrobe Supervisor: Toby RinaldiDressers: Michelle Boudreau, Maseeh Ganjali, Bronzen Hahn, Donald QuilinquinMake-up Artist: Rachel Weckhorst-Espejo

Staff Theatre Manager: Marty MyersBox Office Staff: Sarah Jane Carlton, Cindy Hartigan, Jordan Hensley, Stefannye SlaughterPublicity Director: Tracy RobinsonPublicity Assistant: Vincent DesrosiersWeb Assistant: Erin SimPhotographer: Daniel BrownGraphic Designer: Brett BotbylHouse Manager: Kristina TannenbaumAssistant House Manager: Sarah RohdeDepartment Office Staff: Tana Marin, Lori Ann ChunDepartment Chair: W. Dennis Carroll

For large print programs, Assistive Listening Devices or any other accessibility requests please contact the House Manager or call the Kennedy Theatre Box Office at 956-7655.

To arrange a Campus Security Escort from any two points on campus, please see a House Manager.

- Please silence all pagers, phones and digital watches. - No photography or video recording is permitted. - Please refrain from eating, drinking or smoking in the theatre.

Lost and Found, call the Box Office at 956-7655.Visit us on the web at http://www.hawaii.edu/kennedy

SPECIAL THANKSSamadhi Hawai’i, Leeward Community College, Suzanne,Anika & Jamison Mitri, Henry Miyamura, Laurence Paxton

The UHM ticket program is supported in part by a grant from the Student Activities and Program Fee Board.

The Kennedy Theatre production program is generously supported by grants from the John Chin Young Foundation and the Hung Wo Ching Foundation

PRODUCTION STAFF

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April 30, May 1*, 21, & 22 at 7:30pm; May 2 & 23 at 2pm*Free Pre-show Chat on May 1This production is the first event in the month-long Brecht Theatre

Festival which is part of the International Brecht Society’s “Brecht in/and Asia” Conference to be held at UH Mānoa May 19 - 23.

For more information on the conference go to: h t t p : / / m a n o a . h aw a i i . e d u / b re c h t 2 0 1 0 .

TRANSLATOR’S NOTESAs a major contribution to the 13th Symposium of the International Brecht Society on “Brecht in/and Asia” at the Dept. of Theatre and Dance/UHM, Kennedy Theatre presents the English-language world premiere of Brecht’s The Judith of Shimoda. In fall 1940, during his 3-month exile in Finland, Brecht and his host, the playwright Hella Wuolijoki, collaborated on an adaptation of Yamamoto Yuzo’s 1929 play The Sad Tale of a Woman, the Story of Chink Okichi. As the centerpiece of Yuzo’s triptych of plays portraying different stages in Japan’s history, Chink Okichi provides the link between Sakazaki, Lord Dewa (1921), on the feudal system of the early Tokugawa period, and The Crown of Life (1920), about a 20th-century shrimp canner desperately trying to fulfill his contract with a London company. Chink Okichi is set in the period right after Japan’s opening to the West in 1854 and focuses on the historical geisha Okichi, who saved her city Shimoda from the American threat of bombardment by agreeing to serve the first U.S. consul on Japanese soil. An English translation of Yuzo’s Three Plays by the Kobe-based English teacher Glenn W. Shaw was published in 1935. As an adaptation of Chink Okichi (in Shaw’s translation), The Judith of Shimoda rearranges, transforms and condenses Yuzo’s drama and turns it into a “play within a play” by adding a framework of interludes in which international guests of a Japanese media mogul comment on the political and ideological implications of the Okichi story. Brecht’s notes reveal that he initially approached The Judith of Shimoda as a film project. For decades, only isolated and fragmentary scenes of Brecht’s version were known, until Hans Peter Neureuter discovered a complete Finnish typescript among Wuolijoki’s literary remains and reconstructed a full German playscript by (re-) translating and filling in the missing pieces from that version. Neureuter’s reconstructed script was first staged by Stadttheater Osnabrück in September 2008. The production of The Judith of Shimoda at Kennedy Theatre is not only the first English-language premiere of the play, it also resonates with an earlier attempt to stage Yuzo’s work in Honolulu: in 1933 the Theatre Guild of the University of Hawai’i presented the first English-language production of Sakazaki, Lord Dewa.

- Markus Wessendorf

FRONT-OF-HOUSE STAFF

by Bertolt Brecht

by Bertolt Brecht and Kurt Weill

D e p a r t m e n t o f T h e a t r e a n d D a n c e COLLEGE OF ARTS AND HUMANITIES

M A I N S T A G E2009-2010 SEASON

THE JUDITH OF SHIMODABy Bertolt Brecht

Translated by Markus WessendorfThe English-language world premiere.

ARTISTIC STAFF Director: Paul T. Mitri

Scenic Designer: Chesley CannonProperties Designer: Donald Quillinquin

Costume Designer: Amy Schrag †Lighting Designer: David Gerke

Sound Designer: Daniel Sakimura

*In partial fulfillment of the Master of Fine Arts degree requirements in Acting† In partial fulfillment of the Master of Fine Arts degree requirements in Design

The Judith of Shimoda will be performed with one intermission.

Performed with permission from Suhrkamp Verlag, Berlin, Germany. Die Judith von Shimoda, by Bertolt Brecht, is based on a play by Yamamoto Yuzo, in collaboration with Hella Wuolijoki, reconstructed play version by Hans Peter Neureuter.

MAHAGONNY SONGSPIEL (THE LITTLE MAHAGONNY)Music by Kurt Weill

Text by Bertolt Brecht (and Elisabeth Hauptmann)

A production of the MAE Z. ORVIS OPERA STUDIO of Hawai’i Opera Theatre in association with the Department of Theatre and Dance and the Music

Department at the University of Hawai’i at Mānoa.

ARTISTIC STAFF Director: Henry Akina

Musical Direction: Eric Schank Musical Assistance: Keane Ishii

Production Stage Manager for HOT: Jason Ichiyama Lighting Designer: David Gerke

OrchestraConductor:..............................Keane Ishii Violin I:.....................................Dayna Furusawa Violin II:...............................Keven Tsunoda Clarinet I:.................................Justin Ricafort Clarinet II:............................Kameron K. Ko Alto Saxophone:..................Jeff Imamura Trumpet I:...............................Wyatt Nagao Trumpet II:..............................Byron Lum Trombone:..............................Keanuenue Hayashi Percussion:..........................Frederick Mariano Piano:...................................Eric Schank

Produced with special arrangement by the European American Music Corporation, agent for The Kurt Weill Foundation for Music, Inc. and agent for the Estate of Stefan Brecht.

SPECIAL THANKSThis production is made possible by generous grants from the Arthur and Mae Z.

Orvis Foundation and The Kurt Weill Foundation for Music. Also thanks to Barett Hoover, Nola Nahulu, John Rehnke, Karen Tiller

This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY

The Kurt Weill Foundation for Music, Inc. administers, promotes, and perpetuates the legacies of Kurt Weill and Lotte Lenya. It encourages broad dissemination and appreciation of Weill’s music through support of performances, productions, recordings, and scholarship; it fosters understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts; and, building upon the legacies of both, it nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. www.kwf.org

The Mahagonny Girls Jessie...........................Bambi Brock Bessie...............Pauline Taumalolo

The Mahagonny Boys Charlie..............Chad Williams Billy....................Kawika McGuire Bobby...............Nick Walters Jimmy...............John Mount

CAST OF CHARACTERS

CAST OF CHARACTERS

gMr. Akimura.......................................................................................................Tony YoungMs. Ray................................................................................................................ Eleanor SvatonMr. Clive ............................................................................................................. Christopher McGahan*Mr. Kito................................................................................................................ Futoshi TerashitaOkichi...................................................................................................................D’neka Patten*Heusken, Old Man, Kamekichi, Crowd Member.................................Dan. D. Randerson*Wakana, Omoto, Oshimu, Boy, Crowd Member.................................Evelyn LeungTownsend Harris, Prince Isa, Guard, Fish Seller, City Counselor......... James Schirmer Makamura, Osai, Geisha, Waitress, Crowd Member......................... Kymberly (Casey) VancluteInoue, Tsurumatsu, Samurai, City Counselor, Crowd Member..... Nicholas AtiburcioOfuku, Crowd Member................................................................................. Noriko KatayamaMatsumura, Saito, Ah Lo, Crowd Member............................................ Ryan Wuestewald*The Singer.......................................................................................................... Megan MountUnderstudy....................................................................................................... Jillian Blakkan-Strauss

DIRECTOR’S NOTES - MAHAGONNY SONGSPIEL When I first encountered the opera The Rise and Fall of the City of Mahagonny, I was bowled over by its unrelenting portrayal of decadence and fascism. I did the large opera with all the trimmings at a theatre in the former East German Republic shortly after the fall of the Berlin wall in the early 1990’s. It was a very edifying experience. When Markus Wessendorf offered to invite this production of The Mahagonny Songspiel to open the evening for his translation of Brecht’s The Judith of Shimoda, I was honored but thought I knew the work inside out... Instead the ensemble has taught me much. The performers you see here are all based here in Hawai’i and are all associated with opera here in our state. They have taught me that things have changed in the world since the 1990’s and that “Mahagonny,” that made up word that stands for the city of open possibility, changes its meaning and its resonance over time. The city of Mahagonny has been variously identified as Los Angeles, Berlin, New York, Las Vegas, Brasilia and yes, Honolulu. Brecht used to say “When Mahagonny comes, I go.” But why go if “Mahagonny” is only a made up word? It is a pleasure for the Orvis Opera Studio of Hawai’i Opera Theatre to be invited to perform at Kennedy Theatre. We are honored to be here.

- Henry AkinaDEDICATION

The production is dedicated to the memory of Galen Leong who once suggested in passing that Mahagonny should be in the repertoire of Hawai‘i Opera Theatre.

DIRECTOR’S NOTES - THE JUDITH OF SHIMODA When Dr. Markus Wessendorf approached me to consider directing his translation of The Judith of Shimoda, I was honored and humbled. The opportunity to be a part of an English-language premiere of one of the world’s greatest playwrights is obviously not one to miss. But those feelings soon changed, replaced with thoughts of, “But what do I do with it??” What spoke to me the most in the play was the role of a hero in society. Society’s mistreatment of heroes is omnipresent today, from pop music ‘stars’ to sports icons to war veterans. We love them for the few moments they bring interest and pleasure to our lives, but we soon tire of their achievements. It seems that it’s even more interesting to our society to tear down anything we build up. We seem to think fifteen minutes of fame is more than enough for anyone and payment must be exacted for every second, whether the hero sought it or not.

In seeking how to show the hierarchy of this relationship, I came upon Brecht’s idea about using vertical space (Bertolt Brecht and John Willett, Brecht on Theatre: The Development of an Aesthetic [New York: Hill and Wang, 1964], 233). In his time, he was somewhat limited in his staging choices. In our production, we have been blessed to have people willing to go beyond old confinements and seek and learn new ways to look at theatre. I’d especially like to thank Andrea Torres of Samadhi Hawai’i for her expertise and guidance, David Griffith for agreeing to find a way to do what was needed, and this fearless cast who have gone on quite a journey…up…into the air.

- Paul T. Mitri

Funding for The Judith of Shimoda provided by:The State Foundation On Culture and the Arts,

and through appropriations from the Hawai’i State Legislature

(and by the National Endowment for the Arts).

Vice Chancellor’s Office of Research & Graduate Education, University of Hawai’i at Mānoa Dean’s Office, College of Arts and Humanities, University of Hawai’i at Mānoa

This production is entered into the Kennedy Center American College Theatre Festival.