Fall 2014 Volume 100 • Issue 1 - Diamond Head Theatre

Inside This IssueThe Joy of Theatre 1

Executive Director’s Message 2

From Shooting Star to Broadway Star 3

Happy 100th Birthday, DHT! 4

Murder in the House 7

Kids, Theatre and Summer 8

Fall 2014 Volume 100 • Issue 1

For TicketsCall 808.733.0274 or visit

www.diamondheadtheatre.com

Coming Soon

Sept. 8 - Oct. 19, 2014

Jan. 30 - Feb. 15, 2015

December 5 - 21, 2014

How UH Dean and DHT Volunteer Tom Bingham Found His ‘Theatre Legs’

Tom Bingham may be a dean at the University of Hawaii, but at Diamond Head Theatre, he’s

simply known as Michael Bingham’s dad. That’s one of the fun things about DHT—you never know at first glance what someone does in his or her “real life.”

People become involved in the theatre for a variety of reasons. For Tom it was his son Dustin, who was participating in our Musical Theatre Experience (MTE) summer camp. Then along came his son Michael, who also signed up for MTE and got bitten big time by the theatre bug. Mike eventually auditioned for DHT’s Shooting Stars and then remained with the troupe throughout high school, learning everything and anything he could from the Shooting Stars’ director John Rampage.

During Mike’s time with the Shooting Stars, he had the opportunity to travel to New York with the group. Tom served as one of the chaperones and says that “the New York trip was pivotal in Mike’s development.” According to Tom, Mike had already been toying with the idea of studying theatre—but the trip solidified that desire. He’s now studying theatre at Elon University.

At the same time, Tom began discovering his own “theatre legs.” His very first production as a volunteer was 9 To 5: The Musical. He decided to crew for it because Mike was in the show and he thought it would be the perfect opportunity for them to spend time together before Mike left for college. When asked if it was intimidating to be backstage during that fast-moving show, he admits that it was and adds, “Thankfully there were experienced crew people to coach me!”

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The Joy ofTheatre

Aloha from DHT’s Executive DirectorOne hundred years—that’s all we’ve talked about in the two-year run up to this season. What shows should we pick? What events should we have? How should we promote the season, the theatre, and everything else?

I’m sure you’ll agree the shows we selected are truly spectacular. John and I go to New York annually to meet with the royalty houses, which hold the show licenses, so we’ve had a few of this season’s shows in our pockets for a year or more. We held them back for this season because we wanted to present the best of the best—and we feel we have. Our patrons seem to think so too, as we’ve got a record-breaking 73 percent season subscription audience (meaning people who’ve bought the whole season package). We’ve actually had to stop selling season packages to leave some room for show-by-show ticket buyers.

As for events, we expect a magnifi cent opening night. And, we’re planning a little something for the holidays as well as for spring. In

pick? What events should we have? pick? What events should we have? How should we promote the season, How should we promote the season, the theatre, and everything else?the theatre, and everything else?2

addition, we’ll be hosting our 100th-anniversary gala on April 25. Save the date! We’ll send out information soon. It’ll be a black-and-white ball

at the Sheraton Waikiki—a real extravaganza—with the theme “Broadway of the Pacifi c.”

Summer at DHT will include the musical Shrek, and we’ll off er food trucks for picnicking on the lawn between the Saturday matinee and evening performances. We’re still working on the details, but we’re very excited about it.

Sandwiched in between the shows, the events and the celebrating, we’ll be busy sharing the story of Diamond Head Th eatre. You’ll be seeing stories about DHT, formerly known as Honolulu Community Th eatre, in periodicals around town in the months ahead.

Researching our history has been so much fun. We’ve been reading

Phone (808)733-0277Facsimile (808)735-1250Box Offi ce (808)733-0274www.diamondheadtheatre.com

Writers Deena Dray, John Rampage and Mary CalantocEditor Stacy PopeGraphic Designer Bernie KimCoordinator Lauren Lee

Our Mission StatementEstablished in 1915, Diamond Head Th eatre is the Broadway of the Pacifi c, producing the best live community theatre entertainment and advancing the theatre arts through education in Hawai‘i.

Encore! is published by Diamond Head Th eatre, 520 Makapuu Avenue, Honolulu, HI 96816.

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Looking back, Tom confesses that he had initially volunteered at DHT in the spirit of a somewhat-obligated parent—but even after Mike left for college, he couldn’t help but stick around. When asked what transitioned him from supportive parent to the super volunteer he is today, he says, “I’ve been teaching in the arts all my life, so I’ve seen what the arts can do for kids. Th e programs at DHT do those things. I decided this is something I would like to remain a part of.”

He also says that the people at

DHT are another big draw that keeps him involved. “I really value the people that I’ve met here—both those who work at the theatre and the volunteers—who without fail have been really fun to be around. Th ey all want to do well. As volunteers, especially working backstage, we get pretty upset if something doesn’t go right. We take it seriously. It’s good to be around people like that.”

Tom has been with the University of Hawaii for 27 years, and luckily his job allows him the fl exibility to volunteer as much as he can at DHT. He’s served as a crewmember for fi ve shows now and reports that he’s

placed all of this season’s shows on his calendar. He hopes his schedule as a dean will still continue to allow him to help with a show or two (or even three).

“Th e things that I’ve done here—Shooting Stars parent duties, ‘Ilima Awards, Murder Mystery Dinner, concessions, ushering, crew—it all comes back to the mission and to the results that the theatre gets,” he says. “And, the people that DHT has attracted make it a special place. I want to keep doing this as long as I can.”

Everyone at Diamond Head Th eatre hopes for that as well. Take a bow, Tom!

correspondence from the 1900s and the early 20th century up through the present day, including telegraphs, handwritten notes (remember those?!) and typed carbons of letters from people who traveled the world, took in theatre productions in other cities and then returned home to their very own Honolulu Community Th eatre, of which they were inordinately proud. We’ve poured over news clippings, carefully opened old photo albums, laughed and shed tears over charming life stories of folks who loved our community and our theatre. We’ll be telling those stories in Encore throughout this season. Th e fi rst quarter-century is detailed in this issue.

Th e journey to reach our 100th season has been exciting—and humbling, as we’ve realized how many came before us. Th ey left us their little jewel of a theatre to keep polished and shining bright, and we aim to do that for the next 100 years and more. I look forward to doing my part in keeping the performing arts alive for the generations to come.

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From Shooting Starto Broadway StarAleks Pevec Returns Hometo DHT and Shares His Storyof Success

Broadway actor Aleks Pevec started his performing career right here at

Diamond Head Th eatre as a member of our Shooting Stars troupe. So, on a recent Saturday afternoon, with both a matinee and evening performance of Catch Me If You Can to prepare for, he made time to meet with our current Shooting Stars kids to tell them his story.

In addition to his years as a Shooting Star, Aleks had also performed in many DHT musicals, including Oliver!, Annie Get Your Gun and Nine. It was through these experiences that his deep interest in musical theatre developed. “Th eatre became my passion,” Aleks explained. “And unless you have that passion, you shouldn’t make a career out of theatre, because you need it to survive and keep pushing ahead.”

At the age of 14, Aleks and his family moved to California, where he combined his love of performing with his love of sports, especially soccer. “Learning to be a team member in sports really prepares you to be part of the team when you’re in a show,” he noted. “It’s not just about you—it’s about your connection to everyone else involved in the show.”

Aleks was always a natural when it came to dance and eventually focused on the one form he’d always

avoided: ballet. In fact, he encouraged our Shooting Stars to take ballet to strengthen their technique and learn how to take care of their bodies. He also started working early on with a vocal coach, who sensed that Aleks had a larger voice inside him and helped him develop the enormous vocal range he has to this day.

After college, Aleks began auditioning for professional theatre and spent two years as a swing in the L.A. production of Wicked. A swing is the person who has to learn all the blocking, dancing and singing parts for six, seven or even eight diff erent performers and be prepared to replace anyone who is sick or injured. It takes enormous focus and hard work to be a good swing, and he was—but he also had his sights set higher. Broadway!

His plan for Broadway was unique, but also very sensible. He would not move to New York until he had a job in a Broadway show. He saved his money from Wicked and fl ew to New York whenever there was an audition for a show he thought he had a chance

at. “I knew my strength was a big voice that could belt the high notes and get me noticed, so I concentrated on auditioning for those,” he said. It all paid off when he was cast in the Broadway premier of Catch Me If You Can.

With a contract for Catch Me If You Can in hand, Aleks made the move to New York. He has since appeared in the Broadway revival of Evita, starring Ricky Martin, and the Encores! production of Th e Most Happy Fella At City Center. He’s currently appearing in the Broadway smash hit, Aladdin.

As a last word of advice to the Stars, Aleks emphasized that theatre is “a career, not a job. You have to respect it. And you have to take care of yourself, because your whole day has to be in preparation for that next performance.”

With those words still echoing among the group of kids, Aleks departed to warm up for DHT’s 3 p.m. matinee of Catch Me If You Can, held on the same stage he had begun building his own career path to stardom.

Aleks Pevec with some of the cast of Oliver Aleks with the Shooting Stars

It’s Diamond Head Th eatre’s 100th anniversary season—and in celebration, we will be sharing vignettes of our venerable theatre’s history with you throughout the year.

Here we present the fi rst 25 years in living color.Diamond Head Th eatre was founded in 1915 as a

theatre group called Th e Footlights. According to the group’s very fi rst constitution and bylaws, its purpose was “the study of drama.” Th e club, which began with all women, hosted two dramatic readings a month and produced one play a year. Annual membership for active members was $2.

For the fi rst 25 years, Th e Footlights found themselves producing shows in such legendary venues as Th e Opera House, Th e Lanai Th eater, Sans Souci, Th e Hawaii Th eatre, Th e Royal Hawaiian hotel, Punahou School and the University of Hawaii’s Farrington Hall. Some performances even took place at members’ homes, such as in the garden of the Dillingham home, where the group performed Th e Lady Of Th e Weeping Willow Tree.

Th e fi rst offi cial Footlights production was Th e Amazons, a farce in three acts, on April 28, 1915. Th e show featured an “all-star cast picked from amongst Honolulu’s cleverest amateurs,” according to a review. Th is included Mr. William Lewers, a known local actor at the time. Although when the club was fi rst formed, men were not permitted as members, Mr. Lewers helped out where he could, starring in many productions as well as directing and teaching. In 1920 Th e Footlights fi nally opened its membership to men, and by 1923 Lewers was serving as president.

Th e group gained a good reputation soon after its formation, and within its fi rst year was already staging an opera. Th ais was performed on February 7, 1916, as a collaboration between Th e Footlights and a touring group, the de Folco Grand Opera Company, which had become stranded in Honolulu after dismal ticket sales during its stay on Oahu. In an article in the Sunday Advertiser, the performance was described as a hit—bringing in more than

Happy 100th Birthday, DHT!We Proudly Present Our First 25 Years in Celebration of a Century of Performance

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Happy 100th Birthday, DHT!We Proudly Present Our First 25 Years in Celebration of a Century of Performance

$764.25. Signor de Folco said later that evening that after paying every member of the company, he had just $1.50 left, but that the proceeds had given each of the performers the ability to return home.

In the earliest years, most Footlights programs were a presentation of three short plays or one large production.

Th e Footlights even added dinner theatre to its repertoire, in which it would put on a performance during the University Club’s monthly “dinner dance.” It continued with regular meetings

and added classes, such as a diction class, which would rotate locations among various members’ homes. Participants would read a randomly selected excerpt and receive criticism and direction from William Lewers on placement, quality and depth of voice. Mr. Lewers even taught a class on makeup!

In 1921, Th e Footlights discussed the possibility of combining forces with the College Club and Outdoor Circle with the intention of creating a joint clubhouse with a stage and auditorium. Th e group was so successful by this point that it wanted its own space to present plays. A committee was formed to research multiple possibilities, including partnerships with schools, the university and the city, but nothing reached fruition. However, in 1925, the former home of Robert Louis Stevenson, a cottage at Sans Souci Hotel in Waikiki, was donated to Th e Footlights to use as a clubhouse. Although the group continued to stage productions in various locations, its clubhouse was used for regular dramatic readings and workshops.

In 1927, Th e Footlights presented a production of Savages as a dinner theatre in Th e Royal Hawaiian hotel’s ballroom, only 11 days after the hotel offi cially opened. It was the fi rst large event at the new hotel. Tickets for the play, including dinner, were $4 and more than 400 people attended the show.

Also in 1927, Th e Footlights once again attempted to gain support to build or fi nd its own “little theatre.” Members got their wish in October in the form of Dillingham Hall, on the Punahou School campus. Th e building had been donated to the school by the Dillingham family, who had a long history with Th e Footlights. Th e Dillinghams off ered the theatre as a home to the club on a cooperative basis, an off er immediately and happily accepted by Footlights members. Th e new building had an 800-seat theatre as well as a mini theatre in the basement that could be used for smaller productions or readings. Th e fi rst Footlights performance in

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Dillingham Hall was Th e Last Of Mrs. Cheyney, held in April of 1929.

In May 1934, the troupe put on its last production under the name Th e Footlights. Dangerous Corner, a mystery, was directed by Elroy Fulmer, a graduate of the Royal Academy of Dramatic Arts in London. At Th e Footlights Annual Meeting in June of that year, a committee was formed by unanimous vote to reorganize the group into a true community theatre with a broader reach. Th us Honolulu Community Th eatre (HCT) was born, with Maj. Gen. Briant H. Wells as president.

Wells was known for his interest and success in promoting theatrical ventures in his army circles, and he was the perfect person to lead the new theatre company. “I believe that people are happiest when they make their own diversion,” he said upon taking his post. “Th ere is a place in Honolulu for a community theater and I shall be glad to do what I can in supporting the movement.”

Honolulu Community Th eatre selected Gilbert and Sullivan’s Th e Mikado as its fi rst production. Th is also marked the company’s fi rst opportunity to hold widespread open auditions, and the call was posted in local newspapers. Th e show took place in March of 1935 in coordination with the Morning Music Club at McKinley High School’s auditorium and was directed by Elroy Fulmer. Musical direction was provided by Fritz Hart, conductor of the Honolulu Symphony.

Th e cast of 60 talented individuals included a husband-and-wife team in the lead roles, as well as two soldiers stationed at Schofi eld and a number of other well-known actors and soloists of the time. Th ey were accompanied by a 35-member orchestra, all musicians

in the Honolulu Symphony Orchestra. Th e Consul General of Japan voiced his objection to the show, stating that he resented anything that “burlesques their emperor.” Nevertheless, Th e Mikado went on to receive rave reviews and earn more than $4,000.

After such a successful fi rst production, Honolulu Community Th eatre hit the ground running, producing many hit shows in a variety of locations. Th e theatre took on both favorite classics and brand-new productions, some of which attracted the notice of producers, directors and actors known to have played the original roles in these shows on the mainland. It became the usual to have a visiting actor, director or producer attend an HCT production, such as actress Claire Trevor, movie producer S.M. Wurtzell, screen writer Sonia Levine and actor John Halliday, who later starred in and directed productions for HCT and whose own production, Black Out Review, the theatre went on to produce.

In May 1936 HCT paired once again with the Morning Music Club to produce Madame Butterfl y, which starred Hawaii’s own “prima donna,” Mrs. Ululani Robertson. Despite the premier of the production being delayed one week due to Mrs. Robertson falling ill, the show was very well received. In a Honolulu Star-Bulletin review, it was noted that “anyone who attended the opening performance Th ursday night and failed to be thrilled and exhilarated must be entirely devoid of imagination and artistic feeling.”

In December 1936, the theatre company booked a production off Oahu for the fi rst time when Double Door headed to Hilo for a performance at the Elks Club. Nearly 500 people attended this one-time show.

From 1915 to 1940, Th e Footlights/Honolulu Community Th eatre presented almost 180 plays, musicals and dramatic readings and performed across Honolulu. Th e companies’ successes set the stage for the next 25 years of our theatre, which we’ll share with you in the next issue of Encore.

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Luckily we had the help of our Impresario and Angel Producers at our annual Murder Mystery Dinners to solve the mystery. Competition was fi erce as Producers worked furiously to not only identify the culprit, but also see who could name the most fairy tale and fi lm noir references. Elitei Tatafu Jr., who has directed the Murder Mystery Dinner theatre for many years, this year took on the challenge of writing an original script for the evening in partnership with Chelsey Jensen, and the results wowed the

crowd. Th e creative, interactive story kept Producers laughing and guessing to the very end.

Th e Producers themselves took the opportunity to get creative as well, with many arriving at the event in costume. Th ere were some real standouts, including Snow White’s lesser-known dwarfs, a Mad Hatter and even Poison Ivy. First-timer Nigel Pentland was impressed, and commented that he “grossly underestimated this dressing-up thing. Next year!”

Th e mystery-solvers, and thus grand-prize winners, turned out to be Christine Camp’s table ( June 16) and Kelly Sanders’ table ( June 17).

DHT’s Annual Murder Mystery Dinners Chilled and Th rilled Producer Members

A meeting of magical beings turned deadly for two nights this past

June when Hansel (of Hansel and Gretel) revealed that a double murder had taken place. Who could have committed this dastardly deed? Surely not the beloved Fairy Godmother, sweet Little Red Riding Hood or everyone’s favorite beanstalk climber, Jack … .

Murderin the

House

NONPROFIT ORG.

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PAIDHONOLULU, HAWAII

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520 Makapuu AvenueHonolulu, HI 96816

Musical Th eatre Experience (MTE), Diamond Head Th eatre’s immensely popular summer camp, exploded

onto the scene again this past June. Every nook and cranny of our theatre was bursting with kids—each busy learning lines, rehearsing dance steps or just simply giggling with their friends. Program Director Natalie Uehara, Musical Director Jenny Shiroma and Acting Instructor Mathias Maas had their hands full with more than 80 students enrolled, but it was a labor of love, evident by all the happy faces at the fi nal performance on July 26.

Th e fi nal program featured a well-rounded curriculum with special guest artists stepping in to off er their professional expertise, including how to build and design sets, handling make-up and wigs, and perfecting dance routines. Th e variety kept the kids engaged, and the summer fl ew by.

MTE II, our second camp in early August, was equally popular. Program Director Elitei Tatafu, Choreographer Chelsey Jensen and Music Director Phil Foster miraculously pulled together a complete show in two weeks, and the students were amazing in the performance on August 16.

Diamond Head Th eatre has presented Musical Th eatre Experience for more than 20 years now, and its popularity is a testament to the program’s depth and breadth. It gives kids a real stage experience, with theatre veterans, a live orchestra, lights and sound; plus, the theatre grounds off er fresh air and exercise between classroom sessions. No wonder MTE sells out on its fi rst day of enrollment!

In 2015, MTE I will be held June 8 through July 25. MTE II will be from August 3 through August 15. Online enrollment will be available beginning Monday, April 6.

DHT’s 2014 Musical Th eatre Experience Summer Camps Yet Another Hit

Kids, Th eatre and Summer: A Winning Combo

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