MAHALO PRIMETIME · 2018. 8. 2. · MAHALO Lucy Wormser, Steven Wormser, Jakob Wormser, Demian Dressler, Chad Kabins, Byron Moon, Fred Lau, Elizabeth Wichmann-Walczak, Kirstin Pauka,

MAHALO Lucy Wormser, Steven Wormser, Jakob Wormser, Demian Dressler, Chad Kabins, Byron Moon, Fred Lau, Elizabeth Wichmann-Walczak, Kirstin Pauka, Julie Iezzi, Adam Sobash, Bob Jones, MA Richard, Dennis Carroll, Beverly McCreary.

PRODUCTION STAFF Stage Manager: Elizabeth K. Harwood Assistant Stage Manager: Pawaluk Suraswadi Backstage Crew: Paul Balasz, Nichole Kinney Light Board Operator: Tonyah Tavorn Electricians: Josh Greenspoon, Paul Mawhar Sound Board Operator: Francis P. Tui Fao Sound Assistant: Austin Bennett Faculty Design Consultants: Daniel J.Anteau, Joseph D. Dodd, Sandra Finney Wardrobe Supervisor: Anji Scarf Staff Costume Shop Manager: Hannah Schauer Galli Lab Theatre Costume Coordinator: Jill Bowen StaffTechnical Director: Daniel J.Anteau Staff Asst. Technical Director/Facilities Coordinator: Gerald Kawaoka Lab Theatre Technical Director: Dean Bellin Lab Theatre Coordinator: Nina C. Buck Balinese Dance Instructors: Chandra Susilo, Koming Hood, Maria La France Burlesque Choreography: Ayako Utahara Belly Dancing Choreography: Maria La France

FRONT OF HOUSE STAFF StaffTheatre Manager: Marty Myers Box Office Supervisor: Nicole Tessier Box Office Staff: Josh Greenspoon, Kelsie Pascual, Danielle Williams, Robert Wyllie Publicity Director: Jessica Jacob Publicity Assistant: Ashley Logan Graphic Designer: Michael Nomura House Manager: Leilani Rivera Assistant House Manager: Jonathan Cabrera Website Assistant: Michael Nomura Photographer: Andrew Shimabuku Department Office Staff: Tana Marin, Lori Ann Chun Department Chair: W. Dennis Carroll

FRONT OF HOUSE INFORMATION T he play will be performed without an intermission.

There will be a post-show discussion immediately following the Friday. April I performance.

For large print programs, assistive listening devices, or any other accessibility requests. please contact the House Manager or ca ll the Kennedy Theatre Box Office at 956-7655 (voice/text).

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.

In following with University of Hawai ' i policy. smoking is not permitted within 20 feet of the Kennedy Theatre building. Your assistance in helping us adhere to this policy is greatly

appreciated.

The UHM Ticket Program is supported by a grant from the program fee board

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PRIMETIME EARLE ERNST LAB THEATE

2004-2005 SEASON

By Paul wood and cassandra Wormser

ora and the Seven Deadly s n s Directed by Cassandra Wormser

March 30, 31 at 8pm April 1, 2 at 8pm

April 3 at 2pm

University of Hawai ' i at Manoa Department of Theatre and Dance · College of Arts and Humanities

ARTISTIC STAFF Director: Cassandra Wormser* Playwrights : Paul Wood, Cassandra Wormser Scenic Designer: Angela Price Lighting Designer: Vincent Nguyen Dang Liem Costume Designer: Nara Conaty Sound Designer: Kainoa Jarrett Puppet Designer/Creator: Pawaluk Suraswadi Mask Designer: Beverly Tresan Mask Painter : Nikki Moss

*In partial fulfillment of the Master of Fine Arts Degree requirements in Asian Directing.

CAST (In order of appearance) Pandora: Tamie Onchi Hope: Sonja Hinz Moth: Polly Zi Hong Nakamura Greed: Alexander J. Hubbard Sloth: William Boynton Lust: Brandon Sutherlin Regret: Jennifer Bolieu Linstad Deceit: Jessica Lee Jacob Envy: Nicole Tessier Pride: Stephanie Kong Anger : Travis S. N. Rose Pandora's Voice: Kiana Rivera Chorus: Mikaela Brady, Jamie C. Hines, Cassandra Jimenez, Tom M. Offer-Westort, Kiana Rivera, Robert Wyllie Puppeteer: Nichole Kinney

MUSICIANS I Made Sumayasa (Gamelan Leader), Mohammad Am in Abdullah, William Klugh Connor Ill , Maria LaFrance , Joan Scanlan, Jolie R. Wanger, Ronald G. Quesada

BEVERLYTRESAN june 28, I 944 - june 6, 1995

Born and raised in Memphis, Tennessee, Tresan began as a professional lettering artist. She majored in theatre arts at the University of Iowa, continued her studies at Goodman Theatre in Chicago and went on to work at the University ofVirginia. Before moving to Maui in 1990, Beverly spent 13 years in New York City studying drawing and painting at the Arts Students League, Parsons School of Design, and the New School where she received certification as an art therapist in 1982. She worked for a time as a graphics artist but was drawn to fine arts, oil painting, and pastels. Tresan said, "I only paint what moves me deeply and demands its own expression . Thus, my work explores my own personal metaphors ... "

DIRECTOR'S NOTES Pandora and the Seven Deadly Sins has been over ten years in the making. The masks spent more than a decade in a box waiting for this moment. Beverly Tresan, a dear fam ily friend and accomplished artist, designed the ten masks used in this production in the studio of Oka Astina, a master mask maker of Mas, Bal i. Beverly was on the last stop of her final journey. She died in 1995 before her 51st birthday. It took three years to retrieve the masks from Oka, two years before Nikki Moss, Bev's beloved friend and fellow artist, painted them, and several years during which they were stored in our closet (along with the holy water they came with) before "dancing" them became a possibility for me.

Performing "The Pandora Ensemble" for her friends was Beverly's last request. She too may be with us during these performances. The cast has felt the soul of her artistry in the masks themselves. The last four years of my academic life have been spent immersed in Asian Theatre, experiencing other cultures through their drama, music, and dance performance. As a Westerner, part of me remains an observer, but I have been profoundly changed by the forms and the hearts and spirits behind them. For this production, the Balinese mask dance drama topeng has served as a major source of inspiration, evoking the setting in which these masks were dreamed and crafted.

Our Pandora story is not the Greek myth in which the first woman is to blame for releasing all evil into the world by opening a box, jar, or vessel. Instead, Pandora ventures into the unknown and finds herself in the midst of a vaudeville show:"The Cabinet of Sins." The sins Beverly chose to portray-Pride, Lust, Anger, Sloth, Envy, Greed, Regret, and Deceit, represent her personal interpretation and are not consistent with the conventional catalog of the seven deadly sins.

In the traditional Balinese context, the topeng performance is said to precipitate balance for the community that for which it is performed. The character of Pandora discovers the key to balance in the transcendental power of Hope, emerging from the ordeal as a heroine.

I have had the great pleasure of collaborating with a number of remarkable artists on this production. With the help of Paul Wood-- writer, thespian and founder of the drama department at Seabury Hall where my theatre training began-- we were able to create a Human Comedy of Pandora and the Seven Deadly Sins, as Beverly wanted. For the songs, Paul wrote the lyrics and I composed the music. I Made Sumayasa and his wife, Jolie Wanger, have graciously assisted with the gamelan accompaniment for this production and Maria LaFrance, Koming Hood, and Chandra Susilo all contributed their expertise as dance instructors.

The pieces have all come together at last. The final steps on the long road to this moment have been carefully taken. We kneel for a moment before putting the play before you, to dedicate and remember. Beverly said, " IT IS ALL AN OFFERING." We reverently offer this production to her, to you, to the Universe.

Cassandra Wormser March 2005

Pandora and the seven deadly sins159Pandora and the seven deadly sins160