OUR PRODUCTIONS ARE SPONSORED IN PART BY THE FOLLOWING:

Kumu Kahua productions are supported in part by The Kim Coco Fund for Justice of the Iwamoto Family Foundation, NME Fund of the Hawaiʻi Community Foundation,  Island Insurance Foundation, State Foundation on Culture and the Arts, through appropriations from the Legislature of the State of Hawaiʻi,  AAPI Community Fund, Richard Aadland Fund,  Hawaiʻi Tourism Authority,  Honolulu Star-Advertiser, John R. Halligan Charitable Fund, Spectrum/Charter Communications, ABC Stores, 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, and other foundations, businesses, and loyal patrons.

alani apio,
PLAYWRIGHT

ABOUT THE PLAYWRIGHT

Alani Apio grew up in Pu‘uloa—also known as ‘Ewa Beach—in a family of fishermen. He graduated from Kamehameha Schools and the UHM, with a degree in Drama and Theatre. Now, he lives in Kailua and grows some of his own food in his backyard, “’Cause no more ‘nuff fish around nowadays.”

Apio is a noted Hawaiian playwright, sculptor, and actor. His plays Kāmau and its sequels Kāmau A’e and Ua Pau tackle complex issues related to Hawaiian identity and family relationships.

He’s a founding and current board member of Hui Aloha (huialoha.org) and works as a community consultant for companies on sustainability projects and projects that have potential Native Hawaiian burial issues.

PLAYWRIGHT'S NOTES

What moves you to do something, to take action? I've spent much of my adult life as an activist and advocate for different causes: Hawaiian sovereignty, local sustainability, and most recently, helping to support and uplift houseless individuals and communities here, along with finding realistic ways to help us resolve homelessness. Throughout this time. I've learned that it's almost always passion that moves people to do something. Whether it's love—or hate—or a combination of both, emotion is what moves us to action.

We're now experiencing the largest rates of outmigration from the islands, by locals and Kānaka ‘Ōiwi alike, in modern times. And here on O‘ahu, I feel and experience the collective draining of aloha from public life. No mystery why; who can afford to buy a decent home? Nearly half of Hawai‘i people are living paycheck to paycheck. As Bully Mack would say, “Haad fo' have aloha wen da calabash stay empty.”

For 30 years now, Kumu Kahua Theatre's boards and staff have supported these plays. For 30 years now, Harry Wong III has taken words on a page, gathered incredibly talented casts and crews (all volunteers!), and together they've created living experiences designed to move us, to make us want to do something. My question now is: do they still move us, and if so, what are we going to do? In myriad ways, it feels like we're more and more losing the Hawai‘i, the aloha, that I love. And that is crushing. So, what's your kuleana, your obligation, your responsibility, for the privilege of living here?

I want to express my deepest mahalo and aloha to a lifetime of relationships and support, starting with the late Professor Dennis Carroll, who mentored me, the cast, crew, and directors of every iteration of these plays. The cast and crew of this mounting of the trilogy—I'm in awe of the talent and the energy you all bring to spill your guts out every day! And, finally, to Charles Timtim and Harry Wong III for a lifetime of collaboration that has been life-changing, deeply meaningful, and life-affirming. Pono kākou e kāmau. Me ke aloha, me ka mahalo nunui, a me ka ha‘aha‘a, Alani.

harry wong,
DIRECTOR & Set Designer

ABOUT THE DIRECTOR

Harry Wong III has directed over 100 plays in his career, 52 of those plays were directed at KKT in his capacity as Artistic Director. Harry was the co-founder of HSF and a founding Board Member of the Lizard Loft. Awards he has received include the 2015 Ho‘okele Award recipient; second recipient in the non-profit art industry. Given to sustain quality service in the non-profit sector. 2010 recipient Outstanding Alumni of HCC, 1999 recipient of the SFCA Individual Artist Fellowship Grant for Theatre Directing; first non-playwright to be honored, 1996 Princess Grace Award for Theatre Directing Recipient; recommended by HTY for outstanding work in directing, 1996 Lincoln Center Theatre Director's Lab participant; result of a national search of young directors, 1995-1996 Allan Lee Hughes Fellow at Arena Stage Washington DC; result of a national search of postgraduate people of color entering the regional theatre scene and the 1991 & 1993 Masako Sakamoto Scholarship for Acting; given to Hawai‘i High School graduates studying acting or playwriting.

DIRECTOR'S NOTES

Is there a through line to the trilogy? Is there something that holds it all together? Yes, there is. 

 Each play is a step on how the spirit becomes free, or how these two families, Kealoha and Mahekona, free themselves from generational trauma. I took this from the Three Metamorphoses chapter written by Nietzsche in his book Thus Spoke Zarathustra. The spirit must go through three transformations or metamorphosis before it can be free. First, the spirit must become a camel. The animal that can carry the heaviest burden through the desert. This is Alika in Kāmau. Next the spirit must become a lion. “…the spirit becomes a lion; it wants to hunt down its freedom and be master in its own desert.” This is Michael in Kāmau A‘e. Lastly, the spirit becomes a child. This is Stevie in Ua Pau. The child is a “Yes,” an inventor of games, a beginning, a new beginning. Take a look at the chapter later to see the connections: www.gutenberg.org/files/1998/1998-h/1998-h.htm.

Alani recently remarked that when we first worked on these plays there wasn’t any talk about “generational trauma.” Now it’s everywhere. I thought that the trauma all these characters were dealing with had to with Georgie. But the trauma is much broader and deeper and historical. It’s a trauma that we have all been at times victim and perpetrator. The loss of a people’s life, world, language, culture, a loss of their…everything; it is what happened, what is happening to us Hawaiians. That is the trauma that underlies the Trilogy.

On a personal note: Alani and his work changed my life. Taught me about myself and who we all are. My hope is that my daughter has such a collaboration someday. These plays are for the ages. I hope they live past us. I hope others come along and do the plays. No, I hope they do them better than I. I hope they find things in them I could never imagine. That they find theatre artists as courageous as I have throughout the years; artists that will go on the journey with them. And an audience that will come along.

Alaura Ward (Lisa) is from Honolulu and holds a BFA in Acting from Cornish College of the Arts. She was last seen at KKT in The Conversion of Ka’ahumanu. Some of her credits include Mr. Burns (KOA), Pride and Prejudice (KOA), August Osage County (MVT), Kittens in a Cage (Raisbeck Performance Hall), Christmas Gift of Aloha (‘Ōhi‘a Productions), Guys and Dolls (DHT), and Parts of the Same Circle (Film).

Denise-Aiko Chinen (Mrs. Yamamoto) was last seen at KKT in Mendokusai. Her credits include The Lifespan of a Fact (MVT), The God Committee (TAG), The Taming of the Shrew (HSF), Water Station (UHM Lab), Oriental Faddah and Son (WCC), The Joy Luck Club (MVT), and Kimberly Akimbo (TAG). Some of her credits at KKT include: Lucky Come Hawai‘i, Joker, Sound and Beauty, Hostage Wife, Ala Wai, Teacher Teacher, Tea, 12-1-A, Mānoa Valley and Koi Like the Fish. Her future shows are As You Like It and Prescription Murder.

Harper Steele (Stevie) was last seen in The Lightning Thief at Punahou School. Harper has been receiving Improv Training and recently attended classes at Missoula Children’s Theatre.

Iāsona Kaper (Boss) holds an MFA in Hawaiian Theatre from UHM. His most recent productions were in Caesar (Hilo Palace Theatre), The Tempest (Hilo Community Players), and Romeo and Juliet (Hilo Community Players). His past credits include Way of a God (KKT) and ‘Au‘a ‘Ia: Holding On (UHM).

Joshua “Baba” Tavares (George) Holds a BA in Drama from UH Hilo, a Certificate in Musical Theatre Performance from AMDA in NYC, and is an MFA Candidate in Acting and Hana Keaka at UHM. He was most recently in Glitter in the Pa‘akai as director, playwright, composer, and actor. 

Joshua Keoni McBrayer (Security Guard) is from ‘Ewa Beach and holds a BA in Theatre from Seattle Pacific University. He was last seen in Untitled TMT Project at KKT.

Kahiau Machado (Alika) studies acting at Scott Rogers Studios and attends classes at UHM. Previous credits include House Rules (UHM), Flowers of Hawai‘i (UHM), Romeo and Juliet (HSF), and Both Your Houses (HSF).

Laurie Tanoura (Mrs. Clements) was last seen as herself in Eric Nemoto's Building Permit at TAG. Previous credits include American Dream (TAG), Hollywood Arms (TAG), Merry Christmas Roberta (TAG) and M. Butterfly (MVT). Laurie is the Managing Director of TAG.

Lelea‘e “Buffy” Kahalepuna-Wong (Mom) hails from Kaimukī and was last seen at UHM in Glitter in the Pa‘akai. Recent stage credits include Sweeney Todd (MVT), Folks You Meet in Longs (KKT), iHula (PTW), Blue (KKT), The Conversion of Ka‘ahumanu (KKT), #haoleboyfriend (KKT), Fa‘alavelave “The Interruption” (KKT), ‘Au‘a ‘Ia: Holding On (UHM), and Ua Pau (It is Finished, Over, Destroyed) (KKT).

PJ Souza (Building Inspector) graduated from Moanalua High School. He studied acting at DHT with Shannon Winpenny. He was last seen in Wild Meat and the Bully Burgers at KKT. His recent credits include Romeo and Juliet (HSF) and Both Your Houses (HSF).

Ron Heller (Mr. Clements) has an MFA in Theatre Directing from UHM. His last production as a performer was in Cemetery Pupu Theatre (HMH). His credits include 20,000 Leagues Deep (UHM), Eggs on Ice (HPU), ‘Au‘a Ia: Holding On (UHM), and An Actor's Nightmare (UHM).

Stuart Featheran Jr. (Michael) is a native Hawaiian actor from Kailua, O‘ahu. He began his training as an actor at Windward Community College before moving on to film, acting in locally produced films like Plankenstein and The Perfect Illusion. His first major film role was Paoa in the 2022 film The Wind and the Reckoning. Previous theatre credits include Henry 6, Part 3 (HSF), and Oriental Faddah and Son and Machinal (WCC), and his KCACTF award-winning performance as The Voice in Walter. His hobbies include watching TV, film, and anime, and playing video games. 

Rebecca McLeod (Stage Manager) is a stage manager from the east coast. A 2022 alum of the College of Charleston, she has been a part of numerous plays, musicals and operas. Most recently, she has been a part of KKT's '23-'24 season and looks forward to what the next season brings. 

Brian Lee Sackett (TD/Set) has been involved in Hawai‘i theatre for 20-plus years. He has worked in every facet of theatre, other than playwriting, which he is quick to admit is beyond his skill set.

Julia Frazier (Sound Designer) has been involved in theatre since age 8. She acted in productions including A Midsummer Night’s Dream, The Merchant of Venice, How to Succeed in Business Without Even Trying, and Fefu and her Friends, before discovering her passion for directing. Julia graduated from Oglethorpe University with a BA in Theatre and a minor in Shakespearean Studies.

Iris Kim (Costume Design) started sewing when she was 5 years old and began designing and constructing costumes when her oldest child got involved in theater 12 years ago. She has worked on productions at MVT, DHT, HSF, KKT, WCC and was the Assistant Costume Shop Manager at Kennedy Theatre at UHM. She is the costume designer at HTY.

Sara Ward (Properties Design) has designed props for almost every theatre on O‘ahu. Her favorite shows she’s worked on include Joseph and The Amazing Technicolor Dreamcoat (Jamarama), Fiddler on the Roof (HPU), Seussical (DHT), The King and I (ACT), The Curious Incident of the Dog in The Night-Time (MVT), The Rocky Horror Show (MVT), and Folks You Meet in Longs (KKT). Sara has received 4 Po‘okelas for her prop work. In 2019 she received the Hawai‘i State Theatre Council Pierre Bowman Award. Sara is the KKT as the Office Manager.

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
Hawai‘i Opera Theatre: HOT
Hawai‘i Pacific University: HPU
Hawai‘i 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
2023-2024

Managing Director: Donna Blanchard
Artistic Director: Harry Wong III
Office Manager: Sara Ward
Box Office Associates: Alyson Wong, Kathy Dombrigues, Max Pennington & Victoria Amara

BOARD OF DIRECTORS

President: Marcus Oshiro
Vice President: Dann Seki
Recording Secretary: Jason Kanda
Elizabeth Errico
Mark Kalahele
Karen Kaulana
Brook Lee
Annie Macapagal
Kathy Dombrigues Max 
Tony Pisculli
John H. Y. Wat
Victoria Wei