UJ!;l\l<}BOCH HL'PPOH'I' F'OH Tll l~ ::!On-:WI-1- .JI XO.Jl: B~SlDl<}~""T 'l' H.\ I~lXG PHOGH.\..'1 .\ :\'J) PHO[)l:< 'l'IOX PHOYlDI!;D BY:

The Cooke Foundation The East-West Center The Hawai' i State Foundation on Culture and the Arts The National Resource Center for East Asia The Uni versity of Hawai' i Foundation :

Chun Ku and Soo Yong Huang Endowment for Chinese Theatre Chinese Theatre Endowment Sheridan and Julia lng Family Endowment fo r Asian Theatre

The Uni versity of Hawai' i at Manoa: Office of the Chancellor Office of the Vice Chancellor fo r Research School of Pacific and Asian Studies

Center for Chinese Studies and UHM Confucius Insti tute Center for Japanese Studies

College of Arts and Humanities

'J'H .\XKS GO '1'0 'I'll}!} FOLLOW INO 1:-\DI \'IDUA L.~ FOH l\L\ Kl N<J 'l' IIIS 'I' IU I :\'1:-\U PHOUH..\l\1 .\XD PBODl'Cl'lON POHHTBL~: Lori Admiral, Peter Amade, Patti Au, Robert Bley-Yroman, Thomas Bingham, Thomas Brislin, Patti Chan, Eric Chang, Hui-Mei Chang, Rosita Chang, ing Che, Julia Chu, Lori Chun, Harriet Cintron, Patricia Crosby, Reed Dasenbrock, Joseph D. Dodd, Kayla Domingo, Peggy Eu, Bill Feltz, Erin Frana, Chuck Yim Gee, Rick Greaver, Christopher Gregory, Weizhen A Gui, Linda Hamada, Gerald Kawaoka, Laurie Komatsu, Denise Konan, Daniel W.Y. Kwok, Chri s Lai Hipp, Frederick Lau, Hye-ryeon Lee, Diane Letoto, Qikeng Li, Gregg Lizenbery, Chin-t'ang Lo, Ching Jen Lum, Karin Mackenzie, Tana Marin, Zihong Miao, Byron Moon, Marty Myers, Ryan akagawa, Patti akamoto, orma Bird Nichols, Cynthia ing, Clayton Omuro, Li sa Ottiger, Janet Pinho-Goldman, Yasuko Rossiter, Daniel Sakimura, Hannah Schauer Galli , Xiaomei Shen, Brian Shevelenko, Kathleen Shimabuku, Judy Simpson, Barbara Smith, Betty Tam, Pamela Taura, Kathy Todoki , Ricardo Trimillos, Daniel Tschudi, Michael Schuster, Donna Vuchinich, Yash Wichmann-Walczak, Lani McGettigan Winskye, Colleen Young, James Sau Tim Young, Xinyan Zhang

,\( ' KXO\\'LI<}JXiJ!;)IJ~:\-'1'H

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 and Elizabeth Lau Ching Foundation . donate

Kennedy Theatre is a member of the Hawai'i State Theatre Council. so f Waikiki Pare Hotel, Hospitality Sponsor fo r the Arts at UH Manoa. 0 r

Donate to the Kennedy Theatre "50 for 50" Anniversary Campaign! Help pave the way for the next 50 years of great theatre and dance at UHM! www.hawaii.edu/kennedy/giving

For more information on the 50th Anniversary visit: www.hawaii.edu/kenned /50

Feb 20, 21, 22*, 27, 28, at Spm March 1* at Spm

Feb 23 8 March 2 at 2pm *Free pre- show chat at 7:00pm

University of Hawai'i at Manoa

2013-2014 SEASON

Humanities nc • ..,Tr·c 6 Dance

School of Pacific 6 Asian Studies Center for Chinese Studies

Confucius Instit ut e

LADY MU AND 'l"'HE YANG FAMILY GENEHALS (MU OUIYING GUA SHUAl ~~9tli~rP )

Based on the Originall959 Script and Performance Text of Master Mei Lanfang ffit ~75

Adapted and Taught by Mr. Lu Genzhang ll$~~ (male roles),

Ms. Zhang Ling ~~!fl' (female roles) , and Mr. Zhang Xigui ~~*:!!! (orchestra)

Translated by Elizabeth Wichmann-Walczak and Hui-Mei Chang

Overall Artistic Supervision b y Madam Shen Xiaomei 57i:'J'ffi

ARTISTIC STAFF Director and Producer: Assisted by : Orchestra Director: Orchestra Coordinator: Scenic Designer: Lighting Designer: Sound and Projection Designer: Costume Coordinators:

Properties Coordinator: Fight Captain: Voice and Diction Coach: Readdressing and Dressing Instructor and Coordinator: Makeup Coordinators:

El izabeth Wichmann-Walczak

Yan Ma and Troy Apostol

Frederick Lau Chri s Lai Hipp

M eg Hanna* Ray Moschuk

Brian Shevelenko Lu Genzhang and

Hannah Schauer Galli Amy Johnson

Devon Izumigawa Sharon R . Garcia Doyle

Hannah Schauer Galli Yining Lin and Yan Ma

*In partial fulfillment of the requirements of the Master of Fine Arts Degree

CAS'l' OF C'llAB AC'l'ID HS (in owl l'l' of appPamntr)

K OU ZHUN (Jll/i) Justin Fragiao The Northern Song Dynasty's Minister of the Right, in charge of civi l and internal affa irs, and an old friend ofthe Yang fami ly

'l'hr SO 0 KING (SONG W A1\IG, ;;R.I.) Xia Gut, Ben Saunders§ King of the Northern Song Dynasty, reigning in its cap ital, Bianliang

YOUNG EU UC'll (XlAO 'l'Al.JlAN, 1J' :k~) (scenes I & 5) Keila Ching Personal attendant of the SONG KING

W A G <t T NG (.I. 5i) Maseeh Ganjalit, Michael Donato§ The Northern Song Dynasty 's Minister of the Left, in charge of martial and external affairs, including the Ministry of War, and a long-term political opponent of the Yang fami ly

WANG LUN (.I.{~) Zachary Rhys Loscalzo Son of Minister Wang Qiang

SH E 'l'AJJUN ("Ma t riart h S hP," ~:k~) Jamy Lee Nahaku'elua Torrest, Sharon R. Garcia Doyle §

Matriarch of the Yang fami ly, once the victorious commander of the Song forces , now retired; grandmother ofYang Zongbao, grandmother-in-law ofMu Guiying, and great grandmother ofYang Jinhua and Yang Wenguang

YANO .H NHUA (.fmii:m) Ruby MacDougallt, Yan Ma § Daughter of Yang Zongbao and Mu Guiying, about 16 years old

y \~H WEJNG ANG (.fQ.J)l:)) S~n· of Yang Zongbao and Mu Guiying, about 15 years old

Amanda Stone

Y.\~G zo1 GB AO (.fm*-1*) .. Yilong Liut , Samantha Iha-Preece §

d general now retired · grandson of She TaiJUn and the semor hvmg male of the Yang A renowne , ' . fami ly, husband ofMu Guiying and father of Yang Jmhua and Yang Wenguang

MU 0 IY.l.t"\TG (fB~~) Yining Lint , Dan Shanks§ (sc. 3, 6) Sami L.A. Akuna (sc. 8, 9) A renowned general, once the victorious c~mmander of the Son~ forces, now retired; wife of Yang Zongbao, granddaughter-in-law of She TaiJUn, mother of Yang Jmhua and Yang Wenguang

MU GUTYlNG'S INN"E H VOfCE (NEIXIN D BAI, p;j,L,,~9l_ B) (sc. 6) Lucia Puente

(L\.'J')jJlillEPEH (ME remAN, fl g') Devon K. Izumigawat, Joy Higashino § The Gatekeeper at Wang Qiang's mansion in the capital city, Bianliang

COMPI£'l'ING WA HJUOHS (HlWU Sill, t~itit±) (sc. 5) Darlene Tomas, Ben Saunderst , Devon K. Izumigawa §

,\FFATRS OFFICEHS (SI-liWU GUAN, *~~) (sc. 5) Holli Holmen, Sharon R. Garcia Doylet, Yilong Liu §

Voitt>s of tlu' CRO\V D (ZIIO 10 HIDN, ~A) (sc. 5; offstage voices) Sharon R. Garcia Doyle, Holli Holmen, Cindy Huynh, Samantha lha-Preece,

Yining Lin, Yilong Liu, Anna K. Thronas Logan bill, Ben Saunders, Dan Shanks, Jamy Lee Nahaku'elua Torres

YANG FAMILY WO .[J;JN GEl\IEH AL" (YAl'lG .ITA .. JIAl"\TG, .fm*~~ ) (sc. 8, 9) Keila Ching, Xia Gu, Anna K. Thronas Logan bill, Jamy Lee Nahaku'elua Torres

SONG WA.LUUORS (SONG B ING, ;;R~) (sc. 8, 9) Sharon R. Garcia Doyle, Joy Higashino, Holli Holmen, Yilong Liu, Yan Mat, Ruby MacDougall§

Xl XlA W A.LUUOI~S (Xl XlA BING, iffi!i~) (sc. 9) Michael Donato§, Justin Fragiao, Maseeh Ganjali t, Cindy Huynh, Samantha lha-Preece, Devon K. lzumigawa,

Vining Lin§, Zachary Rhys Loscalzo, Ben Saunders, Darlene Tomas, Dan Shankst

'l'h<' XT XIA lUNG (Xl X lA WANG, iffi!i.I.) Michael Donato t, Maseeh Ganjali § Leader of the revolt against the Song court and the attack on Song borders

tFebruary 18, 20, 22, 28, March 2 §February 19, 2 1, 23, 27, March I

MELODIC E SEMBLE J ioghu (smaller two-string spike fiddle) Minyue E rhu ("traditional music erhu," larger two-string spike fiddle) Jing E rhu ("Jingju's erhu," medium two-string spike fiddle) Yueqin (moon lute)

Yuanyu Kuan Yuanyu Kuan Naibin Jiang

Edean IGnoshita Padriac Costello Sanxian (three-string lute)

Z hongruan (larger moon lute) Suon a (double reed wind) Dizi (horizontal bamboo flute)

PERCUSSIO ENSEMBLE

Si.gu (conductor): Danpigu (single-skin drum) and Ban (clappers) X1aoluo (small gong) Naobo (cymbals) Daluo (large gong)

Benjamin Fairfield Frederick Lau, Zhang Xigui

Frederick Lau

Oliver Boe, Yejin Park Yang Xi, Froilan Fabro

Bill Rice Ken Fong

SETfiNGS

S('l+l..'\'E o:-."E The Emperor's Sleeping Palace in late spring or early summer, in the middle of the night.

SCl<}N 1<: '1'\\'0 Wang Qiang 's Mansion, on the morning of the next day.

SCK\' t:.; 'fllHEE She Taijun's Sitting Room in the Yang family home, located in the mountainous countryside, in the early morning of the next day.

SCEN}+_j li'Ol ' B On the main roads of Bianliang City, and in front of the original Yang Mansion Tian Buo Fu, now Wang Qiang's Mansion, on the morning of the next day. '

S('fi~l\t:.; 1"1\' t:.; The Song Court's Martial Training Field in Bianliang, on the morning of the same day.

SC 'fi;NJ.; SIX Mu Guiying's Sitting Room in the Yang family home, located in the mountainous countryside, on the afternoon of the next day.

SC ' I~l\'T<} SI<}\'I<}N On the way to the Yang Family Martial Training Field, on the morning of the next day.

S('I<}Nfi~ t.; ICIII'I' The Yang Family Martial Training Field, immediately following the previous scene.

At the battlefront three days later, in the morning.

Our production of the Jingju play Mu Guiying gua shuai- Lady Mu and the Yang Family Generals is based on Master Mei Lanfang's 1959 script and performance text. In Chinese terms it is therefore considered a newly-created play, one set in the historical and legendary past, but created in the modem period. In production , such plays generally use the full range of traditional costwning, makeup, and perfonnance techniques, while their sets often combine modern design approaches with the use of traditional furniture and the need for substantial open spaces. We are following these authentic Jingju performance practices as closely as possible. Our costumes and stage properties are from China, many made especially to fit the student perfom1ers wearing them through the combined efforts of guest artist Lu Genzhang and costume shop manager Hannah Schauer. Schauer, who has studied the process for a number of years, both here and in China, has spent many weeks training our headdressing crew to construct the elaborate headdresses worn by the female characters, created anew each day, piece by piece, on the heads of the performers. Our evocative set is Meg Hanna's original creation, while our stage crew is costumed and appears in full view, in keeping with the very traditional practice ofjianchang stage assistants. The stylized quality of Jingju verse spoken and sung in Chinese often makes it difficult for Chinese audiences to understand, and we have worked hard to recreate that stylized quality in our English version; we are therefore following the Chinese practice of projecting the verse on both sides of the stage. In contemporary performance practice, leading roles may be shared among two or more actor~ in successive scenes of the same performance, and we have two performers successively playmg the role of Mu Guiying. We also have women playing men and vice versa, following the more. than a millenia-old traditional aesthetic practice of as igning roles according to vocal and physical abilities rather than sex. Most importantly, however, every actor and musician in our companY has received in-depth, professional training in preparation for these perfonnances.

This production is the culmination of a six-month Jingju Resident Training Program h ld at the University of Hawai'i from mid-August 2013 through mid-February 2014. During ;is program more th~n 70 st~dents ~ave undergone intensive training in the_ techniques o,f Jingju

ovement, vocalizatiOn, mustctanshtp, makeup, costummg, and stagmg utthzed m today s O:rfonnance. Their teachers have been three master artists from the Jiangsu Province Jingju ~ompany: Mr. Lu Genzhang,_ an award~winning perfom1er of both traditional and modem Jingju; Ms. Zhang Ling, an accomphshed Jmruu performer wtth a wtde range of performance sktlls; and Mr. Zhang Xigui, an accomplished Jingju musician skilled in both melodic and percussion instruments. From the inception of this project three years ago through these culminating performances, overall artistic supervision has been provided by Madam Shen Xiaomei, a personal disciple of the legendary Master Met Lanfang and one of the most respected kllpuna m Jmruu today. The experience of working closely with these master artists has been an exhilarating, expanding, and immensely rewarding one for all of us. We are all extremely grateful to them for sharing their extraordinary skills as creative artists and teachers with such dedication, patience, and generosity, and hope that our efforts to capture and convey a part of their vast and rich art meet with their approval.

Elizabeth Wichmann-Walczak, February 20 14

.\ ~OTE FH0:\1 ~L\DAM SII~J~ (Overall Artistic Supervisor of this Resident Training Program and Production) Jingju arises from the Chinese people- it embodies and can represent us perhaps

more clearly and completely than any other perfonning art. Yet along with generations of other Jingju artists in China, I believe that Jingju is also an art of international value. To achieve the international recognition that has been accorded other originally-ethnic arts such as ballet, opera, and realistic theatre, Jingju like those arts must be studied in depth- and seriously performed- by non-ethnic artists outside of China. I am deeply grateful to the University ofHawai ' i for its decades of pioneering work in this area. And I am confident that through their intensive study and respectful performance of Jingju, these University of Hawai ' i students are both helping to bring Jingju the international acceptance and recognition it deserves, and preparing to contribute meaningfully to the enrichment of multicultural world theatre and music.

Shen Xiaomei, Shanghai, China, February 2014

50 \~JABS OF ASL\N 'rlfli]Nl'H~ AT I<Eii.Wi]DY 'l'llliJATlUJ

Asian theatre has been performed by University Hawai'i sn1dents since 1923. One of the last perfonnances in Farrington Hall in 1963, before the department moved to the new John F. Kennedy Theatre, was the university 's first English-language jingju, translated and directed by EWC student Daniel S.P. Yang. Kennedy Theatre, designed and built with a wide proscenium, side stages, and the capacity to install two hanamichi (elevated walk ways from the stage through the audience) specifically to accommodate Japan's kabuki theatre, raised Asian theatre at U.H. to a new, more professional level. It opened to the public on December 4, 1963, with a stunning production of the kabuki play Benlenlhe Thief, directed Department Chair and kabuki theatre expert Earle Ernst.

In 1969, Japanese and Southeast Asian theatre scholar James R. Brandon joined the faculty, and kabuki production flourished. Brandon formally founded the Asian Theatre Program, and introduced ....._ __ Hawai'i's Engli sh-language kabuki to the U.S. mainland, taking the Scarlet Princess ofEdo to the Kennedy Center in Washington, D.C. and touring a production of Chushingura- The 47 Samurai, which played to sold-out houses at Kennedy Theatre and at venues across the continent in 1979. · Guest directors have brought Indi an theatre to the program, and new faculty positions have further expanded Asian theatre offerings, first in Southeast Asian theatre with the addition of Roger Long in the late 1970s, and then in Chinese theatre with the hiring of Elizabeth Wichmann-Walczak in the early 1980s.

Long's specialty was Indonesian wayang kulit , and he also arranged for training and produced plays representing theatre forn1s from cu ltures and countries throughout Southeast Asia. Wichmann-Walczak has concentrated on her specialty, China'sjingju, working always with her own performance teacher, Shen Xiaomei, and since 1993 with Shen 's student and colleague, Lu Genzhang, and his fellow artists. Since Long and Brandon retired in the early 2000s, their successors have continued and built on their work. Kirstin Pauka has enriched the program with her own specialty, Indonesia's randai. Julie Iezzi has brought regular training and performance of Japan 's f..y ogen and no to the program while continuing the kabuki tradition; like Ernst and Brandon, she works closely with Onoe Kikunobu, also known as Gertrude Tsutsumi, who has helped to stage every kabuki presentation at Kennedy Theatre. To date, Kennedy Theatre has presented 15 kabuki productions, I 0 jingju productions, 4 no and kyogen productions, and 3 Indonesian randai productions, as well as numerous productions of other traditional Asian theatre forms, "fusion" theatre, and modem Asian drama.

Together, University of Hawai ' i Asian theatre faculty and visiting artists from across Asia representing a wide variety of theatre form have created an internationally recognized program that is the largest and most respected center for the study and performance of Asian theatre outside of Asia itself. For the past 50 years, Kennedy Theatre audiences have experienced an extraordinary outpouring of diverse, professionally-trained, student-performed Asian theatre unavailable at any other college or uni vers ity in the world.

PHODU< ~I' IOX STAFF production Stage Manager: Lani McGettigan Winskye* Stage Managers : Sarah Chang, Kamri Lin Rehearsal Stage Manager: Ajax Maharlika Light Console Operator: Adrienne Seet Sound Console Operator: Puna Choo Spotlight Operator: Falcon Aguirre Projectionist: Christopher Mitchell Production Electrician: Ray Moschuk Electricians: Kelsey Peacock and Falcon Aguirre Stage Crew: Jenny Argueta, Kalamanu Endo, Shikara-Marie Fitzsimmons, Benson Leung,

Ajax Maharlika, Jennifer Pa cual , Lucia Puente Trevino, Ridge Vuong Set Construction Crew: Meg Hanna, Jennifer Eccles, Rachael Catherine Smith, Amy Johnson,

Justin Fragiao, Falcon Aguirre, Morgan Wynne, Lane Gray, Daren Crisostomo, Randall Yamaguchi, Joseph Dodd, and students from THEA I 0 I, 221, & 240.

Set Painting Crew: Meg Hanna, Rachael Catherine Smith, Amy Johnson, Jennifer Eccles, Kim Shire

Staff Production Manager: Rick Greaver Staff Technical Director: Gerald Kawaoka Faculty Design Consultants: Joseph D. Dodd, Brian Shevelenko Staff Costume Shop Manager: Hannah Schauer Galli Costume Construction Crew: Kelsie Bartolome, Calli Brennan, Amber Lehua,

Kaitlyn Patrick, Samantha Shields Hairdressing Crew: Calli Brennan, Sharon R. Garcia Doyle, Xia Gu, Stephanie Jones,

Amber Lehua, Kaitlyn Patrick, Samantha Shields, Cheri Vasek Wardrobe Supervisor: Calli Brennan Dressers: Dusty Behner, Iris Ching, Alex Johnson, Karen Malone, Polly Miao

*In partial fulfillment of the requirements of the Master of Fine Arts Degree

FBOI\"'1' OF HOCSJ-lJ S'I\ U 'F Staff Theatre Manager: Marty Myers Box Office Supervisor: Nicole Tessier Box Office Staff: Jenny Lynn Bucao, Heather Kalehuawehe, Stephen Macaspac, Leah O'Gorman Publicity Director: Matthew Kelty Publicity Assistant: Benedict Juliano Web Assistant: Andrew Lee Graphic Designer: Daniel Smith Photographer: Chesley Cannon House Manager: Lani McGettigan Winskye Assistant House Managers: Elise Shuford, Malia Ngaluola members of THEA 200E Department Office Staff: Lori Chun, Tana Marin Department Chair: Paul Mitri Director of Dance: Gregg Lizenbery

Front of House Information For large print programs, Assistive Listening Devices or any other accessibi lity requests please contact a 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 ee a House Manager.

Please silence all pagers, phones and digita l watches. No photography, video recording, or text messagmg is pem1itted. 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