8})RODUCTION STAFF ~ ' ==:1 The University of Hawan at Minoa STAGE MANAGER ...... Elizabeth Gutermuth College of Arts and Humanities ASSISTANT STAGE MANAGER ...... Lynn Mayekawa Department of Theatre and Dance, HAIRDRESSING CREW ...... David Mauricio, Margaret McKe3t Department of Music, and Bonnie Kim, Lois Oda, Melissa Richardson, Hannah Schauer, .._. School of Hawaiian, Asian, and Pacific Studies, Albert Ueligitone, Cassandra Wormser Center for Chinese Studies LIGHT BOARD OPERATOR ...... Alan Macaibay PROJECTIONIST ...... Julia Gilman STAGE CREW ...... •...... Jennifer A. Gongora, Suin Kim, Pui Yee Alisa Lee, Michael Ng, Taaren Samuelson STAFF SLIDE ENG INEER ...... Gerald R. Kawaoka MAKEUP CREW ...... David Mauricio, Margaret McKea, Melissa Richardson The classic Beijing Opera STAFF COSTUME SHOP MANAGER ...... Linda Yara as taught to the actors and musicians by COSTUME CONSTRUCTION CREW ...... Haideh Jamshidian, Madame Shen Xiaomei Lisa Ann M. Omoto, Hannah Schauer, Alexander Torres Mr. Shen Fuqing SET CONSTRUCTION CREW ...... David Minkoff, Joshua Thigpen, Mt. Lu Genzhang, Chet Tony, Kurt Wurmli Master perf()fmers from the WARDROBE CREW ...... Haideh Jamshidian, Sadie Yi, JtanosuPr oVInce Bel)mg Opera Company Naomi Gallant, Mariko Kamizato, Henry Tang, Dennis Young INTERPRETERS ...... Lee Chen, Megan Evans, Melissa Richardson, Carlos Thelin, Ju-Hua Wei BOX OFFICE SUPERVISORS ...... Matthew Chang, Jennifer Kido BOX OFFICE STAFF ...... Eric Burns, Esther L lzuo, Rachel Lancaster, Bernadette Trevias STAFF THEATRE MANAGER ...... Marty Myers HOUSE MANAGER AND PROGRAM EDITOR ... Betty Burdick ~ ...... , FRONT OF HOUSE STAFF ...... Nicole Both, Gregg Sonmore, Eli2abeth Wfehmann--Walclak 200E Students AliiiiiiiiJ PUBLICITY DIRECTOR ...... Maureen Freehill JulieA, l ~and M$0anEV

VISIT THE KENNEDY THEATRE WEBSITE --.. AT WWW2.HAWAII.EDU/-THEATRE crfJAST February 6, 8, 13, 15, 19, 21 ~/RECTOR'S NOTES (in order of appearance} iilliiiiiiliiiilliiiiiiliii.l We are following traditional Beijing opera performance practices as closely as possible. Our costumes are from qhina, provided by the Jiangsu FOURTH SON, Yang Yanhui, Act I ...... R. Kevin Doyle Province.. Beijing Opera Company, and our crew has trained for many hours FIRST YAHUAN ...... Maureen Freehill to construct the elaborate headdresses worn by the female characters. SECOND YAHUAN ...... Emily Beth Grush Scenery has been kept to a minimum and, following standard contempo­ PRINCESS TIEJING, Act I ...... Megan Evans rary practice in China, is rearranged during the action of the play behind a FEMALE OFFICIAL ...... Joyce Lu* silk scene curtain. The stylized quality of Beijing opera verse recited and EMPRESS ...... Brandi McDonald sung in Chinese often makes it difficult for Chinese audiences to under­ FOURTH SON, Yang Yanhui, Act 11 .••...•...... Julie A. Iezzi stand; in our production, although Beijing opera is being spoken. recited, PRINCESS TIEJING, Act 11 ...... Lee Chen and sung in English, we have tried to preserve that stylized quality and are LIAO GROOM ...... Joshua Thigpen therefore following the Chinese practice of projecting the verse on both FIRST LIAO OFFICIAL ...... Matthew Chang sides of the stage. While our leading actors do not change with every SECOND LIAO OFFICIAL ...... Matthew J. Daly scene, we do have different performers playing the Princess and Silang in YANG ZONGBAO ...... Ju-Hua Wei the first and second acts. In several instances, we also have women playing SIXTH SON, Yang Yanzhao ...... Carlos Thelin men, following the traditional aesthetic of assigning roles according to YANG BAJIE ...... Kim Thomson vocal and physical abilities rather than gender. Most importantly, every YANG JIUMEI ...... Nicole Tessier actor and musician in our company has received intensive, professional MATRIARCH YANG ...... Jodie Yamada training in preparation for these performances. This production is the culmination of a six-month Beijing Opera YANG SISAO ...... Taurie Kinoshita Resident Training Program held at the University of Hawai'i from August ENSEMBLE ...... Steven C. Brown, 1997 through January 1998. During this program more than sixty students Edward J. Dyer, Maureen Freehill, James Hesla, Monika Lilleike, have undergone intensive training in the techniques of Beijing opera Judy Liu, Andrew Utech, Jill Rolston*, Ju-Hua Wei movement, song, speech, musicianship, makeup, costuming, and staging. Their teachers have been three master performers from the Jiangsu 'T3HARACT£R ~ESCRIPTIONS Province Beijing Opera company: Madame Shen Xiaomei, a personal YANG 'FOURTH SON' (silang), Yang Yanhui- the eldest living son of the disciple of the legendary Master Mei Lanfang and one of the most re­ Yang family, defenders of the collapsing Chinese-ruled Song dynasty. spected creative artists in Beijing opera today; Mr. Shen Fuqlng, a re­ Also known as Mu Yi. Consort to Princess Tiejing. nowned Beijing opera musician and composer; and Mr. Lu Genzhang, an award-winning performer of both traditional and modern Beijing opera. YAHUAN - maids to Princess Tiejing. The experience of working closely with these master performers has PRINCESS TIEJING -princess of the rising non-Chinese-ruled Liao been an exhilarating, expanding, and immensely rewarding one for all of kingdom and wife of Yang Yanhui. us. It has been very special for me personally, as well. Madam Shen has EMPRESS- ruler of the non-Chinese-ruled Liao kingdom and mother of been my own Beijing opera performance teacher since 1979; having her Princess Tiejing. and Mr. Shen here in Hawaii for a third time has been a delight. It has been LIAO GROOM - attendant to Yang Yanhui. a real pleasure working with Mr. Lu outside of China for the second time, FIRST & SECOND LIAO OFFICIALS -officials in charge of the pass between especially on this play. When Silang Tan Mu returned to the stage in 1979, the Liao-ruled and Chinese-ruled areas. he was the young performer chosen by the company as the first to be YANG ZONGBAO - nephew of Yang Yanhui. taught the leading role by the elderly masters, and I was able to watch his YANG 'SIXTH SON' (liulang), Yang Yanzhao -younger brother of Yang training process and culminating performances. It has been a joy watching Yanhui. him pass this knowledge on to UHM students. I am extremely grateful to all three teachers, and immensely pleased that like myself, the actors, MATRIARCH YANG -matriarch of the Yang family. musicians, and crew have grown to care for them deeply. We would like to YANG BAJIE & YANG JIUMEI -younger sisters of Yang Yanhui. dedicate these performances to Madame Shen, Mr. Shen, and Mr. Lu, and YANG SISAO -first wife of Yang Yanhui and daughter-in-law of hope that our efforts to capture and convey a part of their vast and rich art Matriarch Yang. meet with their approval.

Elizabeth Wichmann-Walczak *in partial fulfillment of a Master of Fine Arts Degree in Asian Performance @)VOTES ON THIS PLAY crg.AST February 5, 7, 12, 14, .:18, 20, 22 This play is based on the popular sixteenth century historical novel (in order of appearance) ==:.1 Yang Family Generals (Yang Jla Jiang Yan Yl). It is set in the late tenth century, when the Chinese-ruled Song dynasty was at war with the Liao FOURTH SON, Yang Yanhui, Act I ...... Andrew Utech kingdom to its north. Prior to the action of the play, the Liao ruler tricked FIRST YAHUAN ...... Megan Evans the Song emperor into attending a false truce meeting held in Shatan, in a SECOND YAHUAN ...... lee Chen plot to capture him. The plot was discovered by General Yang, who with his PRINCESS TIEJING, Act I ...... Maureen Freehill eight sons was able to save the Song emperor and kill the Uao ruler. FEMALE OFFICIAL ...... Brandi McDonald However, in the fierce fighting that ensued, General Yang and his three EMPRESS ...... Joyce lu* eldest sons were killed, and the silang, or fourth son, was taken captive. FOURTH SON, Yang Yanhui, Act 11 ...... Monika lilleike This fourth son hid his true identity from his captors. He so impressed the PRINCESS TIEJING, Act II ...... Emily Beth Grush liao Empress Dowager that she gave him her daughter in marriage, not LIAO GROOM ...... Joshua Thigpen knowing that he had actually helped to kill her husband. The play opens fifteen years later. The fourth son and the princess are FIRST LIAO OFFICIAL ...... " ...... Edward J. Dyer happily married and have a son. However, the fourth son has just learned SECOND LIAO OFFICIAL ...... James Hesla that the Song army has come north to mount an attack against the Uao, YANG ZONGBAO ...... Ju-Hua Wei and his mother and sixth brother are therefore camped nearby. Patriotism, SIXTH SON, Yang Yanzhao ...... Steven C. Brown Confucian filial piety, and a genuine love of his mother and Chinese family YANG BAJIE ...... Kim Thomson draw him to visit her-- the Chinese title of the play, Silang Tan Mu, literally YANG JIUMEI ...... Nicole Tessier means 1he fourth son visits his mother.' At the same time, however, MATRIARCH YANG ...... Jill Rolston* conflicting personal values and a real love of his Liao wife and son drive him YANG SISAO ...... Judy liu back to his adopted Liao home. ENSEMBLE ...... Carlos Thelin, Several versions of Silang Tan Mu first evolved in regional theatre. In the 1880s the actor Tan Xinpei created this Beijing opera version, which Matthew J. Daly, Matthew Chang, R. Kevin Doyle, Julie A. Iezzi, quickly became a national hit. For most of this century this play has been Taurie Kinoshita, Jodie Yamada, Ju-Hua Wei, Megan Evans highly controversial. It was banned many times between 1911 and 1979 and has come under attack in China as recently as the early 1990s. It questions ~US/ClANS the relative value of parents and children within the Confucian system; it Percussion Ensemble: places romantic love over duty; and it promotes a very modern and personal Conductor (danpigu: single-skin drum; individualism over all other values. including patriotism. ban: clapper and tanggu: 'hall' drum) ...... Daniel Cole, This controversial subject matter, however, is combined with playful Chris Kang-Qiang lai Hipp comedy and presented in a highly theatrical context. Created during the Daluo (large gong) ...... Aya Sakuma, Jiin Y. Yapp final, most decadent years of the Oing dynasty (ca. 1880), the play makes Naobo (cymbals) ...... Daniel B. Hale use of exaggerated versions of the costumes and headdresses of the Manchu court. For instance, the Liao court ladies wear the unique Manchu Xiaoluo (small gong) ...... Claudia Chang, platform shoes and enormous flower-bedecked headdresses, and the men Chris Kang-Oiang Lai Hipp are adorned with white fur. Similarly, virtuoso displays of performance skills General Percussion ...... Stephen Fleming --song, speech, and 'dance-acting' -- are incorporated for the actors playing­ all of the major characters. Perhaps to further direct the attention of Melodic Ensemble: censors towards the performance and away from the content, twentieth Jinghu (the smaller two-string spike-fiddle) ..... Daniel Cole, Fuqing Shen, century performance practice has added the tradition of different actors Ju-Hua Wei, Chao-Jung Wu playing the leading roles In each major scene. Erhu (the larger two-string spike-fiddle) ...... Wen-Jing Tang, Chao-Jung Wu ~~~~-- Sanxian (three-string lute) ...... Chi-Chung Leung, Large print programs, program Information· on audio cassette or alternative forms ol Fuqing Shen program Information may be obtained from the House Manager. Yueqin (moon lute) ...... Claudia Chang, Emergency Exits are located on both sides of the auditorium one third of the way up from the stage. Once you have exited through these doors, please follow the emergency exit Kenneth Lawrence, signs to leave the building. Jiin Y. Yapp Recording devices, cameras, food and drink are not allowed inside the auditorium. Zhongruan (larger moon lute) ...... 1-Hsin Chiang, Fuqing 'Shen, Cellular phones and beepers must be turned off when inside the auditorium. Chao-Jung Wu Lost and Found is located at the Box Office. Suona (double-reed wind instrument) ...... Stephen Fleming Printed on recycled paper ®