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Romeo & Juliet Program

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Romeo & Juliet Program OCTOBER 12, 14, & 16, 2018 — At the Blaisdell Concert Hall — WELCOME TO R0MEO & JULIET Thank you for joining us for this first production in our 2018-2019 season. It is very good to be back in the theatre, practicing our craft and seeing all of you, our extended family. When we are in production we are at our absolute best...bringing the highest standard of artistic excellence to our Islands. We gather artists, designers, and directors from all over the world AL and bring them to our shores and create something special, something unique for this stage, something wondrous for Hawaii. We are pleased to begin with a new production of Romeo & Juliet. A timeless story that continues to be a part our culture because of the themes that resonate in every generation. For me, as I think of the story within the larger context of this moment in our history, I continue to gravitate to the idea of what is lost when we blindly choose a side. The fate of our young lovers is cast generations prior to their meeting. Their two families hate blindly, having lost sight of the original offense, they literally lose their future by holding on to an injured past. That lesson is sadly played out the world over today, and certainly is the cautionary tale from the Bard’s original OH source material. I have been helping HOT in this leadership transition for nearly six months now. It has been a great honor to return to my old office and work with the incredible people who make everything you are seeing and hearing tonight possible. From the tireless staff to the stalwart board, from the gracious volunteers to our host housers, from our backstage crew to our orchestra, it literally takes hundreds of people to get a show to stage. I have encountered in this “second time around” an even deeper commitment to bringing art to life in our community. The people at HOT are driven to bring our unique art form amid these challenging times, and I would be remiss in not acknowledging that fact, but they are also hopeful times. We have made a lot of progress in six months in finding a new, creative course to a healthier state for this A important cultural treasure. We have also, I hope, made it clear that you are a part of our ohana & and we truly appreciate your presence, your support, and your thoughts about our future. Our door is always open, and we would love for you to get to know us better. AGAIN...WELCOME AND ENJOY! Karen Tiller Acting General Director Aria | Romeo & Juliet 3 AN ARTFUL LIFE From artist to art dealer, Kelly Sueda strikes a perfect balance. KELLY SUEDA ARTIST / ART DEALER FAVORITE ARTIST: Richard Diebenkorn. An artist’s artist. FAVORITE POSSESSION: My 1950s Ossipoff house. FAVORITE COCKTAIL: Anything with lime, mint or grapefruit. FAVORITE DESTINATIONS: New York and Naoshima Island, Japan. WINDOW OR AISLE: Aisle. Just in case you have to go. GUILTY PLEASURE: Binge watching a mini-series. BUCKET LIST GOAL: Golfing at Augusta National. I COLLECT: Art. Anything that inspires me, engages me, or challenges me. WHY THE PRIVATE BANK? At the end of the day, I feel so taken care of and that someone is looking out for me. It’s a really great feeling. boh.com/kellysueda The individuals and/or owners of any other trademarks, logos, brands or other designations or origin mentioned herein did not sponsor, approve or endorse this advertisement, or the views expressed herein. Member FDIC ©2018 Bank of Hawaii 4 Hawaii Opera Theatre ROMEO& JULIET Composed by Charles Gounod Libretto by Jules Barbier and Michel Carré, based on the tragedy by William Shakespeare. CAST ARTISTIC TEAM In order of vocal appearance CARLOS ENRIQUE SANTELLI EMMANUEL PLASSON Tybalt Conductor JORDAN WEATHERSTON PITTS^ BRAD DALTON Count Paris Director LEON WILLIAMS STEVEN C. KEMP Lord Capulet Scenery Designer AMANDA WOODBURY CHRISTOPHER OSTROM Juliet Lighting Designer BRIAN JAMES MYER HELEN RODGERS Mercutio Costume Designer DEREK TAYLOR SUE SITTKO SCHAEFER Romeo Wig & Makeup Designer BLYTHE KELSEY* TONY PISCULLI Gertrude Fight Director SAMUEL CHIBA^ KATHRYN MARIKO LEE Gregorio Assistant Fight Director JAMIE OFFENBACH MAIKA‘I NASH Friar Laurent Répétiteur ALYSSA MARTIN NOLA A. NĀHULU Stephano Chorus Director TAKAMASA YAMAMURA* KIMBERLEY S. PRESCOTT Benvolio Stage Manager ERIK D. HAINES Duke of Verona *Mae Z. Orvis Opera Studio Member ^Young Artist Program member Aria | Romeo & Juliet 5 HOT CHORUS SOPRANO ALTO TENOR BASS Sienna Achong* Bonnie Chock Burke Mark Ah Yo Steven Buchthal Mckell Fechser* Sarah Lambert Connelly* Makana Arce* Melvin K. Chang Mālia Kā‘ai-Barrett Rachel Hurtado Dunbar* Dan Barnett Geoffrey Kahapea, Jr. Sarah Knight* Athena Iokepa Stephen M. Foster Les Loo Andrea Maciel* Jan T. Kamiya* Joe Herzog Stelio Kari Magaruh* Diane Sunada Koshi Darryl Higa Douglas K. Stiles Catherine Morris* Pavlina Nakalenova* Sage Hirasuna Nicholas Yos Kess O’Halloran Chris Walsh Eriq James Angeliki Scordilis Missie Wasielewski Ian McMillan* Victoria Shiroma Dean Zane Maarit Tiirikainen *Mae Z. Orvis Opera Studio Member SUPERNUMERARIES LORD MONTAGUE Randy Encarnacion HOT ORCHESTRA VIOLIN I CELLO HORN ORCHESTRA LIBRARIAN Ignace Jang Nancy Masaki Anna Lenhart Kim Kiyabu Claire Sakai Hazzard Pauline Bai Colton Hironaka Judy Barrett Joshua Nakazawa Eric Kop ORCHESTRA CONTRACTOR Yuseon Nam Karen Fujimoto Marie Lickwar Daniel Houglum Maile Reeves Tugce Bryant Mio Unosawa-Herzog Anna Callner TRUMPET Nancy Shoop-Wu Zach Silberschlag Rachel Saul Schifino BASS Casey Tamanaha Malcolm Armstrong VIOLIN II John Gallagher TROMBONE Wu Hung Matthew Love Jason Byerlotzer Darel Stark Hayden Joyce Luke Reed Timothy Leong Rudi Hoehn Duane White FLUTE Ki Won Kim Claire Starz Butin TIMPANI Dan Padilla Brooke Bart Jordan Schifino Patrick Lin OBOE PERCUSSION VIOLA Michelle Feng Chris Cabrera Mark Butin J. Scott Janusch Steven Flanter HARP Jean-Michel Jacquon CLARINET Constance Uejio Sandra Wong James F. Moffitt Colin Belisle Norman Foster ORGAN Lynn Tamayoshi Constance Uejio BASSOON Tom Morrison Philip Gottling III 6 Hawaii Opera Theatre PRODUCTION STAFF DIRECTOR OF PRODUCTION ASSISTANT TO WIG AND PROPS MASTER RUNNING CREW Robert F. Reynolds MAKEUP DESIGNER Gen Boyer I.A.T.S.E. Local 665 Kacy Todd SCENERY AND PROPERTIES SOUND AND VIDEO SECURITY DESIGNER STAGE MANAGER Charles Roberts, Skye Yee Kiekie Productions Steven C. Kemp Kimberley S. Prescott WARDROBE MISTRESS BACKSTAGE SECURITY LIGHTING DESIGNER ASSISTANT STAGE MANAGER Pam Gossage COORDINATOR Christopher Ostrom Shellie Stone Miu Lan Oman SCENIC ARTIST COSTUME DIRECTOR 2ND ASSISTANT STAGE M. Emi Yabuta SUPERTITLES OPERATOR Helen E. Rodgers MANAGER AND ASSISTANT Chiori Shively DIRECTOR SHOP CREW ASSISTANT COSTUMER Satsu Holmes Al Omo Margaret Lazenby Ryan Keone Seabury MASTER CARPENTER Dado Santos WIG AND MAKEUP DESIGNER Al Omo Ben Shafer Sue Sittko Schaefer Ryan Seabury, Jr. MASTER ELECTRICIAN Kim Shipton ASSISTANT TO WIG AND Sandy Sandelin Alema Ryder MAKEUP DESIGNER B.Wayne Kekuewa Juan S. Nuñez III MASTER FLYMAN Alema Ryder I.A.T.S.E. UNION STEWARD Al Omo Local 665 PRODUCTION SPONSORS SUPERTITLES LANAI LECTURES HOSPITALITY TRANSPORTATION Adrienne Wing First Insurance Bank of Hawaii Pasha Hawaii & Clifford K.H. Halekulani Lau Honolulu Club Aria | Romeo & Juliet 7 In paradise, bad still happens. That’s why First Insurance Company of Hawaii provides quality protection for your home, auto and business. We offer great coverage and rates, and back our policies with local knowledge and effi cient claims service. For a free quote, call your independent agent. fi coh.com 8 Hawaii Opera Theatre DIRECTOR'S NOTES Like many of his plays, Shakespeare adrenaline of violent hatred or on the to particularize it but to leave it as adapted Romeo & Juliet from other ecstasy of boundless love. general as Shakespeare intended. We source material, but he condensed This makes the play perfect source also decided to present the interludes the events of the story from a material for opera, perhaps the as staged events in which the action period of nine months down to just most visceral of all art forms, and is moved forward by the very chorus a few days and packed it with even Gounod was passionately possessed who are reliving the events of the more dramatic scenes and violent by creative inspiration as he wrote story. The pace is brisk. episodes. In the prologue to the the music. He often walked around, play, the chorus invites us to witness his head rapturously filled with the I think that by the end of the opera, the “two hours’ traffic of our stage” music for entire scenes that he had what we are reminded of is the which is certainly a short running not even written down on paper yet. complexity inherent in all human time for the events of a five-act play. It was as if he channeled the total interactions and how unaware we “Keep it moving,” Shakespeare seems submission to love and desire that can be of the truth that lies before us, to be telling his actors, “These are not Romeo and Juliet experience in the just as Tybalt is so fatefully unaware affairs of the head, but entirely of the play. As audiences, we are mostly that the man he desires to kill has heart.” familiar with Gounod’s Faust but I just married his own cousin and would argue that this opera is one of joined their families together in a When Romeo says, “I stand on equivalent brilliance. We are so lucky bond of love. We long for the lovers sudden haste,” Friar Lawrence to have it in the repertoire. to be together and we desire a world answers, “They stumble that run in which such love can thrive. fast.” In fact, “haste” is essential For this production, we decided to to the pace of the events, which create a world that resembles our This is my second production with relentlessly pile up on each other, modern world in order to explore Hawaii Opera Theatre and I am so fueled by the brashness of youth, the resonance of the story to our proud to be a part of the artistic which blooms so brightly before own lives.
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