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The Development of Hawaii's Kumu Kahua Theatre and Its THE DEVELOPMENT OF HAWAII’S KUMU KAHUA THEATRE AND ITS CORE REPERTORY: THE “LOCAL” PLAYS OF SAKAMOTO, LUM AND KNEUBUHL A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAW ATI IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THEATRE MAY 2002 By Justina T. Mattos Dissertation Committee: W. Dermis Carroll, Chairperson Dennis Ogawa Peggy Hunt Markus Wessendorf Juli Burk Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. We certify that we have read this dissertation and that, in our opinion, it is satisfactory in scope and quality as a dissertation for the degree of Doctor of Philosophy in Theatre Arts. DISSERTATION COMMITTEE Chairperson ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. © Copyright 2002 by Justina T. Mattos iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Kumu Kahua Theatre is a non-profit theatre company in Honolulu which has been in existence since 1971. It is the only theatre in the world dedicated to producing plays which speak particularly to the multi-ethnic audiences of Hawai‘i. Over the past thirty years Hawaii’s “local” playwrights have benefited from a working relationship with Kumu Kahua Theatre, which has served as an original stage on which they could practice and refine their craft. This dissertation defines what is meant by “local” theatre, and includes a brief historical overview of Haw aii’s socio-political climate and theatrical activities before 1971 to provide a foundation from which to discuss Kumu Kahua Theatre and Hawaii’s contemporary “local” playwrights. The activities of Kumu Kahua Theatre from 1971 through 1999 are described, focusing upon the productions of significant “local” plays during this period, and the role of Kumu Kahua Theatre in the growth and refinement of “local” drama. Playwrights mentioned here include: Aldyth Morris, Lynette Amano, James Grant Benton, Jon Shirota, Milton Murayama, Brian Clark, Peter Chariot, John Kneubuhl, Daniel Therriault, and Alani Apio. Three playwrights, Edward Sakamoto, Darrell H.Y. Lum and Victoria Nalani Kneubuhl, stand out for their contributions to “local” theatre, and their plays have comprised the core repertory of Kumu Kahua Theatre. Chapters three, four and five analyze the “local” plays for adults by these writers. The conclusion compares and contrasts these three playwrights, summarizing the overall developments in “local” theatre and the role of Kumu Kahua Theatre in Hawaii’s “local” drama tradition. Tammy Haili‘opua Baker’s Hawaiian language theatre troupe, Ka Halau Hanakeaka, is briefly iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. discussed in reference to the changing use of language in Hawaii’s “local” drama and as a possible indication of what we might expect more of in the future. Four appendices are provided. Appendix A lists all plays produced by Kumu Kahua Theatre, including the names of playwrights, directors, venues, and production dates. Appendix B provides a season-by-season listing of Kumu Kahua Board Members. Appendix C summarizes the box-office reports for each production from which these figures were available. Appendix D lists Hawaii’s “local” playwrights and “local” plays. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS A b stra ct .......................................................................................................................... iv Chapter 1: Introduction....................................................................................... I Purpose of Study......................................................................................... 1 Value of this Study ..................................................................................... 3 Background and Scholarly Sources .......................................................... 5 Terminology and Definitions ................................................................... 8 Methodology and Structure of Dissertation............................................. 16 Scope and L im itations................................................................................ 21 Objectivity ............................................................................................ 21 Audience Attendance...................................................................... 22 Plays Beyond the Scope of this Dissertation................................ 22 Socio-Historical Context in Hawai‘i Before 1970 ................................... 23 Theatre in Hawai'i Before 1970 .............................................................. 30 Chapter 2: A Narrative Histoiy of Kumu Kahua Theatre and its “Local” Plays 40 Establishing an Identity (1971-1981) ...................................................... 40 Searching for a Home (1981-1993) ........................................................ 55 Fulfilling Long-Term Goals (1993-1999) ............................................... 91 Chapter 3: Edward Sakamoto............................................................................. 124 Our Hearts Were Touched With Fire...................................................... 125 In the Alley....................................................................................................... 129 A ‘ala P ark....................................................................................................... 133 Stew R ic e .......................................................................................................... 139 The Taste of Kona Coffee .......................................................................... 145 Manoa Valley ................................................................................................. 151 The Life of the Land..................................................................................... 159 Aloha Las Vegas ............................................................................................ 166 Chapter 4: Darrell H.Y. Lum............................................................................ 174 Oranges Are Lucky....................................................................................... 175 My Home Is Down The Street ................................................................... 181 A Little Bit Like You.................................................................................... 186 Fighting Fire................................................................................................... 194 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 5: Victoria Nalani Kneubuhl................................................................. 202 E m m a le h u a...................................................................................................... 204 K a ‘iu la n i........................................................................................................... 214 The Conversion of Ka‘ahumanu............................................................... 223 J a n u a ry, 1893................................................................................................. 229 Ola Na. Iwi....................................................................................................... 239 Chapter 6: Conclusion......................................................................................... 250 Comparisons Between Sakamoto, Lum and Kneubuhl ........................... 250 Kumu Kahua’s Contribution to the Development of “Local” Drama 255 Kumu Kahua Theatre and the Study of Inter-Ethnic Relations................. 257 Appendix A: Kumu Kahua Theatre Production History................................... 259 Appendix B: Kumu Kahua Board Members...................................................... 287 Appendix C: Kumu Kahua Theatre Box Office Summaries............................. 299 Appendix D: Local Playwrights and Local Plays............................................. 302 Bibliography .................................................................................................................. 356 B o o k s ................................................................................................................... 356 Dissertations and Theses........................................................................... 360 Scholarly Articles ........................................................................................ 360 Published Plays ............................................................................................. 364 Unpublished Scripts..................................................................................... 366 Newspapers, Magazines and Newsletters............................................... 367 Production Programs, Posters and Publicity Materials ............................ 377 Box Office Records .................................................................................... 381 State Foundation on Culture and the Arts Grant Applications and Reports.. 386 In terv iew s.......................................................................................................... 387 Videotapes and Television Programs....................................................... 387 Informational Computer Websites..........................................................
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