PRODUCTION STAFF

S1:age Management MARY MANCHEGO,· assisted b-y jEFFREY EMBLER, ALBERT HEE

Company Manager MARGARET BusH

Lighting LAURA GARILAO and RoY McGALLIARD, assisted by DANIEL S. P. YANG, MIR MAGSUDUS SALAHEEN, CAROL ANZAI

Costume Maintenance CARROLL RrcE, assisted by PEGGY PoYNTZ

Costume Construction FRANCES ELLISON, assisted by DoRoTHY BLAKE, LouiSE HAMAl

Scene Construction and Painting HELENE SHIRATORI, AMY YoNASHIRo, RrcHARD YoUNG, jEANNETTE ALLYN, FLoRENCE FUJITANI, RoNDA PHILLIPs, CYNTHIA BoYNToN, RosEMARIE ORDONEZ, JoAN YuHAs, IRENE KAME~A, WILLIAM SIEVERS, JoHN LANE, CHRISTOBEL KEALOHA, MILDRED YEE, CAROLYN LEE, ERNEST CocKETT, LoRRAINE SAITO, JumTH BAVERMAN, JosEPH PrscroTTE, DENNIS TANIGUCHI, jANICE YAMASAKI, VIRGINIA MENE­ FEE, LoursE ELSNER, CHARLES BouRNE, VERA STEVENSoN, GEORGE OKAMOTO

Makeup MrR MAGsuous SALAHEEN, assisted by BARBARA BABBS

Properties AMANDA PEcK, assisted b)• MARY MANCHEGO

Sound ARTHUR PARSON

Business Management JoAN LEE, assisted by ANN MIYAMOTO, jACKIE Mrucr, CAROL SoNENSHEIN, RANDY KrM, Juoy Or

Public Relations JoAN LEE, assisted by SHEILA UEDA, DouG KAYA

House Management FRED LEE GALLEGos, assisted by DAVE McCAULEY, HENRY HART, PAT ZANE, VERNON ToM, CLYDE WoNG, Eo GAYAGAS

Ushers PHI DELTA SIGMA, WAKABA KAI, UNIVERSITY YWCA, EQUESTRIANS, HUI LoKAHI

Actors' Representatives ANN MIYAMOTO, WILLIAM KROSKE

Members of the classes in Dramatic Productio11 (Drama 150), Theatre Practice (Drama 200), and Advat~ced Theatre Practice (Drama 600) have assisted in the preparation of this production.

THEATRE GROUP PRODUCTION CHAIRMEN

Elissa Guardino Joan Lee Amanda Peck Fred Gallegos Ann Miyamoto Clifton Chun Arthur Parson Carol Sonenshein Lucie Bentley, Earle Erns,t, Edward Langhans, Donald Swinney, John Dreier, ~rthur Caldeira, Jeffrey Embler, Tom Kanak (Advisers-Directors)

ACKNOWLEDGMENT

The Theatre Group wishes to thank Star Furniture Co. and Brewer's Furniture Co. for the loan of some of the properties used in the production. TONIGHT'S PLAY THE UNIVERSITY OF HAWAll THEATRE GROUP John Gabriel Bork.man, described by Edvard Munch as "the most and powerful winter landscape in Scandinavian art," was Ibsen's last play but one; he wrote it in 1896, at the age of sixty-eight. Its theme, THE DEPARTMENT OF DRAMA AND THEATRE like that of the strange, abbreviated experiment which followed, When present We Dead Awaken, is, in Ibsen's own phrase, 'lthe coldness of the heart." Other favorite Ibsen themes are to be found in the. play: Henril~ Ibsen's that of young people rebelling against the domination of their parents, ~ which we find also, for example, in The Wild Duck. and in Ghosts; JOHN GABRIEL BORKMAN tr the danger of a loveless marriage, referred to again in Love's Comedy, translated by m. The Pillars of Society, A Doll's House, The Lady From the Sea, and CD Hedda Gabler. The theme of the man who sacrifices the happiness Michael Meyer ~ ... of his wife or the woman he loves for the saket of a cause or a personal m. ambition was another to which Ibsen constantly returned· (Brand, CAST An Enemy of the People, The Master Builder, and When We Dead ~ Awaken). Ibsen's own marriage, though not unhappy, seems to have John Gabriel Borkman, sometime banker ALFRED w. WHEELER 0 been more or. less loveless; and he was obsessed by the feeling that, in Mrs. Gunhild Borkman, his wife GEORGEANNA SINGER choosing the life of an author, he had sacrificed his chances of happiness Erhart Borkman, their son, a student jEFFREY EMBLER ::c and, to some extent, those of his wife. Miss Ella Rentheim, Mrs. Borkman's twin sister SNEIH DASS z Formally the last act of John Gabriel Bork.man . marks a return to­ wards the kind of epic-poetic-symbolic drama which Ibsen had per­ Mrs. Fanny Wilton ELISSA GuARDINO fected to a high degree in Brand and Peer Gynt thirty years before. Vilhelm Foldal, supernumerary clerk 0 After completing Peer Gynt in 18 67 he had deliberately abandoned in a Government Office WALTER PoYNTZ poetry as a dramatic medium; in a letter to Edmund Gosse, dated 15 > Frida Foldan, his daughter AMANDA PEcK January 1874 explaining why he had chosen to write Emperor and tJj Galilean in prose, he said: "I wish to produce on the reader the im­ Mrs. Borkman's maid BARBARA BABBS ~ pression that what he was reading was something that had actually ~ happened .... We are no longer living in the age of Shakespeare.... ~ trt What I desired to depict was human beings, and therefore I would not r let them talk in 'the language of the gods.' " He had done his best to The action takes place during a winter evening in the Rentheim remain faithful to this resolve and, although there are moments in family mansion outside the Norwegian capital. tJj every play he wrote in which we sense the buried river beneath the surface, it is not until the final act of John Gabriel Bork.man that we Act I: Mrs. Borkman's sitting-room. 0 again find the recorder of realistic dialogue being edged aside by the symbolist and the poet. Act II: The drawing-room upstairs. 1\J John Gabriel Bork.man was first performed on 10 January 1897, ~ when the Finnish and Swedish theatres in Helsinki staged it simul­ INTERMISSION taneously. Londoners had to wait until 3 May before they could ~ see the play. On that afternoon it was performed at the Strand Theatre Act III: Mrs. Borkman's sitting-room. > by the association known as the New Century Theatre. Act IV: The gate to the courtyard of the estate; and john Gabriel Bork.man was first performed in America on 18 z a part of the forest. November 1897, when it was produced by the Criterion Independent ".!l =::> Theatre in New York. In the same month Lugne-Poe, a great Ibsen >?:I enthusiast, staged the play at his Theatre de L'Oeuvre in Paris. Prague, Designed and Directed by ToM KARTAK nz?:I~ ,...:J:G) Vienna, and Bologna soon followed suit, and by 1909 John Gabriel ~N...-{ Bork.man had reached even Tokyo. Technical Direction by JoHN DREIER "' ::-z' 0 Costumes by FRANCES ELLISON The above was taken- part of it in direct quote-from the introduction to the r~ 0t'"' new translation of John Gabriel Barkman by Michael Meyer. Production Management by ARTHUR CALDEIRA t'"'