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Hold These Truths

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Hold These Truths Hold These MAR Truths 18 APR By Jeanne Sakata Directed by Desdemona Chiang 19 Welcome to Hold These Truths. Jeanne Sakata first sent me her script about Gordon Hirabayashi in 2007. It was then called Dawn’s Light. In high school, I studied the Japanese internment during World War II, but I never heard of Gordon. By neglect or intent, his impact on our constitutional history sadly eludes many a textbook. I was stunned by Jeanne’s play, the poignancy of Gordon’s story, and eager to share it with the world. At the time, I co-ran Epic Theatre Ensemble in New York City. Epic supported the development of Jeanne’s script and ultimately produced the play’s Off-Broadway premiere. That production has now toured all over the United States. For People’s Light, we're excited to create an entirely new production of Hold These Truths, the first to be directed and designed by an entirely Asian American creative team. Jeanne joined us for the start of rehearsals and made some further revisions to her script. This election year is quite a time to revisit Gordon’s experiences. To encounter his patriotism, optimism, and resilience despite the injustices he confronted. To do so in our part of the world, so rich in Quaker principles and Constitutional history, feels all the more relevant and, hopefully, healing. Zak Berkman, Producing Director Thoughts from the Playwright When I first heard of Gordon Hirabayashi in the late 1990s, I was enthralled – and shocked. Shocked that I had never heard of his story before. Born and raised in a thriving Japanese American community in the Bay Area of California, I had studied Japanese American history as a college student and later became actively involved in the Asian American community as a theater artist. And yet, Gordon Hirabayashi’s fascinating story was entirely unknown to me. Gordon was only a 24-year old college student during WWII, when he defied and legally challenged US government orders to mass incarcerate all people of Japanese ancestry on the West Coast, including thousands of American citizens – Americans like my own father and aunts and uncles and cousins, who, as children and teenagers, had been forcibly removed from their homes and schools, and penned up behind barbed wire. My family never spoke about those years, as it was such a traumatic experience. But as I grew up and became fully aware of what had happened to them, I absorbed that pain as well. So when I discovered Gordon’s story – so full of heartbreak, but also his irrepressible humor and zest for life – it was a life-changing experience. I knew I had to try to bring his story to the American stage, not just as an act of healing for myself, my family, and my community, but also to inspire and give hope to any American who has been denied equal treatment under the law promised by our Constitution because of factors such as race, gender, or sexual orientation, and who must battle constantly to make those promises a living reality. The more I researched the story, the more intrigued I became. I was fascinated by this unique, riveting and deeply American story, which I found both timely in its political significance, yet timeless in its spiritual themes. Here was an unassuming Japanese American Quaker college student, who took the words of the Constitution deeply to heart and attempted to reconcile its pronouncement that “all men are created equal” with the ugly reality of his country’s betrayal during WWII. And who, in so doing, embarked on a journey of spiritual enlightenment, full of unpredictable twists and turns as tragic and devastating as they were humorous and uplifting. I hope people will leave the play with a deeper, more personal sense of what the true meanings of patriotism and citizenship can be. I hope they will leave with a heightened recognition that our country’s painful and torturous struggle to make the words of the Constitution a living reality depends on each of us making the Constitution “a personal matter.” But I also hope that people will come away quietly inspired by Gordon’s story, with a sense of what true inner liberation of the spirit means – and with a renewed awareness that great leaps toward political liberation and spiritual enlightenment are made up of a thousand smaller steps of everyday individuals who simply and irrevocably decide to take a step in the right direction. Gordon’s story is a vitally important American one that all of us can draw hope from, and his tenacious quest for freedom echoes those of all who hunger and fight for justice – who “hold the truths” of the Constitution – and refuse to let go. JEANNE SAKATA Abigail Adams, Executive Artistic Director Zak Berkman, Producing Director STEINBRIGHT STAGE MARCH 18 – APRIL 19, 2020 Hold These Truths By JEANNE SAKATA Directed by DESDEMONA CHIANG Director of Production CHARLES T. BRASTOW* Set Designer Costume Designer SE HYUN OH KATIE YAMAGUCHI Lighting Designer Sound Designer DAWN CHIANG HIDENORI NAKAJO Dramaturg Stage Manager GINA PISASALE MATTHEW LUPPINO* THEATRE ARTISANS Technical Director Scenic Charge Shop Foreman JOSEPH FRANZ KATE COOTS ERIC LANG Assistant Technical Director Properties Master Costume Shop Manager DYLAN JAMISON SARAH PIERCE JENNIFER POVISH Master Electrician Assistant Properties Master Cutter/Draper GREGORY SCOTT MILLER ABIGAIL CAIN LEIGH PARADISE Assistant Master Electrician Sound Engineer Wardrobe Manager MELISSA DEMBSKI-SULLIVAN BRENT HOYER JEAN SWALM Hold These Truths was originally commissioned by Center Theatre Group's Asian Theatre Workshop in 2003. *Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers. THE CAST Gordon Hirabayashi Steven Eng* Although Hold These Truths is inspired by a true story, it is a work blending historical fact with fiction, and certain actual events have been compressed or altered in terms of chronology or content for dramatic purposes. The letters in the play are works of fiction inspired by Gordon Hirabayashi’s actual writings from the Ring Family Papers in the University of Washington Special Collections, Accession Number #4241-001. Dramatic license has been taken with the actual texts, which have been edited or otherwise altered. Special thanks to Mr. Hirabayashi for allowing other excerpts from his own writings to be used in Hold These Truths. *Member, Actors’ Equity Association, the Union of Professional Actors and Stage Managers. People’s Light operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. IN APPRECIATION Bluewire Video, a division of Swit Media LLC, is a creative advertising and video production company servicing the mid-Atlantic region. Commercials, videos, documentaries, TV broadcasts and live events - we provide professional work that helps you communicate effectively, defines your brand and produces results. Visit us at www.bluewirevideo.com. Located in the heart of Great Valley, The Sonesta ES Suites Hotel is an all-suite property with all the services of a traditional hotel, but the feel of home. They are the ideal hotel, whether you are staying for one night, or for an extended stay. Their suites are unparalleled, with fully equipped kitchens, spacious living rooms and private bedrooms with bath. Visit them at www.sonesta.com/malvern or call 610-296-4343. 9 PROFILES Jeanne Sakata Playwright She/her Jeanne Sakata’s Hold These Truths has won accolades in over twenty productions across the country, most recently at the Barrington Stage Company, Arena Stage, San Diego Repertory, the Guthrie Theatre, Pasadena Playhouse, Portland Center Stage, and ACT Seattle (Drama Desk nomination, Outstanding Solo Performance; Theatre Bay Awards, Outstanding Lead Performance, Direction and Production). Currently writing a new play commissioned by LA TheatreWorks, Jeanne has also enjoyed recent recurring/guest star TV and film roles in the internationally acclaimed indie film Advantageous, High School Musical: The Musical: The Series, NCIS Los Angeles, Big Hero 6, and Dr. Ken. She has twice performed at People’s Light in Romeo & Juliet: A Requiem, and A Single Shard, as well as such theaters as the Vineyard Theatre, McCarter Theatre, Kennedy Center, Public Theatre, Mark Taper Forum, ACT in San Francisco, La Jolla Playhouse, Berkeley Rep and East West Players (Theatre LA Ovation Award, Outstanding Lead Actress, RED by Chay Yew). Websites: jeannesakata.com, holdthesetruths.info Desdemona Chiang Director She/her People’s Light debut. Theatre includes: Snow White, The Journal of Ben Uchida (Seattle Children’s Theatre); White Pearl (Studio Theatre); Vietgone (Alley Theatre); M Butterfly (South Coast Repertory); The Great Leap (Guthrie Theater); Caught (Intiman Theatre); The Winter’s Tale (Oregon Shakespeare Festival); Pride and Prejudice (Pittsburgh Public Theater); King of the Yees (ACT Theatre, Baltimore Center Stage); As You Like It (California Shakespeare Theater); Constellations (Seattle Rep); The Crucible (PlayMakers Repertory Company), and Smart People (Long Wharf Theatre), among others. Upcoming: Macbeth (Seattle Shakespeare Company), Eastbound (Adirondack Theatre Festival), The Winter’s Tale (Seattle Repertory Theatre Public Works) and Shrek the Musical (5th Avenue Theatre). Awards: Princess Grace Award, the Vilcek Prize for Creative Promise, Gregory Award for Outstanding Direction, SDC Sir John Gielgud Fellowship, and Drama League Fellowship. Co-founder, Azeotrope. Adjunct faculty, Cornish College of the Arts. Training: BA, UC Berkeley. MFA Directing, University of Washington. Website: www.desdemonachiang.com Steven Eng Gordon Hirabayashi He/him People’s Light debut. Theatre Includes: The King and I (London West End), Pacific Overtures (2018 Lucille Lortel nomination, Classic Stage Company), New York Philharmonic, Ensemble Studio Theatre, ShakespeareNYC, Prospect Theater Company, A.C.T., 5th Avenue Theatre, Pasadena Playhouse, Paper Mill Playhouse, Alliance Theatre, Cincinnati Playhouse, TUTS, Dallas Theater Center, Ordway Center, North Shore Music Theater, and many more, as well as in Germany, Austria, and Cambodia.
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