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PRODUCTION STAFF

STAGE MANAGER . . . . LILLIAN SAKAI, assisted by RICHARD WILLIAMS, THE JAMES DER, DAVID DoNNELLY, JIM S~UNDERS UNIVERSITY LIGHTING . DEBBIE KIETHLEY OF SOUND . . . WILBUR HINDS HAWAII PROPERTIES JANE IwATA, assisted by THEATRE LORNA ADACHI, RUTH HORIUCHI, EMMELINE ENDO GROUP MAKE-UP . PHYLLIS LIM, assisted by ROBERTA YUEN, AGNES GARCIA, MARGARET KANESHIRO

BUSINESS MANAGER ...... GENE P AROLA

PUBLICITY MANAGER DAVID DONNELLY, assisted by JANET FAURE

HOUSE MANAGER ...... DOUGLAS KAYA USHERS ...... HALE 0 KANE, KAPPA EPSILON THETA, CHEKHOV'S HUI KAHU MA'I, HUI 0 HALE LAULIMA, KA HUI KOKUA

This group has been assisted by the classes in Dramatic Production (Drama 150) and Theatre Practice (Drama 200).

THEATRE GROUP COUNCIL

Gene Parola Lillian Sakai EdwinYoon Douglas Kaya Phyllis Lim Jane Iwata

Lucie Bentley, Earle Ernst, Joel Trapido, Edward Langhans (Directors)

ACKNOWLEDGMENTS

The Theatre Group wishes to acknowledge the generosity of the Honolulu Academy February 21, 22, 27, 28 of Arts and Mrs. Irene Kirk for the loan of objets d'art used in the production, and March 1, 1958 the assistance of others, including both students and members of the faculty and FARRINGTON HALL administration, who have helped make this production possible. THE UNIVERSITY OF HAWAII THEATRE GROUP TONIGHT'S PLAY

presents It is probably as difficult to overestimate the effect of Chekhov's plays upon the UNCLE VANYA Art Theatre, which first produced them, as it is to overestimate the effect Scenes from Village Life in Four Acts of the Moscow Art Theatre upon the contemporary world theatre. Chekhov created a new kind of drama, seemingly casual and lifelike, yet constructed with consum­ by mate skill, revealing the significant in the trivial, peopled with characters of extraor­ Translated by Stark Young dinary subtlety and complexity.

Stanislavsky, the first director of the Moscow Art Theatre, found in Chekhov's CHARACTERS plays the perfect instrument upon which to try out his conception of a new method SEREBRIAKOFF, ALEXANDER VLADIMIROVITCH, a retired professor . . . . GLENN WILSON of acting. The result was a kind of symbiosis--Chekhov was encouraged to write ELENA ANDRE~VNA, his wife .. JEANNE DELAND plays for the Moscow Art Theatre because only they knew how to produce them; SOFIA ALEXANDROVNA (Sonia), Stanislavsky's theories owed much of their development to his productions of his daughter by a first marriage . . . . BILLIE JEANNE WALKER Chekhov. VOINITSKAY A, MARIA VASILIEVNA, widow, mother of the first wife of the professor . . . . JANET FAURE Today the so-called Stanislavsky system of acting forms the basis of almost all VOINITSKY, IVAN PETROVITCH (Uncle Vanya), her son . ROBERT SoLLER contemporary acting, whether in television, films, or on the stage, and Chekhov's ASTROFF, MICHAIL LVOVICH, a doctor . . . . . ANGUS McPHERSON plays, constantly performed somewhere in the world, have had their effect upon TELEGIN, ILYA ILYICH, an impoverished landowner . DOUGLAS KAYA such varied playwrights as Shaw, Odets, and Tennessee Williams. MARINA, an old nurse ELIZABETH WALKER

A WORKMAN . RITCHIE SPENCER The first of Chekhov's plays to be produced successfully was The Sea Gull (1898). Following this, Chekhov began to rework an earlier play, The Wood Demon, which The action takes place at the Serebriakoff house both he and his admirers thought unsatisfactory. Salvaging the best of it, he created Acr 1: A summer afternoon, 1895. Uncle V anya. Like all his long plays, it is essentially a lyric drama: Rachmaninov AcT II: A month later. planned to use it as the libretto for an opera, of which he wrote, unfortunately, only AcT III: A September afternoon. a single aria, a setting for Sonia's final speech. AcT IV: That evening. When compared with the fully orchestrated , which was There will be an intermission between Acts II and Ill Chekhov's last play, Uncle Vanya seems like Chamber music. But its themes-the

Production designed and directed by EARLE ERNST frustration of aspirations, the sacrifice of the ideal to the mediocre, the yearning for Technical direction by RoBERT SoLLER a better world-appearing throughout his work, are given perhaps a special clarity Costumes by FRANCES ELLISON and poignance by the restricted form of Uncle V anya.