FACULTY AND STAFF

PEGGY GAITHER ADAMS Professor: Modern Dance, Choreography Dance 101 956-3264 adamsp@hawaii.edu MFA Dance, University of Utah BFA Dance, Arizona State University Link to Dance Department Bios BACK TO THE TOP MARK BOYD Emeritus Associate Professor Lighting Design, Director of Facility KT 209 956-2599 mboyd@hawaii.edu Education: B.A. Macalester College, 1969 MFA University of Hawaii, 1972 Employment: University of Hawaii, 1971 to present. Courses taught: Theatre 240 Introduction to Stagecraft and Lighting Theatre 343 Stagecraft Theatre 445 Lighting Design Dance 250 Dance Production (team taught) THEA 657 Seminar in Design (team taught) Recent Selected Productions: Shajiabang--Light Design Once Upon One Nodda Time--Design The Legend of Prince Lanling--ACTF tour The Slaying of Gavaka--Design Mainstage Dance Concerts--LD Romeo and Juliet-LD Our Hearts Were Touched with Fire-LD Yu Tangchun (Jade Hall of Spring) (Beijing Opera) Tour to People's Republic of China BACK TO THE TOP JAMES R BRANDON Emeritus, Professor of Japanese/Asian Theatre BILGER ANNEX #7 956-5333 jbrandon@hawaii.edu James R. Brandon has been a Professor of Theatre in the department since l968, and has brought much recognition to the department. He has directed over sixteen major productions at the University of Hawai'i, many of which he also translated or authored, and his creative work has repeatedly been honored with awards on the state and national level. He has authored and edited sixteen books, many of them seminal works that comprise the core curriculum for Asian theatre courses nationally. James R. Brandon is unquestionably one of the most widely recognized and highly honored theatre faculty anywhere in the world. SOME OF HIS BOOKS INCLUDE Cambridge Guide to Asian Theatre (Cambridge UP, 1993) On Thrones of Gold: Three Javanese Shadow Plays (Harvard UP, 1970; reprinted, University of Hawai'i Press, 1993) Kabuki: Five Classic Plays (Harvard UP, 1975; reprinted, University of Hawai'i Press, 1992) Sanskrit Drama in Performance (University of Hawai'i Press, 1981; India ed., New Delhi: Motilal Banarsidass, 1990) Theatre in Southeast Asia (Harvard UP,1967). SOME OF HIS AWARDS INCLUDE 1995 Sukeroku: Flower of Edo [Kabuki Comedy] Best Production, Best Ensemble, and Best Director Awards, Hawai'i State Theatre Council 1991 The Road to Tokyo! [Kabuki Drama] National Festival alternate selection, and Regional Festival winner at the American College Theatre Festival as director and co-author Award for Best Director from the Hawai'i State Theatre Council 1989 Invitational tour to perform the English-language Kyogen plays Buaku the Bold and Tricked by a Rhythm at the National Noh Theatre of Japan in Tokyo 1981 Hoichi: Dark Tales of the Heike [UH Production] Award for Best Original Drama at the American College Theatre Festival, Region VIII 1975 The Scarlet Princess of Edo [Kabuki Drama] Commendation from the Senate of the State of Hawai'i, as director and translator National winner of the American College Theatre Festival, John F. Kennedy Center for the Performing Arts in Washington, D.C. SOME OF HIS MAIN HONORS INCLUDE: 1994 The Order of the Rising Sun with Gold Rays, an Imperial Decoration from the Government of Japan 1994 A national award for Outstanding Teacher of the Year from the Association for Theatre in Higher Education 1991 The Lifetime Achievement Award for work in Asian Theatre from the Hawai'i State Theatre Council 1988 The John D. Rockefeller 3rd Award of the Asian Cultural Council, in recognition of exemplary contributions to the understanding and appreciation of Asian Theatre BACK TO THE TOP GLENN CANNON Professor of Theatre ACTING AND DIRECTING FOR STAGE, FILM AND TELEVISION KT 109 956-2110 gcannon@hawaii.edu Temple University, BA in Drama, 1954. Professional Acting Classes in New York with Lee Strasberg, Uta Hagen and Robert Lewis, 1954-1957. Professional Actor since 1954. Member, Actors Equity Association, Screen Actors Guild, American Federation of Television and Radio Artists. President of Screen Actors Guild, Hawaii Branch (700 members) since 1989. Broadway appearances include principal roles in "A Moon for the Misbegotten" (with Franchot Tone and Wendy Hiller) and "Good Woman of Setzuan" (with Zero Mostel and Uta Hagen). Off-Broadway includes leading roles in "The Iceman Cometh" at Circle-In-The ÐSquare Theatre and "the Threepenny Opera" at Theatre-De-Lys; ten other off-Broadway Plays including "Deathwatch", "Shadow of the Glen". Tours include Riff in "West Side Story", and numerous roles in Summer Stock Theatres and other tours. Television and Film credits include major roles in series in New York and Los Angeles in 50Õs Ð 60Õs, among them "Studio One", "Playwrights 56", "Camera Three", "Alfred Hitchcock Presents", "Outer Limits", "Combat", "77 Sunset Trip", "Gallant Men". In Hawaii, recurring roles in "Hawaii 5-0", Magnum PI", and "Island Son", "Tour Of Duty", and motion pictures "Miracle Landing" and "Picture Bride". From 1965-68, Cannon was a founding member of the professional Stanford Repertory Theatre at Stanford University. Funded by Rockefeller Foundation, this was one of the first programs utilizing Equity actors and directors to teach and direct in a campus environment. At the completion of the program in 1968, Cannon agreed to join the faculty at the University of Hawaii, bringing his professional experience to the Dept. of Drama and Theatre (as it was called then). He has taught and continues to teach the full range of Acting and Directing classes, utilizing the Stanislavski Method as the core of his work. To date (fall 2002), Cannon has directed 108 plays at Kennedy Theatre and other theatres in Honolulu. Some of those plays: "Coriolanus", "A Streetcar Named Desire", "A View From The Bridge", "The Learned Ladies", "Sexual Perversity In Chicago", "The Cherry Orchard", "The Marriage", "The World of Sholom Aleichem", "Desire Under The Elms", "Ah, Wilderness", "True West", "The Basic Training Of Pavlo Hummel", "American Buffalo", "Speed-The ÐPlow", "Grapes of Wrath", "West Side Story", "Big River", "Guys And Dolls", "The Most Happy Fella", "The Roar Of The Greasepaint", "A Funny Thing Happened On the Way To The Forum", "Anything Goes", "South Pacific", "Sayonara", "The Music Man", "My Fair Lady", "Oklahoma!" and the world premieres of "Our Hearts Were Touched With Fire" and "Manoa Valley". Appearances as an actor on various stages in Hawaii include: Willy in "Death Of A Salesman", Willy in "The Sunshine Boys", Nat in "IÕm Not Rappaport", Iago in "Othello", Mike in "Breaking Legs" and Tevye in "Fiddler On The Roof". Winner of 10 PoÕokela Awards for Acting and Directing, Cannon received the State of Hawaii Senate Declaration "Celebrating the continuing inspiration and artistic leadership of director Glenn Cannon." BACK TO THE TOP DENNIS CARROLL Professor of Theatre, Director of Theatre  carroll@hawaii.edu STATEMENT OF OBJECTIVE AS EDUCATOR: To promote and develop in-state expertise in play and film writing and direction- particularly through rigorous study of great plays, films and productions from the Greeks to today. Degrees: B.A. Hon II (History), Sydney University ,1962; MFA Play Direction, Univ. of Hawai'i 1964; MA (American Literature--Drama), Sydney University, 1966; PhD in Theatre (diss. on Australian drama) Northwestern University, 1969. PUBLISHED BOOKS: "Australian Contemporary Drama," Rev. Ed. Sydney: Currency Press, 1995. "David Mamet," Macmillan Modern Dramatists Series. ed. Bruce and Adele King. London: Macmillan, 1987. [ed. with an Introduction] "Kumu Kahua Plays" Honolulu, University of Hawai'i Press, 1983. RECENT ARTICLES AND CHAPTERS IN COLLECTIONS: 'Edward Sakamoto in the Theatre: Displaced Protagonists, Challenged Spectators,' "Aloha Las Vegas and Other Plays," Honolulu, University of Hawaii Press, 2000. 'Hawai'i's Local Theatre,' The Drama Review, T166, Summer 2000. "Some Defining Characteristics of Australian Aboriginal Drama," Modern Drama, 50, No. 1 (1997). RECENT PLAYWRITING, DIRECTING, AND DRAMATURGICAL WORK 2001: "Faust I and II" (Goethe, trans. MacDonald. KT Mainstage, April 2001. 2000: "Spur," Original full length play, Kumu Kahua Theatre, March, 2000 2000: Strindberg, "Easter" and "The Ghost Sonata," two plays in repertory in the Ernst Lab Theatre, UHM. 1998: "Way of a God," original full-length play, Kumu Kahua Theatre, Honolulu, April-May. BACK TO THE TOP LORI ANN CHUN Department Staff, Secretary KT 115 956-7622 lorichun@hawaii.edu Lori Ann Chun joined the Department of Theatre & Dance, as the Secretary of the Dance Program, in June 2003. Yes, her first name is Lori Ann, but you can call her Lori if Lori Ann is too long. Before coming to UH, Lori worked for the Department of Business, Economic Development & Tourism. BACK TO THE TOP JOSEPH DODD - MFA Professor University of Hawaii, Department of Theatre and Dance KT 402 956-2604 jdodd@hawaii.edu Education: B.A., Drama, '74, Mary Washington College, Fredericksburg, VA M.F.A., Design, '80, University of Hawai'i-Manoa, Honolulu, HI Courses Taught: THEA 353 - Introduction to Scenic Design THEA 453 - Scenic Design THEA 653 - Problems in Scenic Design (variable topics) Past topics: Design for Asian Theatre, Design for Children's Theatre, Design for Environmental Theatre, Disney Imagineering, Skill-Building for Designers. THEA 657 - Topics in Theatre Design (team taught by design faculty) THEA 699 - Directed Research (variable topics) Past topics: Design for Television, Teaching Design, Mask Design, Stage Management, Scene Designers and their Styles, Contemporary Scenic Materials, Scenes and Machines. Bio: Joseph D. Dodd has designed extensively in Hawaii since 1977, including productions for Kumu Kahua Theatre, The Honolulu Theatre for Youth, Manoa Valley Theatre and Diamond Head Theatre. He is also active on the regional theatre circuit, having designed for The Children's Theatre Company, Berkeley Repertory Theatre, Seattle Children's Theatre, Syracuse Stage, Alliance Theatre, Fulton Opera House, LaMama Theatre, Colorado Shakespeare Festival and Trollwood Performing Arts School. His design work has also appeared internationally in productions for Kumu Kahua Theatre, Honolulu Theatre for Youth, Trollwood Performing Arts School and the University of Hawaii, Department of Theatre and Dance. Selected Scenic Designs: Regional Children's Theatre Company Wondrous Tales of Old Japan ('98) Tremendously Tall Tales, A Village Fable ('99) Berkeley Repertory Theatre Dragonwings ('91, '92) The Yellow Boat ('95) Honolulu Theatre for Youth, Syracuse Stage, Alliance Theatre, Seattle Children's Theatre, Lincoln Center Institute Dragonwings ('92-95) LaMama Theatre Dark is the Night ('95) Trollwood Performing Arts School Once on the Island ('98) West Side Story (95') Joseph and the Amazing Technicolor Dreamcoat ('94) Colorado Shakespeare Festival A Winters Tale ('83) Measure for Measure ('84) Denver Center Theatre Company A Doctor in Spite of Himself ('83) The Mariage Proposal ('84) Fulton Opera House Talley's Folly ('84) Selected Scenic Designs: Hawaii University of Hawaii Midsummer's Night Dream ('99) Goodnight Desdemona ('97) Kumu Kahua Theatre PeregriNayson, Philippine International Theatre Festival, Manila ('98) Comfort Woman ('98) Wild Meat and Bully Burgers, Yankee Dawg You Die ('97) Kaiulani and The Conversion, Edinburgh Fringe Theatre Festival ('91) Honolulu Theatre for Youth Island of the Blue Dolphin ('98) In the Suicide Mountains ('97) Operation Elvis ('96) Dinosaurus ('94) BACK TO THE TOP SANDRA K. FINNEY - MFA Professor University of Hawai'i, Dept. of Theatre and Dance Director of Undergraduate Studies for Theatre KT 110 956-2589 finney@hawaii.edu Education: B.A. – Art – 1967 – San Francisco State College M.A. – Drama – 1969 – San Francisco State College Courses Taught: Thea 240 – Introduction to Theater Production (theatrical makeup unit) Thea 354 – Introduction to Costume Construction Thea 356 – Costume for the Stage Thea 357 – Stage Makeup (Western & Asian) Thea 446 – Topics in Costume Construction (Topics have included:  Theatrical Millinery, Masks, Jingju Headdress, Kabuki Dressing  Techniques) Thea 456 – Costume Design Thea 656 – Problems in Costume Design Thea 657 – Seminar in Design (team taught by the design faculty) Bio: Sandra Finney has designed costumes in Hawaii since 1971, including  productions for Kumu Kahua Theatre, Manoa Valley Theatre, Honolulu  Theatre for Youth, The Hawaii Shakespeare Company, Mid-Pacific School  of the Arts and the Hawaii Opera Theatre.  Her primary focus, however,  is her work done for the Department of Theatre and Dance.  Her costume  designs have included numerous Shakespeare productions, Youth Theatre,  Dance and a wide variety of Western Theatre projects.  Her specialties  in Asian Theatre include Jingju (Chinese Opera) and Kabuki headdress  and costuming, the traditional techniques learned from the visiting  artists as well as in her travels to Japan and China.  Sandra has  designed many “fusion” projects involving Asian theatre influences.   She has also created two productions involving puppets for the Ernst  Lab Theatre: a student scripted and directed rod puppet version of “Sir  Gawain and Lady Ragnell”, and a multi-media production entitled “A  Flight of Dragons”.  BACK TO THE TOP ELIZABETH FISHER Professor - Dance History, Modern Dance, Choreography Dance 102 956-9626 efisher@hawaii.edu Link to Dance Department Bios BACK TO THE TOP DAVID A. GRIFFITH Assistant Professor: Theatre and Dance Lighting Design, Production Stage Management, Technical Direction KT 206B 956-3481 davidgri@hawaii.edu David A. Griffith has recently designed the lighting for the National Tour Streb/RINGSIDE, Shotgun Productions/Resistance Theatre Company's Off-Broadway production of  The Chaos Theories (McGinn/Gazale Theatre), Red Dog Howls (New World Stages), and Shotgun Productions Annual Benefit at Caroline's on Broadway with Daniel Reichard (Jersey Boys), Chester Gregory (Tarzan), and Kristine Zbornick (Mamma Mia).   His designs have also been seen in Europe with the Burklyn Youth Ballet production of The Little Mermaid.   He has also toured internationally as a Production Stage Manager with Pilobolus, Parsons Dance Company, and American Repertory Ballet, and the Korean Hit Cookin'/NANTA (American Tour).   David is a member of United Scenic Artists Local 829 and IATSE Local 274. BACK TO THE TOP JULIE IEZZI Associate Professor: Japanese & Asian Theatre BILGER ANNEX 7 956-4377 iezzi@hawaii.edu Dr. Julie A. Iezzi spent over a dozen years in Japan studying traditional Japanese theatre (kabuki, noh, kyôgen) and music (nagauta, tokiwazu, gidayu) and has translated several kabuki and kyogen plays for production and publication. In addition to directing English language productions of kabuki and kyôgen, she continues to strive to integrate musical, vocal, and movement concepts of traditional Japanese theatre forms into the creation of original theatrical works. Her research interests range from Meiji Japan performing arts to narrative theatre traditions throughout Asia. Together with Jonah Salz (Ryukoku University, Kyoto), she recently guest edited a special issue of Asian Theatre Journal (24:1, spring 2007) on kyôgen. Recently on sabbatical in Kyoto, she is developing a bilingual (English-Japanese) DVD introducing the narrative musical form of tokiwazu.   EDUCATION 2000 PhD University of Hawai'i at Manoa, Dept. of Theatre and Dance (Kabuki Voice). 1996 MA Tokyo University of Fine Arts and Music, Dept. of Musicology. (Japanese [kabuki] Music) 1992-94 Research Student, Tokyo University of Fine Arts and Music, Dept. of Traditional Japanese Music (Nagauta Shamisen) 1991 MA University of Hawai'i at Manoa, Dept. of Theatre and Dance (Asian Theatre) 1986-88 Research Student, Kyoto Women’s University (Edo Period Performing Arts) 1985 BA Antioch College, Yellow Springs, OH (Japanese Studies and Education) RECENT PUBLICATIONS Translations Susugigawa in “Susugigawa (The Washing River): An Instant Classic." Asian Theatre Journal, 24:1 (spring 2007) The Dropped Robe (Suo otoshi), with introduction, in Kabuki Plays on Stage, Vol. 4. Restoration and Reform: 1868-1900. Ed. by James R. Brandon and Samuel L. Leiter. Honolulu: University of Hawai'i Press. 2003. Five Great Powers That Secure Love (Godairiki koi no fujime), with introduction, in Kabuki Plays on Stage, Vol. 2. Villainy and Vengeance: 1770-1800. Ed. by James R. Brandon and Samuel L. Leiter. Honolulu: University of Hawai'i Press. 2002. Summer Festival: Mirror of Osaka (Natsu Matsuri Naniwa Kagami), with introduction, in Kabuki Plays on Stage, Vol. 1. Brilliance and Bravado: 1697-1770. Ed. by James R. Brandon and Samuel L. Leiter. Honolulu: University of Hawai'i Press. 2002. Translations for Production Three Pillars (Sanbonbashira), Two in One Hakama (Futaribakama), Six Jizô (Roku jizô), A Measure of Courage (Chigiriki) for “Kyôgen: Timeless Comedy,” at Kennedy Theatre, February 2007. Nozaki Village (Nozakimura), by Chikamatsu Hanji, for English-language kabuki production, at John F. Kennedy Theatre, April 2004. Tied to a Pole (Bôshibari), The Snail (Kagyu), and The Washing River (Susugigawa) for "Kyôgen: Laughter for All Time" English language kyôgen production at John F. Kennedy Theatre, December 2002.  Articles "Kyôgen in English: A Bibliography” in Asian Theatre Journal, 24:1 (spring 2007)  "Sounding Out Kabuki: Music Behind the Scenes," in 101 Years of Kabuki in Hawai'i. Dept. of Theatre and Dance, University of Hawai'i. Spring, 1995. BACK TO THE TOP GERALD R KAWAOKA Theatre Staff: Associate Technical Director and Facilities Manager KT 209Z 956-4019 kawaoka@hawaii.edu BACK TO THE TOP TERENCE KNAPP Emeritus, Professor of Theatre - Acting, Directing, Voice KT 110 956-2111 tknapp@hawaii.edu 1954 Diploma of Distinction and Medallist, Royal Academy of Dramatic Art, London 1954-58 Liverpool Playhouse 1958-70 City of London, Edinburgh, and Bath Festivals 1961 Royal Shakespeare Company 1962-5 Royal National Theatre Player 1966-68 Nottingham Playhouse 1968-9Churchill Fellow in Japan 1978 Peabody Award: Damien, Hawaii Public TV National Society of Arts and Letters Laureate Japan Foundation VIP Award, UHM-BOR Medal of Excellence in Teaching, etc Terence Knapp is honored by the State Legislature as "Hawai'i's Own World Class Actor" for his performance as Damien and created two other World Premiered roles as Captain Cook and Albert Einstein. He has directed and/or performed in well over 100 productions in Honolulu, in Japan and on the Mainland. These include more than half the Shakespearean canon either at Kennedy Theatre and (in Japanese) in Tokyo. He is known for his direction of Fusion Theatre productions of Western Classics (King Lear, Twelfth Night, Medea); of operas (Cosi Fan Tutte, Faust, Dido and Aeneas),of musical works with the Honolulu Symphony (Joan at the Stake, Manfred, King David, etc.,) and as a Mime in Ballet (Swan Lake and Coppelia). He has played leading roles in Musicals (My Fair Lady, Camelot, Oliver, etc.,) and is familiar to many for his recitals of songs and poetry and as a speaker on a wide range of cultural topics which include Spirituality and Celtic mythology. Professor Knapp is principal instructor of Voice, Shakespeare in Performance, and Graduate courses in Acting. BACK TO THE TOP PATRICIA N. H. LEONG B.A. with honors, Mt. Holyoke College, M.A., University of Hawaii at Manoa Master Patricia N. H. Leong, is an affiliate member of the graduate faculty of the University of Hawaii at Manoa where she teaches Taiji quan for actors and dancers. Master Leong founded and is chief instructor of the Wu Style Taiji quan Hawaii Academy. She is the senior disciple of 4th generation Grandmaster Wu Yenxia, granddaughter of the founder of Wu style Taiji quan, and was trained in Hong Kong under Grandmasters Wu Yenxia, Wu Dagui and Wu Daxin. Master Leong has an extensive background in dance as well as the martial arts. She trained with Martha Graham and has taught modern dance at Hofstra College in New York and in Hong Kong at the American School, New Asia College, Hong Kong University and the Chinese University of Hong Kong. She was Dance Commissioner for the Mayor's Council on Culture and the Arts for the City and County of Honolulu. In 1991 she was invited by the Department of Theatre and Dance at the University of Hawaii at Manoa to teach an experimental class of Taiji quan for actors and dancers. She developed the experimental class into a full training program in Taiji quan, Taiji Weapons and Qigong. Now for the first time Taiji quan is being offered at a major university and can be taken to fulfill core degree requirements in the Department of Theatre and Dance as well as Asian Studies. In 1998, Master Leong was honored as a Master of Taijiquan with formal disciples in a disciple induction ceremony held in Honolulu, attended by Grandmaster Wu Yenxia and other Wu family members. Master Leong currently serves on the Executive Committee of the International Wu Style Taiji quan Federation and has lectured, taught and performed throughout the United States, Europe and Asia. BACK TO THE TOP GREGG LIZENBERY Chair of the Department of Theatre and Dance; Professor: Modern Dance, Kinesiology KT 112 956-2464 lgreg@hawaii.edu Gregg Lizenbery Professor Director and Graduate Chair of Dance University of Hawai'i at Manoa 1770 East West Road Honolulu, HI 96822 (808) 956-2464 (808) 956-4234 (FAX) lgreg@hawaii.edu Link to Dance Department Bios BACK TO THE TOP TANA MARIN Department Staff: Department Secretary KT 115 956-7622 tmarinl@hawaii.edu Tana Marin has been a secretary with the dance department since February 2001. She moved to Hawaii with her husband and worked at the Department of Education, Special Education Section, before coming to UH. Tana brings with her 20+ years of experience from the Vallejo City Unified School District in California. BACK TO THE TOP PAUL T. MITRI Assistant Professor Dept. of Theatre and Dance Acting, Voice and Movement, Styles, Shakespeare KT 102B 956-8445 mitri@hawaii.edu   Education:  MFA in Acting from the University of Washington’s Professional Actor Training Program BA in Stage Movement from the University of Washington  Paul Mitri has worked on over 150 productions as an actor, director, fight choreographer, dance choreographer and playwright.  Paul was recently named Artistic Director at the Hawai'i Repertory Theatre and is one of the founders and Past Artistic Director of the Seattle Shakespeare Festival.  He also served as Director of Theatre at the American University in Cairo, Egypt, Artistic Director for Summer Theatre at Salem, and Artistic Director for the Salem Theatre Company.  Previously, he has lived, taught and/or directed in France, Japan, Egypt, and the East and West Coasts.  Recently, his production of Children of a Lesser God was awarded the New England Theatre Conference’s Moss Hart Award for University/College Productions.  His original play, Molière, was produced at the American University in Cairo and at the Hawai'i Repertory Theatre.  Paul has a special interest in bi-lingual, multi-cultural productions of Shakespeare as well as the use of film/video on stage.  BACK TO THE TOP TAMARA MONTGOMERY  - PHD Professor of Theatre: Theatre for Children, Puppetry, Creative Drama KT 111 956-2590 tamarah@hawaii.edu tamaramontgomery.com MFA in Youth Theatre from Arizona State University: A summa cum laude graduate with a minor in foreign languages (Spanish and French). PhD in Communications from the University of Southern California. Dr. Tamara Hunt has been Director of Youth Theatre and Puppetry for the past 33 years.  She received her MFA from Arizona State University with a major in Theatre and her Ph.D. in Communications, with a minor in Early Childhood from the University of Southern California.She frequently works with the Hawaii Department of Education both as a resident artist and as a puppetry consultant.  She has in serviced the librarians of the State Library Services and the teachers of the Special Education Division for the island of Oahu.  She has taught extensively through the University of Hawaii College of Continuing Education on the neighbor islands of Maui, Kauai, and Molokai.  In l999 she wrote the Drama and Theatre Standards for implementation in the State of Hawaii school system. As a director of muliti-cultural theatre, her plays and musicals are performed annually on the University Kennedy Theatre main stage to over 6,000 audience members.  Over the years she has varied the productions to include  classics such as Arkansaw Bear and Mother Hicks as well as original plays written by students.  Her puppet shows have toured statewide and her work has been featured on the local PBS affiliate KHET.  In l998 she was selected by Walt Disney Imagineering to attend an Imaginations conference at the Disney Imagineering Center in California.  Currently she sits on the International Drama Board for the LASALLE SIA College of Arts in Singapore.  Her students are professional puppeteers with the Atlanta Center for Puppetry Arts as well as  characters  on television shows such as Sesame Street, Eureka's Castle, and Between the Lions.  They have also performed in The Muppet Movie.  Many teach in colleges and universities internationally. She specializes in quality programs for the cruise industry.  Since l996 she has been a special interest lecturer with Seabourn Cruise Line lecturing on Pacific Rim Flower Legends and Tapa Bark Cloth as well as the puppetry of  Asian and Southeast Asia.  Her love for travel has taken her around the world.  She has traveled to Europe (Germany, France, Austria, Italy, England, Scotland, and  Wales), the Mediterranean (Greece and Turkey), Scandinavia (Finland, Denmark, and  Norway) , The Caribbean (Puerto Rico and the Virgin Islands), Asia, China, Korea, and Japan), Southeast Asia (Singapore, Indonesia, Malaysia, Vietnam, Thailand, and Cambodia), Mexico, Alaska, and the Aleutians, West and East Russia, The Pacific (Hawaiian Islands, Samoa, New Zealand, and Australia), the Middle East (Israel, Egypt, Jordan, Yemen, and Kenya), the North Atlantic (Shetland Islands, Faero Islands, iceland, Greenland, and Newfoundland). When not involved in professional pursuits she enjoys basket weaving and outdoor activities of sailing, scuba diving, kayaking and hiking. Philosophy: The operative phrase in my program is "follow your bliss".  I encourage students to first discover and listen to their inner voices and get in touch with what brings them joy.  The next step is to explore subject areas which are of interest to them.  Once students have a sense of what they want to do with their lives, we look at career choices and I guide them in developing the necessary skills to succeed professionally.  With this in mind, I established a flexible degree plan win which students can pursue a wide range of subject areas related to dramatic work with and for young people.  In essence, the guiding force behind my teaching has always ben to help students identify and develop their creative potential.  When this happens I can say with ride? Mission Accomplished! WORKS AUTHORED: Dr Hunt has published many books and is known internationally for her work in educational puppetry. Puppetry In Early Childhood Education Celebrate: Holidays, Puppets and Creative Drama Pocketful of Puppets: Mother Goose Never Pick a Python for a Pet Greenpoems Tony Sarg: America's First Puppeteer Articles by and about her have appeared in many national journals including The Puppetry Journal, Continuum, and Family Court Today. BACK TO THE TOP MARTY MYERS Theatre Staff: Theatre Manager KT 207 956-2602 martym@hawaii.edu Marty Myers is the Theatre Manager for the John F. Kennedy Theatre, responsible for management of theatre facility for Department of Theatre and Dance. Duties include overall marketing, promotion and advertising for theatre and its activities. Also, supervision of box office operation, all house management functions, teaching of theatre management courses, and training and supervision of a student staff of up to ten. She has also worked for the Manoa Valley Theatre in Honolulu, Hawaii, the Hale Koa Hotel on Waikiki Beach, the Department of Art at the University of Hawaii at Manoa, and for the Indianapolis Museum of Art. She has served as a board member for the Hawaii State Theatre Council, as an advisor to the Hawaii Theatre Center, and as a speaker at the Box Office Management International Conference in Vancouver, Canada in 1992. Marty is very interested in the profession of Arts Management, in keeping technology up-to-date in the business of the arts, in training students in the importance of business and the arts, and in the complexities of copyright law and its implications to the performing arts. Education University of Wisconsin-Madison, Master of Arts Major: Arts Administration Dates of Attendance: August 1975 - May 1977 Stanford University, Bachelor of Arts with Distinction Major: Art History Dates of Attendance: September 1970 - June 1975 BACK TO THE TOP LURANA DONNELS O'MALLEY Professor of Theatre: Theatre History, Dramatic Literature, Directing http://www2.hawaii.edu/~omalley omalley@hawaii.edu KT 102A 956-9609 Dr. O'Malley's primary area of research is Russian theatre, with an emphasis on the drama of Catherine the Great. She is the listowner for three national discussion lists: RUSSTHEA-L (on Russian theatre), EKATERINA-L (on Catherine the Great), and ECRSA-L (Eighteenth-Century Russian theatre). For UH, she has directed Eric Overmyer's On the Verge and Sam Shepard's A Lie of the Mind, and, most recently, David Hirson's La Bête. She also directed Sean T.C. O'Malley's Island Skin Songs for Kumu Kahua Theatre in 1999. She serves as the departmental advisor to Late Night Theatre. In 1993-94, she received the UH-Manoa Presidential Citation for Excellence in Teaching. "As a historian, my goal is to instill students with a sense of how thrilling our field can be-and how demanding. The theatre scholar works in many fields simultaneously: literature, history, art, music, and anthropology. My own research work on Catherine the Great has led me into all of these areas. As a director and teacher of directing, I focus on the inherent challenges of a script or project, and on the collaborative possibilities. Overall, whether I'm teaching directing, research methods or a dramatic literature course, I seek to combine a respect for rigorous discipline and intellectual inquiry with a sense of creativity and interpretive freedom." Education Ph.D. 1991. Theatre History and Criticism Program, The University of Texas at Austin. "Masks, Pierrots, and Puppet Shows: Commedia dell'arte and Experimentation on the Early Twentieth Century Russian Stage." Dissertation. Director: Oscar G. Brockett M.A. 1987. Theatre History and Criticism Program, The University of Texas at Austin. Director: Oscar G. Brockett B.A. 1986 with Distinction. Drama/English. University of Virginia Recent Publications Two Comedies by Catherine the Great, Empress of Russia. Russian Theatre Archive, Vol. 15. Gordon and Breach/Harwood Academic Publishers. 1998. "Catherine the Great's Woeful Knight: A Slanted Parody" Theatre History Studies 21 (2001) 11-26. "Fools in the Mirror in Catherine the Great's Imianiny Gospozhi Vorchalkinoi."Canadian-American Slavic Studies 34.4 (2000): 409-426. "From Fat Falstaff to Francophile Fop: Russian Nationalism in Catherine the Great's Merry Wives." Comparative Drama 33.3 (1999): 365-389. "Babblers and Dabblers: Language and Access to Power in Catherine the Great's Comedy A Prominent Nobleman's Entrance Hall." Invited chapter contribution. Catherine II and Her Time. A Modern Outlook. Eds. Tatiana Artemieva and Mikhail Mikeshin. The Philosophical Age Almanac 11. St. Petersburg: St. Petersburg Center for History of Ideas, 1999. 97-112. "Masks of the Empress: Polyphony of Personae in Catherine the Great's Oh, These Times!" A Subtler Music: Essays on the Drama and Opera of Enlightenment Europe. Ed. Luis Gamez. Stanford: Paul Watkins Publishing, 1997. 65-85. "How Great Was Catherine? Checkpoints at the Border of Russian Theatre." Slavic and East European Journal 43.1 (1999): 33-48. "Catherine the Great's Operatic Splendor at Court: The Beginning of Oleg's Reign." Essays in Theatre 17.1 (1998): 33-52. Also published online and on CD-ROM by SIRS Mandarin, Inc. "The Monarch and the Mystic: Catherine the Great's Strategy of Audience Enlightenment in The Siberian Shaman." Slavic and East European Journal, 41.2 (Summer 1997): 224-242. Honors and Awards Hawai'i State Theatre Council Special Adjudicators' Award for 2000-2001 Kennedy Theatre Mainstage Season (including La Bête) Hawai'i State Theatre Council 2001 Po'okela Honoree in five categories for La Bête: Best Director, Best Play, Best Set Design, Best Costume Design, Best Sound Design Nominee, Western Association of Summer Session Administrators 2001 Exemplary and Innovative Program Award (for 2001 workshop in Theatrical Biomechanics) Nominee, North American Association of Summer Sessions 2001 Creative and Innovative Awards (for 2001 workshop in Theatrical Biomechanics) UHM Presidential Citation for Meritorious Teaching (1993-94) BACK TO THE TOP KIRSTIN A PAUKA Professor, Asian Theatre (South and Southeast Asia focus) Office: BILGER ANNEX # 6 Ph. 956-2587 pauka@hawaii.edu Dr. Kirstin A Pauka's primary area of specialization is the theatre and performance of Southeast Asia. She has done groundbreaking research on Randai theatre in Sumatra, and has published a book, a CD-ROM, and numerous articles on Randai and related topics. She is also a practitioner and scholar of martial arts and their relationship to performing arts in Asia. Dr. Pauka has produced and directed several Southeast Asian Theatre productions at Kennedy Theatre. In 2001 she directed the first-ever English language production of an Indonesian Randai dance theatre which included a 6-month intensive artist-in-residence training program with two renown Randai artists from West Sumatra. Dr. Pauka has considerable multimedia expertise. She was the first Ph.D. candidate at the University of Hawai'i to submit her dissertation on Randai theatre in CD-ROM format, which has since been published. Since becoming a faculty member in the Dept. of Theatre and Dance in 1997, she has developed new multimedia courses on how to integrate digital media into theatre research, analysis, and performance. In 2003 Dr. Pauka was the recipient of a INNOVATEC grant through the German Academic Exchange Service (DAAD) to teach courses in multimedia technology and Southeast Asian Theatre at the Gutenberg University in Mainz, Germany. Dr. Pauka is also a member of the Kenny Endo Taiko Ensemble, performing locally, nationally, and internationally. Education Ph.D. Asian Theatre: University of Hawaii at Manoa, Dept. of Theatre and Dance. 1995. MFA Theatre: Department of Applied Theatre Studies, Justus-Liebig University Giessen/Germany. 1989 Selected Publications Randai and Silek: Folk Theatre and Martial Arts of the Minangkabau in West Sumatra. CD-ROM, U of Michigan P, 1999. Theatre and Martial Arts in West Sumatra: Randai and Silek of Minangkabau, Ohio UP, 1998. "The Daughters Take Over? Female Performers in Randai Theatre." TDR 42.1 (1998): 113-131. "Silek: The Martial Arts of the Minangkabau of West Sumatra," Journal of Asian Martial Arts 6.1 (1997): 62-79. "A Flower of Martial Arts: The Randai Theatre of the Minangkabau of West Sumatra." Asian Theatre Journal 13.2 (1996): 167-191. "Martial Arts, Magic, and Male Bonding: The Pauleh Tinggi Ceremony in West Sumatra, Indonesia." Journal of Asian Martial Arts 4.3 (1995): 26-46. .:Book:. Web Links http://starbulletin.com/2001/02/01/features/story1.html http://www.hawaii.edu/news/kulama/010126/Umbuik.html BACK TO THE TOP .:CDROM:. HANNAH K. SCHAUER Theatre Staff: Costume Shop Manager KT 109 956-7643 schauer@hawaii.edu Hannah K. Schauer is currently the costume shop manager for the Department of Theatre and Dance at the University of Hawai‚i, at Manoa. Before moving to Hawai‚i, she was involved in theatre in Texas and Louisiana as an actor, director, and designer. While attending Northeast Louisiana University, she received Irene Ryan Acting nominations two consecutive years for entries into the Louisiana College Theatre Festival. LCTF (part of ACTF) awarded her this honor in 1993 for portraying the role of Henriette in The Learned Ladies and in 1994 for portraying the role of Erin in Voices. Recently, she has designed costumes for Little Foxes (HPU), The Rabbit Who Wanted Red Wings (UH), The Little Prince (UH), The Paper Bag Princess and Other Stories (UH), and 'Tis Pity She's a Whore (UH). Education MFA - Directing. University of Hawai'i at Manoa, Dept. of Theatre and Dance. 2000. BA - Communications. Northeast Louisiana University (University of Louisiana at Monroe). 1997. BACK TO THE TOP AMY LYNN SCHIFFNER Assistant Professor: Dance and Theatre Pedagogy, Theory and Criticism, Dance Technique Dance 103 956-2359 amyls@hawaii.edu Master of Fine Arts Degree in Dance, University of California at Irvine Bachelor of Arts Degree in English Education, California State University Long Beach California Single Subject Teaching Credential Link to Dance Department Bios BACK TO THE TOP ELIZABETH A WICHMANN-WALCZAK Professor, Asian Theatre (Chinese theatre focus) Director, Asian Theatre Program KT 113 956-2597 ewichman@hawaii.edu Elizabeth Wichmann-Walczak is Professor of Theatre and Director of the Asian Theatre Program in the University of Hawai'i at Manoa Department of Theatre and Dance, where she received her Ph.D. in Asian Theatre in 1983. While carrying out the field research for her doctoral dissertation, she became the first non-Chinese to perform Jingju (Beijing/Peking opera) in the People's Republic of China. Since that time she has written and published on the performance structure and aesthetics of Chinese theatre, and has translated and directed one modern and three classical Jingju plays at the University of Hawai'i; at Chinese invitation, two classical productions were given extensive performance tours of mainland China. Dr. Wichmann-Walczak is the first honorary (and first non-Chinese) member of the National Xiqu (Chinese opera) Institute and of the Chinese Theatre Artists Associations of Shanghai and of Jiangsu Province, as well as a recipient of the National Xiqu Music Association's Kong Sanchuan award for excellence in research, creation, and performance, and of the Second National Festival of Jingju's Golden Chrysanthemum Award for outstanding achievements in promoting and developing Jingju. Education: Ph.D. University of Hawai'i at Manoa, Dept. of Drama and Theatre Specialization: Asian drama and theatre. 1983. certificate. Jiangsu Xiqu (Chinese opera) Academy. 1981. Specialization: Jingju performance training. M.A. University of Hawai'i at Manoa, Dept. of Drama and Theatre Specialization: Asian drama and theatre. 1973. B.A. University of Iowa (Special Honors with Distinction) Double Major: Speech & Drama Education, and Chinese Language & Civilization Selected Publications: "'Reform' at the Shanghai Jingju Company and Its Impact on Creative Authority and Repertory," The Drama Review, 44, no. 4 (T168, Winter 2000): 96-119. "Ma Bomin and the Question of Creative Authority in the Peony Pavilion Controversy," ACMR Reports 2 (Fall 1998): 107-110 Featured review of Manuel D. Lopez, Chinese Drama: an annotated bibliography of commentary, criticism, and plays in English translation. China Review International 3.1 (Spring 1996): 22-31. "Xiqu Research and Translation with the Artists in Mind" Asian Theatre Journal 11.1 (Spring 1994): 97-103. Listening to Theatre: The Aural Dimension of Beijing Opera. Honolulu: University of Hawai'i Press, 1991. "Tradition and Innovation in Contemporary Beijing Opera Performance." The Drama Review 34.1 (1990): 146-178. The Phoenix Returns to Its Nest. Beijing: New World Press, 1986. 140 pp. "Traditional Theatre in Contemporary China," Chapter 8 of Colin Mackerras, ed., Chinese Theatre: From Its Origins to the Present Day, 184-201. Honolulu: University of Hawai'i Press, 1983. "Introduction," 1-6, co-authored with Colin Mackerras. BACK TO THE TOP JUDY VAN ZILE Professor of Dance: Dance Ethnology, Notation Dance 100 956-2596 zile@hawaii.edu M.A., Dance (Ethnology), University of California, Los Angeles M.A. Drama (Dance), University of Colorado, Boulder B.A. Drama and Speech Therapy, Indiana University, Bloomington Link to Dance Department Bios BACK TO THE TOP MARKUS WESSENDORF Associate Professor of Theatre: Dramatic Criticism and Theatre Theory, Experimental and Avant-garde Theatre www2.hawaii.edu/~wessendo/ KT 206A 956-2600 wessendo@hawaii.edu Ph.D. 1996. Department of Applied Theatre Studies, Justus-Liebig University Giessen/Germany. Dissertation on Richard Foreman's Ontological Hysteric Theatre. Diploma in Theatre Studies 1991. Department of Applied Theatre Studies, Justus-Liebig University Giessen/Germany. Diploma-thesis on the deconstructive aesthetics of The Wooster Group. Dr. Wessendorf's primary area of specialization is in experimental and avant-garde theatre. He has written several essays and a monograph about Richard Foreman's Ontological-Hysteric Theatre, but he has also published articles about Bertolt Brecht, Richard Maxwell, The Wooster Group, Ron Athey, the choreographer William Forsythe, and various German performance artists. From 1992 to 1997 Dr. Wessendorf was assistant professor at the Department of Applied Theatre Studies at Justus-Liebig University Giessen/Germany. In 1998 he was a guest scholar at the University of Queensland/ Brisbane, where he worked on a DAAD-funded post-doc project on "cultural transactions between Asian theatre and contemporary Australian performance." From 1999 to 2001 he taught theatre as an adjunct professor at various drama departments in New York City (NYU, Queens College, Marymount Manhattan College). Dr. Wessendorf has also worked as a theatre director internationally. In 1989 he directed the American premiere of Heiner Müller's Germania Death In Berlin at ABC No Rio/New York. In September 1998 he staged Barking Dogs by Australian playwright Norman Price for Brisbane's Metro Arts Theatre. He also presented Cynthia Farar's Curdom at the New York International Fringe Festival 2000. His production of Friedrich Schiller’s The Robbers was performed at Honolulu’s Kennedy Theatre in April/May 2003. Recent Publications "’I’ll Shine in the Backyard. Bright Like a Beacon.’ Introduction." Barking Dogs. By Norman Price. Brisbane: Playlab, 2002. 4-14. "The (Un)Settled Space of Richard Maxwell's House." Forthcoming in Modern Drama. "Ein Gespenst geht um in Foremans Theater – ‘Jetzt, da der Kommunismus tot ist’ (= A Specter Haunts Foreman’s Theatre—‘Now That Communism Is Dead’)," Vienna Festival publication, 2001. "Richard Foreman's Hotel Fuck: Theatre at the Turn of the Century." Interview. Theater der Welt 1999 in Berlin. Arbeitsbuch. 138-144. "Richard Foreman's Theatrical Deconstruction of the Neo-Ritualistic Theatre of the Sixties." Anthropological Perspectives. Ed. Werner Huber and Martin Middeke. Trier: Wissenschaftlicher Verlag, 1998. 121-129. Die Bühne als Szene des Denkens: Richard Foremans Ontological-Hysteric Theatre (= The Stage as a Scene of Thinking: Richard Foreman's Ontological-Hysteric Theatre). Berlin: Alexander Verlag, 1998. 311 pp. Gabriele Brandstetter, Helga Finter, and Markus Wessendorf, eds. Grenzgänge: Theater und die anderen Künste (= Crossing Boundaries: Theatre and the Other Arts). Tübingen: Narr, 1998. 393 pp BACK TO THE TOP