Six students from the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ dance program in the returned from an international dance tour across London, Paris and Poitiers, France this spring, performing and collaborating with artists from around the world.

The group, joined by two dance instructors, traveled in March and April for a tour that culminated at the innovative Festival ¨¤ corps at the Universit¨¦ de Poitiers in France. The festival explores and questions the body and its aesthetic, physical and contemporary representations.

“Participating in an international tour showed me that movement transcends borders,” said Karissa Thuy Deen-Bugaj, a theatre and dance master of fine arts (MFA) candidate. “To feel an audience connected with the work across borders is one of the reasons I love my craft.”

Hina inspired

At the center of the tour was the original and dynamic production of Tides of the Moon, a 20-minute dance theater performance created by university educators and artists Sami L.A. Akuna and Kara Jhalak Miller.

Inspired by the Pacific Moon goddess Hina, the choreography explores the connection between water and sky, body and tide while reflecting on climate, change and transformation. The process based work was performed in Poitiers as part of an international festival. Tides of the Moon sold out and ended with a standing ovation.

“When the audience rose to their feet, cheering and applauding, I felt something happen that I’ve only read about in theory: the dancing body really can speak across cultures,” said Kun Zhou, a theatre and dance, and performance studies graduate student. “As a dance PhD student researching cross-cultural embodiment, that standing ovation turned theory into something I could feel in my own body.“

According to Akuna, Tides of the Moon drew from moʻolelo of Hina, the Hawaiian moon calendar and themes of climate change. While on tour, the dancers took part in performances, workshops and creative exchanges at the Intercultural Roots conference, dedicated to the cultivation of supportive environments in which artistic practices grow, contributing to positive transformation locally and globally.

“Our students interacted with performers from Portugal, Berlin, Korea and France through various workshops and performances and left with new friendships and a lasting experience they will never forget,” Akuna said.

Student artists

Students on the tour were Zhou, Thuy Deen-Bugaj, Ellie Fischenich, Santiago Isaac Rivera Rodas, Bayardo Rodriguez Jr. and Zhenhao Wen, who performed, taught and presented original choreography and dance films throughout the trip.

Through the , students at Windward Community College are bringing pop culture to the Palik¨± Theatre. Two original one-act productions, J-Pop Demon Killaz and The Hangry Games, will run from April 24 to May 3.

Directed by Taurie Kinoshita, the productions highlight emerging student performers through fast-paced storytelling, stylized stage combat and comedic satire. These projects reflect the Â鶹´«Ã½ Conservatory of Performing Arts¡¯ commitment to hands-on learning in acting, movement and stage production.

J-Pop Demon Killaz, written by alumna Noalani Helel¨¡, is set on Oʻahu and follows three local young women pursuing careers in the music industry while confronting supernatural challenges. The play combines humor, music and action-driven storytelling through a Â鶹´«Ã½-based perspective influenced by global pop culture.

The Hangry Games, written by alumnus Kekoa A. Shope, reimagines a dystopian competition in which survival depends on resourcefulness, resilience and determination. The production incorporates physical performance elements and topical humor that reflect current events, themes of power and scarcity.

Each production runs approximately one hour. They are recommended for audiences 14 and older due to staged violence, language and mature themes.

Performance Schedule

Fridays and Saturdays

• April 24, 25 and May 1, 2–7:30 p.m.

Thursday

• April 30–7:30 p.m.

Sundays

• April 26 and May 3–3 p.m.

Tickets may be or in person at the box office one hour prior to showtime. Student tickets are available in person only. For ticket information, contact the Palik¨± Theatre box office at (808) 235-7315 or paliku@hawaii.edu.

For more information about the Â鶹´«Ã½ Conservatory of Performing Arts and theatre courses at Windward Community College, visit . Additional information is available from Professor Nicolas Logue at logue@hawaii.edu or (808) 236-9138.

The University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ will debut , a new hana keaka (Hawaiian theatre work) that takes audiences on a journey of community rebuilding in the wake of the Lahaina wildfires. The production honors those who were lost, those who survived, and those who still carry the weight of rebuilding on Maui. Performances run March 4–8 in the Earle Ernst Lab Theatre at Kennedy Theatre.

Created by UH ²Ñ¨¡²Ô´Ç²¹ master of fine arts (MFA) candidate Ikaika Mendez, Lele Wale does not seek to recreate the tragic wildfires. Instead, the work moves through memory, music and movement to create space to remember, grieve and reflect on what comes next for both people and place. For Mendez, a Maui native, Lahaina holds deep personal meaning.

“Although I am from Kanaio, Lahaina became the place where I learned what it meant to be a performer in service to people and place¡­working at the Feast at Lele Lūʻau at just 15 years old,¡± said Mendez. “I learned discipline, responsibility and the power of storytelling through music and movement. That experience deeply influenced my path, leading me to pursue education in music, ʻōlelo Â鶹´«Ã½ (Hawaiian language), and ultimately my MFA in hana keaka.¡±

Voices of place

Lele is the traditional place name for Lahaina. In ʻōlelo Â鶹´«Ã½, lele wale evokes prayer and speaks to motion, as well as the act of releasing. The hana keaka is performed in a combination of ʻōlelo Â鶹´«Ã½, Â鶹´«Ã½ Creole English (Pidgin) and English intertwined with live music, hula and imagery.

“There are experiences, emotions and understandings that cannot be fully expressed in English, so we speak them, sing them and chant them in ʻōlelo Â鶹´«Ã½,¡± said Mendez. “At the same time, Pidgin and English reflect the lived reality of Lahaina today: the sounds of home, work, family and community.¡±

Ticket information

Performances are Wednesday through Saturday at 7:30 p.m., with a Sunday matinee at 2 p.m.

A free post-show Q&A with the director and cast will follow the Friday, March 6th performance for ticket holders.

Content advisories: Covers themes connected to wildfire, loss of life, strong language, haze effects and flashing lights. Questions about tickets or accessibility can be directed to ktbox@hawaii.edu or (808) 956-7655.

This article by Native Hawaiian Initiative Alakaʻi (Coordinator) at the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ Kamakanaokealoha Aquino was first published in .

As we begin this new year, let us take a moment to reflect on 2025. During the 2024-2025 academic year, the University of Â鶹´«Ã½ awarded 2,086 degrees and certificates to Native Hawaiians. As of fall 2025, there are 12,618 Native Hawaiians enrolled.

There are so many accomplishments by students, faculty, staff, and administrators, to programs, community outreach, and engagement to highlight. Here are a few:

• Hear from Native Hawaiian community college students fulfilling their kuleana: Cathryn Krueger, Â鶹´«Ã½ CC; Kamananui Anderson, Honolulu CC; Melanie Camat, Kapiʻolani CC; Hiʻilani Cremer, Kauaʻi CC; Stevie Puna, Leeward CC; ʻAleʻa Kimokeo, UH Maui College; Kauakaweli Haili-Nakamoto, Windward CC.
• UH Hilo honored Mary Kawena Pukui with a panel that coincided with Women¡¯²õ History Month and her posthumous selection as a 2025 honoree for the U.S. Mint¡¯²õ Native American $1 coin.
• The Hawaiian collection at the UH Hilo Edwin H. Moʻokini Library was named the Edith Kanakaʻole Hawaiian Collection.
• UH West Oʻahu hosted a two-day ʻAha Hoʻoponopono with 300 haku hoʻoponopono, social sector professionals, aloha ʻ¨¡¾±²Ô²¹ practitioners, and community members.
• UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ Hawaiian Theatre program celebrated its 10th anniversary with its latest Hawaiian language production Puana, and an invitation to perform at the Kia Mau international Indigenous-led performing arts festival in Aotearoa.
• Windward CC extended its Hawaiian studies program to paʻahao incarcerated at the Saguaro Correctional Center in Arizona, with 25 students enrolled in their first course.
• Haʻina Ko Wehi: Celebrating West Maui in Mele a project by students from UH Maui College¡¯²õ Institute of Hawaiian Music was named Compilation Album of the Year at the 2025 N¨¡ H¨­k¨± Hanohano Awards.
• Honolulu Community College hosted a two-day Indigenous education symposium ʻAha K¨±kalahale 2025, uplifting Hawaiian knowledge funded by the K¨±kalahale Title III Grant and in partnership with Kanaeokana and Pacific Rim Concepts.
• UH ²Ñ¨¡²Ô´Ç²¹ Native Hawaiian Student Services¡¯ Hawaiian Youths Abroad program Japan took a cohort of 13 students and 6 faculty/staff to explore Tokyo, Kyoto, and Osaka, while retracing connections between the Hawaiian Kingdom and Japan.
• Kuiokalani L. Gapero succeeded Ernie Kaʻaumoana Wilson Jr. to the UH Board of Regents for a 5-year term.
• Winners of the Board of Regents Medal for Excellence in Teaching included: Mapuana Antonio (public health associate professor, UH ²Ñ¨¡²Ô´Ç²¹); Ashlee Kalauli (math instructor, Â鶹´«Ã½ CC); Tracie Kuʻuipo Losch (Hawaiian studies professor, Leeward CC); Mehana Kaʻiama Makaʻinaʻi (Hawaiian studies instructor, UH ²Ñ¨¡²Ô´Ç²¹); Peter Kalawaiʻa Moore (Hawaiian studies professor, Windward CC); and Jamaica Heolimeleikalani Osorio (political science associate professor, UH ²Ñ¨¡²Ô´Ç²¹).
• Kenny Kaʻaiakamanu-Quibilan received the UH ²Ñ¨¡²Ô´Ç²¹ P¨¡kela Award for being an outstanding academic advisor.
• Shayla Spotkaeff, a business management major and undergraduate research assistant at the Center for Oral History received the UH ²Ñ¨¡²Ô´Ç²¹ Student Employee of the Year Award.
• Ka Huli Ao Center for Excellence in Native Hawaiian Law at UH ²Ñ¨¡²Ô´Ç²¹ William S. Richardson School of Law celebrated 20 years.

A student film created at the University of Â鶹´«Ã½ at Mānoa has earned international recognition at the . “Praying Mantis,” written and directed by UH Mānoa student Hulita Drake, was named among the winners of the 2025 festival in the zero budget category.

The film tells the story of a young woman who attends a college costume party dressed as a praying mantis, only to find herself out of place until a chance encounter changes the course of her night. What begins as a seemingly romantic connection unravels into disappointment, sparking a journey of obsession, prayer and unexpected action.

Drake collaborated with fellow UH students Lauren Piehler, who served as cinematographer, and AJ Taylor, who handled sound recording. The production also received support from other classmates, and community members Olivia Vela and Jase Andrews starred in leading roles.

Drake and members of the student team traveled to Auckland, New Zealand, for the festival¡¯²õ October 7 celebration event. The trip marked an opportunity to showcase their work on an international stage while connecting with filmmakers from across the Pacific.

“Receiving this recognition at the South Pacific International Film Festival is an incredible honor,” said Drake, who earned a BA in and is working on a second bachelor¡¯²õ degree in digital cinema from the UH Mānoa . “It¡¯²õ a testament to the creativity, dedication and collaboration of our entire UH Mānoa student team. Being able to share ‘Praying Mantis’ on an international stage and connect with filmmakers from across the Pacific has been an inspiring experience that I will always cherish.”

“Praying Mantis” is currently screening on the film festival circuit and isn¡¯t yet available to the public, but Drake hopes to release it on YouTube in the future.

The South Pacific International Film Festival highlights emerging and independent filmmakers from across the region. This year¡¯²õ slate featured winners from the U.S., New Zealand, Indonesia and Fiji. “Praying Mantis” was one of three films from the U.S. selected for recognition.

The stage at Windward Community College¡¯²õ will transform into one of ±á²¹·É²¹¾±ʻ¾±¡¯²õ eeriest landscapes in November, when the Â鶹´«Ã½ Conservatory of Performing Arts presents The Green Lady of Wahiaw¨¡ and Other Local Ghost Stories. Directed by Taurie Kinoshita, the premiere runs November 7–16.

Rooted in folklore, urban legends and historical accounts, the production reimagines some of ±á²¹·É²¹¾±ʻ¾±¡¯²õ most spine-tingling ghost stories¡ªfrom the moss-haired Green Lady who terrifies Wahiaw¨¡ gulch, to the blank-faced apparition who lurks in mirrors at Kahala Mall, to the infamous Kaimuk¨© house haunted by a malevolent spirit.

The title tale, The Green Lady of Wahiaw¨¡, dates back to 1957 when children first reported sightings of a foul-smelling, seaweed-draped figure near Wahiaw¨¡ Elementary. Over the decades, the legend became a cautionary fable meant to keep children from straying into the dangerous gulch.

The play also dramatizes The Faceless Woman, a ghost drawn from y¨­kai (Japanese supernatural beings) folklore and local reports from the old Waiʻalae Drive-In. Another vignette explores the Kasha of Kaimuk¨©, a poltergeist or corpse-devouring demon said to torment those who enter its house.

Spanning the 1920s to present day, the show also incorporates stories tied to the Pali Highway and Japanese internment camps, weaving together themes of fear, bias, courage and faith. Each tale is staged in a unique style—film noir, realism, expressionism—offering audiences a theatrical journey into the supernatural side of Â鶹´«Ã½.

Performances are recommended for ages 13 and up due to adult themes, language and minor stage violence.

Showtimes:

• November 7, 8, 14, 15 (Fridays and Saturdays) at 7:30 p.m.
• November 13 (Thursday) at 7:30 p.m.
• November 9, 16 (Sundays) at 3 p.m.

Tickets: $25 General; $20 Seniors, active military, University of Â鶹´«Ã½ faculty and staff, and Â鶹´«Ã½ Department of Education educators; $15 Students (with ID, in person only). Purchase online at or at the box office one hour prior to showtime.

This week¡¯²õ UH News Image of the Week is from the Kauaʻi Community College Performing Arts Center.

The Kauaʻi performances of RENT August 8–10 mark the UH ²Ñ¨¡²Ô´Ç²¹ production’s first appearance outside of Oʻahu, offering new audiences a chance to experience one of the most impactful works in modern musical theatre, through a uniquely ʻohana lens.

More on RENT at the Kauaʻi CC Performing Arts Center.

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A world-renowned kabuki actor is bringing a once-in-a-lifetime opportunity to Â鶹´«Ã½ this summer. Ichikawa Monnosuke VIII, an eighth-generation kabuki master, will lead an intensive workshop at the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ August 1–18, offering rare, hands-on training in this vibrant classical Japanese art form.

“This opportunity to train in kabuki with a professional is truly unique,” said UH ²Ñ¨¡²Ô´Ç²¹ theatre professor Julie Iezzi. “Nowhere else in the world, not even in Japan, can those outside of the tradition train under a kabuki actor.”

Spirit of kabuki

The two-week workshop, offered Mondays through Fridays through UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ and Department of , is open to students, alumni, and community members, and will focus on Kabuki movement and vocal training. Two course tracks, credit and non-credit, are available for and for $1,350 (non-credit) and $1,500 (credit). The program ends with a recital showcasing students’ work on August 18th at 4 p.m. in the Earle Ernst Laboratory Theatre.

“Different from the realism of Western theatre, I hope students will learn the unique performance techniques of kabuki, which express the spirit of a character while also valuing the beauty of form,” Monnosuke said.

Eighth-generation master

Monnosuke, whose family¡¯²õ kabuki lineage dates back to 1713, is no stranger to UH. In 2024, he and his apprentices trained student actors for UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ English-language kabuki production, The Maiden Benten and the Bandits of the White Waves. That production not only sold out performances but also received a first-ever invitation to perform in Japan, where it was enthusiastically received.

Kabuki has deep roots in Â鶹´«Ã½. In fact, the university staged the first known English-language kabuki production in the islands 100 years ago. Today, UH ²Ñ¨¡²Ô´Ç²¹ is helping keep that legacy alive.

• Related UH News story: 100 years of Â鶹´«Ã½ Kabuki in English: Masters from Japan train UH actors, December 10, 2023

Kabuki legacy

With guidance from Iezzi, UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ theatre and dance department is breathing new life into English-language kabuki, an art form that flourished on the Kennedy Theatre stage under the leadership of late UH ²Ñ¨¡²Ô´Ç²¹ Professor James R. Brandon and master kabuki actor Nakamura Matagor¨­ II, with vital support from community artists Onoe Kikunobu (dance) Yamada Chie (music) and Joji Wago (wigs and makeup).

Monnosuke and his wife, Yukika, first met Iezzi in 2016, already aware of the university¡¯²õ rich kabuki traditions and eager to support its continuation.

“They were wondering about future plans for kabuki, and actually
came at the perfect time, since I, too, was searching for artists interested in helping to rebuild the complex infrastructure of knowledge necessary to continue doing kabuki productions,” Iezzi said.

, or contact iezzi@hawaii.edu, (808) 956-4377.

alumnus Brutus La Benz has long been a familiar face on Â鶹´«Ã½ television screens appearing in commercials for everything from Texaco and 7-Eleven to Kona Brewing Company and the Â鶹´«Ã½ Quit Tobacco campaign. But his big break came this spring, when he debuted as Lilo¡¯²õ kumu hula (hula teacher) in Disney¡¯²õ live-action Lilo & Stitch, a box office hit that soared past the $1 billion mark this July.

Before landing a role in the major Disney film, La Benz¡¯²õ earliest acting stage was his family¡¯²õ living room in Kailua. As a kid, he and his brother would spend hours performing scenes from hit flicks Wayne¡¯²õ World and Tommy Boy after summer fun.

“A lot of times we would just kind of memorize lines and reenact them. And I always thought that was fun,” he said.

That early love for performance stuck. The Olomana native can still recite skits from the late, beloved Â鶹´«Ã½ comedian Rap Replinger—classic jokes he proudly calls “scripture.”

La Benz, a Punahou School graduate, earned degrees in (Hawaiian language) and from the UH ²Ñ¨¡²Ô´Ç²¹ . It was in those ʻ¨­±ô±ð±ô´Ç classes he says a passion for acting truly began to grow.

“In order to help us learn the sentence structures and the new vocabulary, some of them would ask us to do a lot of mini skits, just so that we could memorize the lines and patterns,” La Benz added. “Once I figured out we can make these funny skits and still learn, that was really cool.”

That energy led him to the stage in 2004, when he starred in Kamapuaʻa, a Hawaiian-language stage production directed by Tammy Hailiʻōpua Baker, founder of UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ . It¡¯²õ there he learned how to tell stories through action, not just words.

“Because many didn’t understand Hawaiian language, the words needed to come across in the way we acted. And so that was challenging, but also I think that’s what made us all really, really fun and decent actors,” La Benz said.

Seeking permission

In 2023, when Disney offered him the “kumu hula” role, La Benz actually hesitated. A trained ʻ¨­lapa hula (hula dancer) under Kumu Hula Snowbird Bento, he wasn¡¯t sure if taking the role of a kumu hula on screen was appropriate.

“My initial reaction was I better call my kumu first to make sure that it¡¯²õ okay to portray a kumu,” La Benz said.

With her blessing, he stepped into it.

“He Mele No Lilo” (A song for the lost)

Filming for the lively scene took place at the Kokokahi YMCA in Kailua, and La Benz, who has a 9-year-old daughter, said it felt natural.

“It was just like having a bunch of my daughters there. They were super goofy. I felt more like I was being a parent and modeling after how I see my kumu interact with her students at those ages,” he said.

In addition to his role as Lilo¡¯²õ kumu hula, La Benz also served as the body double for the alien character Jumba, performing the character¡¯²õ physical movements on set.

His daughter, Kealaleih¨­k¨± lit up at the film¡¯²õ Â鶹´«Ã½ premiere.

“She was just staring into the screen, but when I came on she said, ‘Oooh! Daddy!!’”

Guiding life moments

Outside of acting, La Benz pours his heart into work as a kahu (officiant). He¡¯²õ spent more than a decade overseeing weddings, blessings and farewells.

“Honored to be a part of different celebrations…making people feel safe and comfortable enough to celebrate or grieve in a way that they need to,” said La Benz.

He expressed deep gratitude for the opportunity to serve as a kahu and looks forward to taking on new acting roles but says above all, being a dad is the role he cherishes most.

—By Moanikeʻala Nabarro

Boogie back to a time when the world seemed to be turning around, when we made more love than war, and even in the most profound grief there was humor and hope. Windward Community College¡¯²õ presents William Shakespeare¡¯²õ Much Ado About Nothing set in 1973, directed by Taurie Kinoshita, at April 25–May 4, 2025.

Much Ado About Nothing is a raucous comedy filled with dancing, drama, mistaken identity, decisive deceptions and hapless misunderstandings. Full of romantic liaisons and male rivalry, the verbal sparring of Benedick and the outspoken Beatrice is wildly fun and was revolutionary for its time. Subsequently, having female characters who were intellectual equals became popular on stage.

“The genius of Much Ado About Nothing is proven by nearly 500 years of continuous performance, and as one of Shakespeare’s most modern plays it¡¯²õ accessible to all,” Kinoshita said. “Benedick and Beatrice are as immortal as Romeo and Juliet—but funnier, and spoiler alert: they don’t die! Disco, drag, dueling lovers and disguise-parties—what more could you want?”

In this retelling, young men are returning from the Vietnam War and negotiating civilian life while the political climate is changing radically: Roe v. Wade, Watergate, homosexuality no longer classified as a disease by the National Psychiatrics Board—it was an optimistic time. Despite events such as Kent State and the Second Wounded Knee, young people had a sense of empowerment.

Show dates and times:

• April 25, 26 and May 2, 3 (Fridays and Saturdays) 7:30 p.m.
• May 1 (Thursday) 7:30 p.m.
• April 27 and May 4 (Sundays) 3 p.m.

Ticket information:

• $25 General
• $20 Seniors (62+), active military with ID, Â鶹´«Ã½faculty and staff, Â鶹´«Ã½ Department of Education educators
• $15 Students (12+ and college students with ID). Available in person only.

Purchase tickets online at or in person at the box office one hour prior to the show. For more information call (808) 235-7315 or email paliku@hawaii.edu.

For more information about Much Ado About Nothing, contact Kinoshita at . To learn about the Â鶹´«Ã½ Conservatory of Performing Arts, contact Associate Professor Nicolas Logue at logue@hawaii.edu.

The University of Â鶹´«Ã½ at Mānoa program is celebrating its 10th anniversary with a major milestone. Its latest Hawaiian language production, Puana, was invited to perform this June at the , an international Indigenously led performing arts festival in Aotearoa (New Zealand). The festival is a premier showcase of Māori, Pacific and Indigenous performing arts.

“Kia Mau is a call to hold steadfast. In a way, it¡¯²õ like our [Hawaiian] word hoʻomau, to perpetuate, and in this circumstance it¡¯²õ about perpetuating our storytelling,” said Tammy Hailiʻōpua Baker, director and founder of the UH Mānoa Hawaiian Theatre program.

“Having Puana invited to this festival, elevates the work that we¡¯re doing here, and it also puts us on an international stage speaking to the quality of the work that we¡¯re creating, as well.”

Bringing Hawaiian moʻolelo to the world

Puana, which debuted at in September 2024, explores the deep spiritual connections between Kānaka Maoli (Native Hawaiians) and their kūpuna (ancestors) through the power of song. The production is performed primarily in ʻōlelo Â鶹´«Ã½ (Hawaiian language).

Two of the lead actors, Kaʻiukapu Baker and Ikaika Mendez, will travel with the production to perform. Mendez, who is from Maui, earned an undergraduate degree in and at UH Mānoa and is now pursuing a graduate degree in Hawaiian theatre. He sees this opportunity as a way to share Native Hawaiian traditions with a global audience.

Related story: Hawaiian theatre returns: Premiere of Puana explores music, ancestral ties, August 2024

“A lot of times, our moʻolelo (stories) are seen as childhood tales, little songs. ‘Oh, that’s the hula,’” Mendez said. “But when you dig deep into moʻolelo and hana keaka (Hawaiian theatre), it¡¯²õ really education at its highest form.”

For Kaʻiukapu Baker, performing at Kia Mau is more than just an opportunity—it¡¯²õ an honor.

“I¡¯m definitely bringing a little bit of nerves but I¡¯m mostly bringing excitement with me to Aotearoa because I love being in their ʻāina (land) and to see the similarities of their land and their language to ours…it is a privilege,” she said.

Help bring Hawaiian theatre to Aotearoa

Taking a production overseas is no small feat. The twenty-member cast and crew need community support to raise $70,000 to cover travel expenses.

Donations can be made to the through the UH Foundation.

Award-winning hana keaka

Since its founding in 2014, UH Mānoa¡¯²õ Hawaiian Theatre program has produced eight original hana keaka, all performed mainly in ʻōlelo Â鶹´«Ã½. The program is dedicated to revitalizing the Hawaiian language and strengthening cultural identity through theatre.

Its work has earned both local and national recognition. In 2022, Baker was honored with the Kennedy Center Medallion of Excellence, a top award in theatre education, for her leadership in Indigenous arts.

This week¡¯²õ UH News Image of the Week is from Windward Community College’s Taurie Kinoshita and Nicole Tessier.

They shared: “Alten Keoki Ken Kiakona as Kaomi, Corin Kumakani Medeiros as Kauikeaouli (Kamehameha III) and Leleaʻe “Buffy” Kahalepuna-Wong as Queen Kaʻahumanu in Aloha Kaua at .

Aloha Kaua is a world premiere historical drama by Windward CC alumna Noalani Helel¨¡ about queer love, sacrifice and courage in a time of repression and uncertainty. As a young man, Kauikeaouli (Kamehameha III) fell in love with Kaomi, who rebelled against the values and laws being imposed by the missionaries. As their love deepened, Kauikeaouli was inspired to resist oppressive colonial morality. He brought back hula, free love, drinking, games and Makahiki. Kauikeaouli eventually made Kaomi his Mōʻī kuʻi (joint king). Outraged, Hawaiian Christian chiefs resorted to violence, turning their anger on Kaomi and demonizing him for leading the king down what they believed was a dangerous path. Hawaiian historian Adam Keawe Manalo-Camp calls this the first hate-crime in the history of Â鶹´«Ã½.”

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The University of Â鶹´«Ã½ at Mānoa¡¯²õ and is proud to present Jonathan Larson¡¯²õ extraordinary rock musical RENT, live on stage from February 28 to March 9, 2025.

Directed by Joshua “Baba” Tavares, this heartfelt musical, inspired by Puccini¡¯²õ La Boh¨¨me, RENT reimagines the classic opera¡¯²õ themes of love and sacrifice through the lens of struggling young artists in the Lower East Side of Manhattan during the height of the HIV/AIDS epidemic.

Since RENT¡¯²õ broadway debut in 1996, RENT has touched the lives of millions around the globe, becoming a cultural phenomenon with its timeless themes of love, resilience, hope, community and identity. It earned the Pulitzer Prize for Drama and multiple Tony Awards, including Best Musical, Best Original Score, and Best Book of a Musical. Its iconic songs, including “Seasons of Love,” continue to resonate with audiences worldwide, cementing the show¡¯²õ legacy as a transformative work of musical theatre.

Tavares, a recent MFA graduate from UH Mānoa and the newest assistant professor of acting in the Department of Theatre and Dance, brings a deep personal connection to the show, having played the role of Angel in the 20th Anniversary National Tour of RENT (2019–20).

“It¡¯²õ about love, relationships, healing, passion, and figuring out who we are—things that never stop being relevant or important,” said Tavares. “It¡¯²õ uplifting, heartbreaking, and hopeful. It¡¯²õ also a great show for students to learn and grow from.”

Ticket information

Tickets are available online, with prices ranging from $5 to $25. Pre-show chats will be held at 6:45 p.m. before the Saturday performances on March 1 and 8, offering insights from the directors and designers.

For more information and to purchase tickets, visit the . For ticketing inquiries, email ktbox@hawaii.edu or call 808-956-7655.

The brief period known as “Time of Kaomi” covering King Kamehameha III and his “joint king” is the subject of an upcoming play at Windward Community College¡¯²õ .

Windward CC¡¯²õ (HCPA) and the North Beach-West Maui Benefit Fund present Aloha Kaua, written by Noalani Helelā and directed by Taurie Kinoshita, February 21–March 2, 2025.

‘Joint king’

As a young man, Kauikeaouli (Kamehameha III) fell in love with Kaomi, a brilliant half-Tahitian and half-Hawaiian student of Hiram Bingham. Kaomi healed with his hands, diagnosed illnesses and rebelled against the values and laws being imposed by the missionaries. As their love deepened, Kauikeaouli was inspired to resist oppressive colonial morality. He brought back hula, free love, drinking, games and Makahiki (an annual celebration).

Kauikeaouli eventually made Kaomi his Mōʻī kuʻi (joint king). Kuʻi also implies marriage, underscoring the deep love they had for each other.

Outraged, Christian chiefs (Kaikioʻewa and Kīnaʻu among them) tried to stop the young Kauikeaouli. Some resorted to violence, turning their anger on Kaomi and demonizing him for leading the king down what they believed was a dangerous path. The “Time of Kaomi” was almost erased from history.

Kinoshita said, “We see the clash between traditional non-binary views and the rigid hierarchical world of the west. It¡¯²õ a historical drama about queer love and resistance, peppered with humor and witty dialogue.”

Show dates and times:

• February 21, 22, 28 and March 1 (Fridays and Saturdays) 7:30 p.m.
• February 27 (Thursday) 7:30 p.m.
• February 23 and March 2 (Sundays) 3 p.m.

Ticket information:

• $25 General
• $20 Seniors (62+), active military (with ID), Â鶹´«Ã½faculty and staff, DOE educators
• $15 Students (13+ and college students with ID)

Purchase tickets online at or in person at the box office one hour prior to the show. For more information call (808) 235-7315 or email paliku@hawaii.edu.

Suitable for ages 13+

First hate-crime in Â鶹´«Ã½

Helelā, the HCPA Emerging Island Artist for the 2022–23 season, revives elements of this incredible story to focus on a timeless tale of love, sacrifice and courage in a time of uncertainty. Hawaiian historian Adam Keawe Manalo-Camp calls this the first hate-crime in the history of Â鶹´«Ã½.

Corin Kumakani Medeiros (Morgan¡¯²õ Corner at Windward CC) stars as Kauikeaouli, Leleaʻe “Buffy” Kahalepuna-Wong (Once On This Island at Manoa Valley Theatre) plays his mother Kaʻahumanu, and Alten Keoki Ken Kiakona (Lovey Lee at Kumu Kahua Theatre) is Kaomi.

For more information about Aloha Kaua, contact Kinoshita at taurie@hawaii.edu. To learn about the HCPA, visit or contact Associate Professor Nicolas Logue at logue@hawaii.edu. For more information about Palikū Theatre, visit .

at Windward Community College presents Morgan¡¯²õ Corner—written and directed by Taurie Kinoshita—at , November 8–17. The truth behind the local horror story of Morgan¡¯²õ Corner recounts the trial, retrial and eventual pardoning of James Majors and John Palakiko, two young men sentenced to hang for accidentally killing Therese Wilder in her home near Morgan¡¯²õ Corner off the old Pali road.

One of the most renowned criminal cases in Â鶹´«Ã½ of the 20th century, it was the Majors-Palakiko case that helped bring an end to the death penalty.

Morgan¡¯²õ Corner is an original play dealing with bias, prejudice and inequity, told in five, often radically different, perspectives. Anyone with an interest in local history will want to see this suspenseful, historically based crime-drama.

Show dates and times:

• November 8, 9, 15 and 16 (Friday and Saturday), 7:30 p.m.
• November 14 (Thursday), 7:30 p.m.
• November 10 and 17 (Sunday), 3 p.m.

Ticket information:

• $25 Adults
• $20 Seniors (62+), Military (with ID), DOE Educators
• $15 Students (14+ and college students with ID)

Purchase tickets online at palikutheatre.com or in person at the box office one hour prior to the show.

Due to adult situations and themes, this play is recommended for ages 14 and older. Running time is 90 minutes.

Historic background

In 1948, two young men named John Palakiko and James Majors broke into the home of wealthy widow Therese Wilder, searching for food. They tied her up and left, and five days later her housekeeper found her dead.

The ensuing uproar over the death of this white woman was sensational. Acting prosecutor John Desha, once secretary to Prince Jonah Kūhiō Kalanianaʻole, was replaced for following the rule of law and refusing to seek the death penalty. John Palakiko was beaten by police, being forced to confess and make false statements. Evidence exonerating Majors and Palakiko from a first degree murder charge went missing, and the judge allowed unsigned documents to be entered as evidence.

Despite all these irregularities, Majors and Palakiko were sentenced to hang and lost their Supreme Court retrial case. After years of struggle and thousands of citizens writing in, Majors and Palakiko¡¯²õ sentences were commuted to life imprisonment.

This case highlights the disparity of justice in death penalty cases. People of different races were categorically treated differently by the criminal justice system—especially if the crime was a person of color against a white person.

Morgan¡¯²õ Corner takes place in 1954 on the eve of Majors¡¯ and Palakiko¡¯²õ third scheduled execution. The story is told from five radically different perspectives: Prosecutor Hite, Detective Stevens, original Prosecutor Desha, James Majors (falsely accused of rape) and John Palakiko (beaten by Stevens into confessing).

This Rashomon-style (told from different perspectives) intellectual thriller deals with bias, politics, prejudice and the criminal justice system.

More about Windward CC¡¯²õ theatre program

For more information about Morgan¡¯²õ Corner, contact Director Taurie Kinoshita at 808-779-3456 or taurie@hawaii.edu. To learn more about Theatre 260 and other theatre classes offered at Windward CC, contact Associate Professor Nicolas Logue at 808-236-9138, logue@hawaii.edu or go online to . For more information about Palikū Theatre, visit .

This fall, the University of Â鶹´«Ã½ at Mānoa and will premiere , a hana keaka (Hawaiian Theatre) production that delves into the spiritual connections between Kānaka Maoli (Native Hawaiians) and their kūpuna (ancestors) through the power of song. Performed primarily in ʻōlelo Â鶹´«Ã½ (Hawaiian language), the play also commemorates the 10th anniversary of UH Mānoa¡¯²õ .

Puana tells the story of a group of contemporary musicians who uncover their genealogical connections through moʻokūʻauhau (family history) and poetic compositions. The innovative production is a collaboration between Hawaiian theatre and , a project of the UH Mānoa .

¡°This connection that we have with those that have come before, the connection that we have with our ancestors, we believe that they¡¯re always with us, we stand on their shoulders, and they continue to guide us as we move forward in our journeys,¡± said Kumu Tammy Hailiʻōpua Baker, founder of the Hawaiian Theatre program who wrote and directed the play.

“Puana provides an opportunity for [Kānaka Maoli] to celebrate our musical legacy, to reflect on the accomplishments and skill of haku mele (music composition), and to build upon that legacy today.”

Guided by kūpuna

The story follows a group of friends who are in a band as they discover that their creative journey is deeply rooted in their collective identity and ancestral legacy. As they explore their artistic paths, they come to realize the significance of their kūpuna and the enduring influence of their ancestors.

The hana keaka brings together an impressive creative team, such as UH Mānoa Hawaiian language professor, composer Kumu Hula R. Keawe Lopes, Jr., Kumu Hula Tracie Kaʻōnohilani Lopes, Nā Hōkū Hanohano award-winning musician Zachary Alakaʻi Lum, Moʻolono and playwright Kaipulaumakaniolono Baker, and Māori composer and recording artist Tawaroa Kawana.

Helping bring this hana keaka to life are Chris Patrinos (scenic designer), Noelani Montas (lighting and projection designer) and Kaʻiukapu Baker and Maile Speetjens (costume designers).

“I¡¯m excited about the magic that¡¯²õ going to happen. When all the various aspects of a production come together, it¡¯²õ so magical,” said Baker. “We have amazing people on this project, and it¡¯²õ going to be amazing.”

Ticket information

for performances September 27–28 and October 4–6. Purchases can also be made at Kennedy Theatre Box Office starting September 23, from 11 a.m. to 2 p.m., Monday through Friday, and one hour prior to each performance. Educators interested in organizing field trips can reach out to ktbox@hawaii.edu for more details.

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Kathlina Martin, an alumna of the at the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹, is helping to bring Micronesian culture to global audiences through her involvement with , a traveling theatre company.

Martin’s connection to theater emerged from her desire to preserve Micronesian cultural narratives. Inspired by TeAda Productions’ mission to amplify marginalized voices, she found their community-driven storytelling approach reminiscent of the sipai (skits) she performed growing up. TeAda produces plays that address health, education and social justice issues.

Born on the island of Piis Paneu in Chuuk State, Federated States of Micronesia, Martin graduated with a bachelor’s degree in social work from the University of Guam and later earned her master of social work from UH ²Ñ¨¡²Ô´Ç²¹ in 2011. She taught high school for three years before moving to Â鶹´«Ã½, and currently works with immigrant communities as a migrant education specialist for Pacific Resources for Education and Learning. Her work helps connect migrant families to community resources such as resource fairs, job fairs and food banks.

Dual roles bridge past and present for Pacific Islanders

After attending a community engagement workshop for TeAda Productions’ play Nothing Micro About Micronesia, Martin was invited to join the cast. She plays Tinana, the grandmother, and Mama Kiwin, who uses magic to control the elements. The play has been performed in several cities and is scheduled for upcoming showings, including at the Pacific Youth Empowerment for Success conference on Â鶹´«Ã½ Island in October.

“There¡¯²õ nothing micro about Micronesia. Just look at it. You have almost over two hundred thousand people throughout and a large ocean that they use as their highway, even today,” Martin said. “There are big moments of our [geographic region of Micronesia] history that most everyone knows about too, whether it¡¯²õ the bombing of the Marshall Islands or the famous navigators with their advanced charts.”

Theresa Kreif, director of Pacific Pathways & Workforce Development Initiatives at the Thompson school, praised Martin’s innovative approach to advocacy.

“Kathy¡¯²õ investment in showcasing the cultural strengths of Micronesia-connected communities through theater increases the visibility of their numerous contributions and ensures a space where culture is celebrated,” she said.

Through her work as a social worker and her volunteerism in community theater, Martin aspires to highlight the wisdom, strength and resiliency of Micronesia, fostering a sense of familial unity akin to her island upbringing.

—By Maria Pou