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05.06.2015
After writing about theatre and reviewing productions for a couple of years, I’ve caught myself using a few words and phrases more than once to describe a production or the art form broadly. With very little in the way of professional (paying) theatre in Hawai‘i, I’ve decided to focus on the different purposes and expectations associated with community and professional theatre as a group versus college and university theatre, using the three shows mentioned above as primary examples. Theatres like Manoa Valley or Diamond Head often pride themselves on doing big-name shows: the latest on or off Broadway or the older smash hits. When attending a show at any of the local professional or community theatres, I expect them to be good on a number of levels, such as the direction, the acting, the design elements, and the script. A theatre like KKT is able to create fresh and poignant almost more easily than some others because they tend to take on new material that hits close to home in a geographical and cultural sense. For both professional and community theatres in Hawai‘i, the desired result is for them to produce shows that do justice to the material and captivate audiences. The difference with school shows is that there are a lot of students involved and the purpose of education is to experiment with ideas.
In the end, the purpose and the expectations of work at school and work in the real world aren’t all that different, but they aren’t the same either. Black velour legs and borders are hung in addition to the traveller, cyclorama, and scrim (or any combination of these soft goods.) Most of the student groups that use the Tsai Center use this soft goods setup for their dance or cultural shows. One such phrase that’s been on my mind recently is “what theatre should be”—a phrase I’ve used only sparingly and often with qualifiers, such as “what community theatre should be” or “what university theatre should be.” After seeing The School for Scandal this past weekend at the Leeward Theatre (LT), Cabaret a couple weeks earlier at Diamond Head Theatre (DHT), and Big Love just before that at Kennedy Theatre (KT), I feel compelled to delve a bit further into the meaning contained in such a phrase, however qualified.


They bring the outside theatre culture home to local audiences, and to local actors who want to play those well-known parts, maintaining the integrity of the product.
If the actors don’t know their lines, if the scene changes take forever, if the choreography seems amateur, I’m not happy. The challenges are the same, though, whether the material is old or new, standard or revolutionary: make it good. The recent production of Big Love at KT and the current production of The School for Scandal at LT are excellent examples in which to perceive the differences. One environment is more forgiving, nurturing, and safe, but at the same time just as challenging if not more so. Then you have Kumu Kahua Theatre (KKT), whose purpose fits the bill of “community” more than any other theatre in town, producing plays by, for, and about Hawai‘i. There are others in between that fall somewhere on the spectrum of professional to community, like TAG—The Actors’ Group, the community-based theatre company PlayBuilders, and multiple others. The recent production of Cabaret, at DHT, for example, surpassed nearly all of my expectations. Big Love felt like one big experiment, with a lot of payoff but also some definite lack of cohesion.
The purposes among this diverse group are obviously different in many ways, but there are some shared identifiers.


If you are unsure which setup is best for your event, please consult with your Tsai Production Staff contact. The School for Scandal, like other recent Betty Burdick directed-productions at LT, exhibits the vivacity of student engagement in very big ways. You can see the creative freedom that fosters much of the fervent activity exploding in corners of the stage. This word, quality—a word with various interpretations but always suggesting the attainment of certain widely held standards for what makes something good—comes to mind when I think of the common purpose of these theatres.
There are going to be noticeable differences in acting ability as well because the majority of the cast are students at differing levels in their education. Rather than concerning themselves only with producing a “good” show, these community college and university productions are able to challenge the very idea of what makes a show “good,” all as students hone their skills for when they go out and lead the next theatre revolution.



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