Windward Community College has solidified its reputation as a global launchpad for actors. Eight students from the spring 2025 and spring 2026 cohorts at the Windward CC’s auditioned for the in London, and the school offered spots to all eight.

This coincides with another major milestone. In fall 2025, East 15 Acting School—ranked fourth in the UK for drama in the Guardian University Guide 2024—officially elevated its relationship with Windward CC to Premium Partner status.

Ensuring access

The Hawaiʻi Conservatory of Performing Arts at Windward CC is dedicated to ensuring this elite training is widely available to local students.

“We’re committed to leveling the playing field for anyone who has the tenacity to do this for a living,” said Professor Nicolas Logue. “No one should be excluded from the program because they can’t afford it.”

Every student who successfully auditions into Windward CC’s year-long program receives a Dr.. Dennis Carroll Scholarship, which covers 100% of tuition. The new Premium Partner status further expands this financial support. Windward CC students transferring to East 15 are guaranteed a dedicated scholarship of $5,000 per year of study.

Building bridges

The partnership is the result of more than a decade of bridge-building by Logue and Resident Director Taurie Kinoshita, both of whom arrived at Windward CC in 2012 directly from East 15. Pioneered by former Windward CC student Brandon DiPaola, every Windward CC student who has matriculated to East 15 has graduated with the UK equivalent of summa cum laude (with highest honor).

Chris Main, East 15 director of acting, said, “Through summer programmes, via the audition process for our undergraduate and postgraduate programmes, to the numerous students who progressed from Windward CC to East 15, we have consistently witnessed the talent and craft of Windward CC students and graduates.”

First in Hawaiʻi

The Hawaiʻi Conservatory of Performing Arts is the first performing arts conservatory in the state. An articulation agreement signed in 2023 recognizes the Conservatory’s Foundation in Acting program as the academic equivalent of East 15’s own Foundation year, allowing Windward CC students to matriculate directly into the second year of East 15’s three-year bachelor’s degree programs.

With similar philosophies, the dedication to supporting students’ growth, and the recognition of the importance of story-telling, Windward CC’s partnership with East 15 is sure to grow.

If you are interested in pursuing a career in acting, at the Hawaiʻi Conservatory of Performing Arts.

After more than two decades without a university band, the is ready to bring the music back. Leading that effort is new assistant professor of music Ocean Akaka, who arrives with a clear vision: rebuild the band program and help revitalize Hawaiian music through bold new arrangements and performances.

Akaka, who recently returned home to Hawaiʻi after teaching on the U.S. continent, arrived in Hilo on a one-way ticket late last year.

“I quickly got settled in, and flew to Oʻahu to spend the holidays with my family, something I haven’t done since 2020,” he said. “That was a great moment for sure.”

Building musical bridges

Akaka, who specializes in conducting wind ensembles and athletic bands, is now part of ����Ӱҵ �ᾱ����’s . However he said his larger mission reaches beyond performance. His research revolves around the revitalization of Hawaiian music through arrangements for Western instrumental ensembles, such as orchestra and band.

Born and raised in Wahiawā, Akaka earned his bachelor’s degree in from ����Ӱҵ ����ԴDz�. He later completed both his master’s and doctoral degrees in conducting at the University of Nevada, Las Vegas. There, he led marching and pep bands, directed ensembles and taught conducting. His arrangements have been performed across the U.S. and Europe.

Now he brings that experience home.

“I’m writing a few arrangements of music from Charles E. King’s songbook,” he said. “Many of the songs written in this book are for one or more vocalists, and an accompanying ukulele, guitar or steel guitar. I’m working to arrange these songs for a wind ensemble, and have them performed by the students here at ����Ӱҵ Hilo.”

For more go to .

—By Susan Enright

The University of Hawaiʻi at ����ԴDz�’s is taking its celebrated production of RENT to Kauaʻi. Following a sold-out run at Kennedy Theatre earlier this year, the Pulitzer Prize-winning rock musical will be performed at , August 8–10.

Directed by Joshua “Baba” Tavares, an assistant professor of acting at ����Ӱҵ ����ԴDz� and former cast member in the 20th Anniversary National Tour of RENT, the production was praised for its raw emotional power, dynamic staging and local resonance.

“We are so excited to take our show to Kauaʻi and connect with our Kauaʻi ʻohana in this way,” said Tavares.

The touring team includes more than 40 cast and crew members, including ����Ӱҵ ����ԴDz� students, faculty, staff, musicians and technicians, representing a wide range of ����Ӱҵ ����ԴDz� programs, including theatre and dance, psychology, music, law, cinematic arts, Hawaiian language and more.

As part of the visit, the team will offer a free acting workshop to share and engage Kauaʻi’s community of storytellers and artists. The workshop will take place on Saturday, August 9—more information to come.

Related ����Ӱҵ News story: No day but today: ����Ӱҵ ����ԴDz� theatre and dance brings award-winning RENT to life, February 11, 2025

The ����Ӱҵ ����ԴDz� production earned critical acclaim in March, with BroadwayWorld calling it “a soaring and heartfelt production” blending “aloha, heartbreak, queer joy…and unbridled energy of young people united for justice and love.”

Tavares emphasized the show’s continued relevance. “Even though the show is set in a specific time, its challenges feel just as relevant today, especially here in Hawaiʻi. Homelessness, gentrification, mental health struggles and finding a way forward after a devastating disease—are we talking about the ’80s and ’90s, or are we talking about today?”

He added, “RENT isn’t just about struggle—it’s about hope, tolerance, human rights and above all, aloha. It’s about love.”

The Kauaʻi performances mark the 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.

Performances will take place at the newly reopened Kauaʻi CC Performing Arts Center, which reopened in April 2024 after closing due to the pandemic and has major upgrades to its lighting, sound and backstage systems. The venue is once again a key cultural hub under new manager Gregory von Hausch.

Loosely inspired by Puccini’s La Bohème, RENT follows a group of struggling young artists in 1990s New York City navigating love, loss, identity, and survival during the height of the HIV/AIDS crisis. Since its 1996 Broadway debut, Jonathan Larson’s groundbreaking musical has become a global cultural phenomenon.

Performance and ticket information

Performance dates: August 8–10, 2025
Time: 7–9 p.m., Friday and Saturday; 1:30–3:30 p.m. Sunday
Location: Kauaʻi CC Performing Arts Center
Tickets: Prices range from $15–$60. .

For general inquiries, email .edu or call (808) 245-8352.

Support and sponsorship opportunities

This partnership between ����Ӱҵ ����ԴDz� and Kauaʻi CC aims to build a lasting bridge through the performing arts. Financial support is welcome to offset travel and production costs. To support the tour or inquire about sponsorships, contact Joshua Tavares at tavares8@hawaii.edu.

The Performing Arts Center (PAC) at Kauaʻi Community College is undergoing a transformation from an empty building to a thriving community hub, thanks to new Manager Gregory von Hausch.

“I want to establish this building as a resource for not only the college, but for the whole island to attract name talent; and to attract all kinds of performances, not just music, not just conferences, but something exciting—an explosion of arts, the whole nine yards,” von Hausch said. “We want to make this a real hub of activity here.”

Recent performances have included a concert by The Green and a showing of the movie At Her Feet, with a special guest appearance by Lilo & Stitch actress Sydney Agudong.

Upcoming highlights include:

• HAWAIIAN STORYTELLERS: Where I Live – Kauaʻi, June 27
• Kauaʻi Calls (“Hawaiʻi Calls | Advancing Hawaiʻi to the World”), July 20
• RENT, August 7–10
• Celebrating Queen tribute band, September
• Rocky Horror Picture Show (play), October 22–25
• Renowned ʻukulele player Jake Shimabukuro, December 14

There are also film festivals, musicals, movies, a free comedy show and more planned.

.

Partnering with the community

Von Hausch’s more than 50 years’ worth of experience in nonprofit work shows in the way he has transformed the PAC. When he started, the PAC had been vacant for four years after closing in 2020 due to COVID-19 and for renovations. The PAC reopened in April 2024.

Now, the sprung dance floor in the separate Dance Studio behind the stage is being utilized by the Kauaʻi Ballet Academy throughout the year. Also, Kauaʻi CC student clubs and organizations are able to sell concessions and tickets to movie showings and benefit from the proceeds, and these same movie showings are free to Kauaʻi CC staff and employees while only costing $10 for the general public.

Von Hausch is currently working with Kauaʻi CC Dean Kurt Takamine on the conversion of the production office into a music studio for community members and students to be able to record music and teach classes.

He’s got more big ideas including art showings in the lobby, farm-to-table film and food experiences, and has asked some celebrities to visit Kauaʻi to host Q&As alongside showings of their films.

“I think we’re just beginning to tap the potential,” von Hausch said.

If you have a community-focused idea, or if you have a nonprofit or group that could utilize the PAC, visit the , email kccpac@hawaii.edu, or call (808) 245-8352.

The 2025 (APDF) is set to return to the University of Hawaiʻi at Mānoa from May 19 to June 1, offering a rare opportunity to experience the rich dance traditions of Asia and the Pacific.

The immersive two-week experience offers workshop participants and performance attendees a deep dive into movement, music, history, language and cultural traditions.

Festival highlights

• Residents Artists:
1. Hālau Pua Aliʻi ʻIlima, under the direction of Kumu Hula Vicky Holt Takamine
2. Arzoo Dance Theatre from India/Canada, directed by Deepti Gupta
3. Rako Pasefika from Rotuma, Fiji, led by Letila Mitchell
• Special Tribute: A Filipino dance performance honoring the legacy of the late H. Wayne Mendoza
• Hālau Kilipohe Nā Lei Lehua, featured in a full-length evening concert

The National Endowment for the Arts (NEA) recently awarded APDF a $25,000 grant, recognizing its role in preserving and sharing these dynamic traditions.

“We are honored to receive support from the NEA for the Asia Pacific Dance Festival,” said Tim Slaughter, interim dean of ����Ӱҵ Mānoa . “This grant acknowledges the festival’s significant impact on the dance culture of Asia and the Pacific, as well as its role in fostering cultural exchange.”

The NEA grant will directly support the artists performing at the festival.

For more go to the .

Scott Robertson delves into the intricacies of human-computer interaction and sociotechnical systems as the chair and professor of the University of Hawaiʻi at ����ԴDz�’s . Yet, when the academic curtain falls, Robertson seamlessly switches roles, swapping his educator hat for a cloak of creativity as he embarks on another passion: acting.

“I think it’s really important to pursue something that you love,” Robertson said. “I’m really glad that I brought this back into my life so that my career as a professor and my acting career run side by side. It’s a big commitment, but if it’s fulfilling, you’re excited and you’re happy.”

Child acting start

Robertson’s acting career began before the age of 3, and he continues to act in films and on stage to this day.

Robertson grew up in Los Angeles raised by his grandmother, and his debut in the limelight came in a local baby contest. A newspaper reporter there suggested that his grandmother get him an agent. Soon after at age 3, he landed a Wheaties commercial, followed by several other commercials and appearances in variety shows, such as the Jack Benny Program and the Dinah Shore Show, as well as television series such as Playhouse 90 and Steve Canyon, and the film Period of Adjustment. He may be most known for playing Marcia’s date in the “Brace Yourself” episode of the original Brady Bunch at age 15. He admitted that people still recognized him in college and several years after.

The Brady Bunch gig was the last for a while, though. His grandmother instilled in him the importance of going to college and used the money he made while acting to help pay for his higher education. Robertson earned a BA in social science from UC Irvine, an MA in cognitive psychology from Cal-State Fullerton and a PhD from Yale University in psychology with specialization in cognitive science.

Rediscovering acting while teaching

He worked both in academia and the private sector before landing a professor position at Drexel University in Philadelphia in the early 2000s. There he rekindled his interest in acting and auditioned for local plays. Robertson joined the ����Ӱҵ ����ԴDz� faculty in 2007 and worked his way up from an assistant professor to a full professor and chair of the ICS department. While in Hawaiʻi, he also auditioned for acting roles, landing a speaking role in the recent Hawaiʻi Five–0 series.

To kickoff 2024, Robertson will hit the Kumu Kahua Theatre stage playing novelist and poet Robert Louis Stevenson in Aitu Fafine. The play tells the story of Stevenson and his family, who are captivated by two intriguing guests at their home in Vailima, Sāmoa, and amidst dreams, literary reflections and ghost tales, relationships undergo transformative and impactful confrontations.

“Stage acting is really very different from film acting,” Robertson said. “One thing is you tell an entire story from start to finish in a couple of hours. And it’s live in front of an audience so those things are very exciting and dramatic, versus camera acting where you just shoot little scenes completely out of order. It’s the locations that drive the shooting schedule of television and film.”

Aitu Fafine is directed by ����Ӱҵ ����ԴDz� Professor Lurana Donnels O’Malley. Shows run through February 25 on Thursday, Friday, Saturday nights, and Sunday afternoons. For show dates and more information, .

Robertson is truly proving that in the theater of life, the script is never one-dimensional.

—By Marc Arakaki

Larry Paxton, University of Hawaiʻi at ����ԴDz� chair and professor, was recognized by the (NSAL)–Hawaiʻi Chapter at its Roselani Gala, May 18, at the ʻAlohilani Resort Waikiki Beach. Paxton earned the Star of Excellence Award and was honored alongside Hawaiʻi legend and multiple award-winning singer-songwriter Melveen Leed.

“I am extremely touched to be honored by such an important artistic group based here in Hawaiʻi,” Paxton said. “NSAL‘s supportive work within a diverse group of artistic educational programs and performance ensembles is extraordinary. I hope that my artistic contributions to my community and state will honor NSAL‘s ʻohana and mission. I am truly honored!”

“Larry received the Star of Excellence Award from the National Society of Arts and Letters–Hawaiʻi Chapter, not only for his many contributions on both musical theatre and opera stages here and around the world, but also for his efforts in transforming the ����Ӱҵ Music Department into a rich resource for the greater community,” said Ann Renick from the NSAL–Hawaiʻi Chapter.

NSAL assists promising young artists through competitions, financial assistance, master classes, mentoring and helps provide many different career opportunities.

More about Paxton

Paxton, who is a multi-talented musical theatre and opera performer, has been a professor at ����Ӱҵ since 1985. He earned a master’s of music with honors from the Jacobs School of Music at Indiana University. He has performed more than 30 operatic roles in New Mexico, Memphis, Dallas, Fort Worth, St. Louis and Hawaiʻi. His credits also include modern opera world premieres and telecasts and appearances with symphony orchestras, such as San Francisco, Dallas, Indianapolis and Honolulu, and has also performed at the Sydney Opera House. Paxton won the Metropolitan Opera regional auditions, was a finalist in the San Francisco Merola Competition and took first place in the Beethoven Vocal Competition.

In musical theatre, he has established himself as an award-winning director whose Diamond Head Theatre shows have included Sunday in the Park with George, Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar. Critics have praised his performances with Grand Hotel at ����ԴDz� Valley Theatre, West Side Story at ����Ӱҵ’s Kennedy Theatre, the title role in Sunday in the Park with George and the lead role of Guido in a specially mounted production of Nine at Diamond Head Theatre.

Paxton has received proclamations from the governor, Honolulu mayor and State Senate praising his academic achievements at ����Ӱҵ ����ԴDz� over the years, his artistic contributions to the state and extensive performance résumé in Hawaiʻi and around the world.

The University of Hawaiʻi at ����ԴDz� hosted a free, multimedia flute concert to honor Ukraine. The performance on March 25, at Orvis Auditorium featured Oregon-based flutist and producer , who is of Ukrainian, Russian and Polish descent. Lukas’ program aimed to deepen emotional awareness around the meaning of home, in light of current events.

Lukas performed a variety of pieces showcasing the flute, piccolo, alto flute, bass flute and electronics, accompanied with dance, visual art, lighting, videography and poetry. Projections of artwork by Oregon-based Ukrainian painter and muralist Tatyana Ostapenko preceded the concert and were featured alongside Lukas’ performance of Gemma (by Ukrainian composer Ludmila Yurina).

Lukas’ program was initially created during COVID-19 lockdowns before the Ukraine-Russia conflict, and centered around home, shelter, safety and comfort. The homeless population, which Lukas said is an issue in Oregon, was also an influence on her program. When she began taking the program on tour, the Ukraine-Russia conflict began and she really felt its influence as some of the pieces were about the refugee crisis.

“Now that we are a year plus out from the initiation of conflict, I think it’s still in people’s minds, but in a different way,” Lukas said. “We’ve almost kind of become accustomed to the news and with what’s happening there. I want to continue to reveal why this is so critical and why every single day acknowledging the bravery, generosity and incredibly inspiring acts of the Ukrainian people is so important.”

“We’re thrilled to have this residency with Amelia, a supremely compelling musician, artist and performer,” said ����Ӱҵ ����ԴDz� Director of Bands and Professor of Music Jeffrey Boeckman. “Our students greatly enjoyed playing for and learning from Amelia in her masterclass, and our concert audience was very moved by her performance. And partnering with the Pacific Gateway Center and the Hawaiʻi Flute Society allowed for a rich exchange and conversation with several important communities.”

Flute masterclass

Earlier in the week, Lukas hosted a masterclass at the ����Ӱҵ ����ԴDz� music department, where several students performed. Lukas has a versatile musical background, having studied for several years in London and holds a master’s degree from the Manhattan School of Music in contemporary performance. Although many of the pieces the students played were traditional, Lukas encouraged them to not be afraid to push the boundaries and create their own extremes in their playing.

“This masterclass was great because I got to learn from an amazing musician that has different knowledge than what I may hear from my own teacher,” said Amanda Matsukawa, who attended and performed. “I also really enjoy masterclasses because I tend to get nervous before playing in front of people, so masterclasses give me a chance to get more used to performing. I learned a lot from Ms. Lukas while observing the other performers as well as what she told me personally. She helped me understand something that I had been struggling with and was not able to fix yet myself.”

Rachel Hatanaka added, “The masterclass was both productive and enriching! It was great to receive personal feedback on the piece I am studying along with gaining insight on flute technique through others’ performances. Amelia Lukas has been a joy to work with, creating an environment conducive to growth and learning. I am very grateful I had the opportunity to work with her.”

The concert was presented by ����Ӱҵ ����ԴDz�, in partnership with the Hawaiʻi Flute Society and Pacific Gateway Center.

—By Marc Arakaki

Two key members of ’s theatre program accepted a Gold Medallion from Region 8 of the (KCACTF) in February. The Gold Medallion and a plaque were handed to Artistic Director Taurie Kinoshita and Associate Professor Nicolas Logue in a ceremony held in Las Vegas. Both were instrumental in founding the at Windward CC in 2022.

The KCACTF Gold Medallion honors individuals and organizations that have made extraordinary contributions to the teaching and producing of theatre and have significantly dedicated their time, artistry and enthusiasm to the values of the Kennedy Center. It is considered one of the highest honors in theatre education.

“We chose to honor Windward Community College with the Gold Medallion Award because they create theatre, and a theatre program that combines Native Hawaiian art and tradition with classical theatre training,” said Shaunte Caraballo, KCACTF Region 8 chair. “Their program literally changes the lives of its students.”

Their program literally changes the lives of its students.
—Shaunte Caraballo

Audition now for scholarships

March 18 is the final day to for the Hawaiʻi Conservatory of Performing Art’s Foundation in Acting pathway fall 2023 cohort. Any student successfully auditioning for the pathway will receive a full tuition scholarship for fall 2023 and spring 2024.

“The Kennedy Center Gold Medallion offers extraordinary national validation of Windward Community College’s efforts at developing emerging talent in our island home,” said University of Hawaiʻi founder and director Chris Lee. “The Academy for Creative Media System is proud to help fund and support WCC’s new Hawaiʻi Conservatory of Performing Arts and all of their gifted students and faculty. Developing the next generation of performers is an essential component of ACM System’s mission to provide a platform for our own stories to be told to the broadest possible audience as part of a fully diversified creative economy.”

For more information about the , contact founder and education coordinator Logue at logue@hawaii.edu.

Most invited college in the country

Windward CC was also recognized on a national level at the Kennedy Center American College Theatre Festival. The festival features six productions annually at their regional festival, selected from hundreds of entries throughout California, Arizona, New Mexico, Nevada, Utah, Hawaiʻi and Guam.

Most colleges and universities dream of headlining the festival once, but Windward CC productions have been invited three times in the past four years (A Walking Shadow, 2019; Oriental Faddah and Son, 2020; and Demigods Anonymous, 2023), making them the most invited college nationwide.

Kinoshita directed all three productions, which was cited as chief evidence by the KCACTF Board of Directors for conferring the Gold Medallion. Kinoshita was also honored in 2018 with the Kennedy Center Excellence in Theatre Education Award.

“Taurie works with exciting new playwrights on original scripts that represent our diverse student body,” Logue said. “She masterfully stages these pieces and trains our student actors to originate roles with spirited performances. As a result, these productions always capture the adjudicators’ interest.”

He added, “If you or any organization you belong to want to invest in the future of Hawaiʻi’s local and Indigenous performing artists, consider to our conservatory program.”

What does it mean to be Asian in 2022? Faced with the rise of Anti-Asian hate crimes and the continuing need for representation and voice, the University of Hawaiʻi at ����ԴDz� and Kennedy Theatre will highlight the Asian-American experience both in Hawaiʻi and on the U.S. mainland. The theatre’s 2022–23 season opener, , is a devised theatre production led and directed by Reiko Ho.

The guest director leads an all-Asian, female-identifying student cast featuring original scenes based on collective personal experiences from the cast, headline news articles and events from the past. This production explores adult themes and includes strong language and references to racism and racial slurs.

“Like a good Asian dish, it is a little salty, a little sweet, a little sour, a little bitter, and very savory,” Ho said. “It is my fervent belief that we must include young people in these important conversations and empower them to grapple with our collective past and present as Asians in America. This show is inspired by that belief.”

Borrowed from a local playground rhyme, Chinee, Japanee, All Mix Up will also feature poems from noted local playwright Lee Tonouchi (also known as “Da Pidgin Guerilla”) in addition to original monologues, scenes, and other various performance pieces by the student performers.

for the in-person production at the Earle Ernst Lab Theatre set to premiere September 21–24 at 7:30 p.m. and September 25 at 2 p.m. Some of the subjects raised in the multimedia production range from the Chinese Exclusion Act and the internment camps of World War II to memories from cast members great-grandparents working on Hawaiʻi plantations. Cast members discovered common traditions regardless of being raised throughout Asia, Hawaiʻi, or the continent. However some shared experiences weren’t always pleasant to uncover.

“We cried over how discrimination has found its way into all of our lives and what we have lost by living quietly as the ‘model minority,’” Ho said. “This show is a collage of pieces inspired by our discussions, shared memories and stories, pop-culture, and what the world might look like through an Asian lens. We hope you enjoy our musings.”

Ho is the artistic associate for Honolulu Theatre for Youth (HTY) and part of the Emmy award-winning team creating HTY’s hit T.V. show, The HI Way.

For more information, .

presents ’s Makalapua, the latest in an ongoing series of performances that feature Queen ��������ʻ�ܴǰ첹�����Ծ�’s mele in novel ways, on September 24 at 7:30 p.m. and September 25 at 3 p.m. This production explores the emotional and spiritual influence her compositions have had, and continue to have. The Liliʻu Project is dedicated to investigating ��������ʻ�ܴǰ첹�����Ծ�’s music and memoirs, guided by her own free-spirited innovation and interest in contemporary trends.

The musical ensemble is composed entirely of Leeward CC alumni, and is directed by Associate Professor John Signor.

Following their premiere at in 2014, the ensemble has presented ��������ʻ�ܴǰ첹�����Ծ�’s compositions on Oʻahu, as guests of the Smithsonian National Museum of the American Indian, the Festival Á Corps International Dance Festival in Poitiers, France, and at Soul Force Sacred Music Festival in Pasadena, California. Their current production features performer Ehulani Kāne and vocalist Starr Kalāhiki in a re-imagining of the 2014 installation.

Tickets are: $30 general admission, $20 seniors and military, $15 ����Ӱҵ faculty and staff, and $5 ����Ӱҵ and K–12 students.

More information regarding performances and ticket sales is available at: or call (808) 455-0380 or email Ltheatre@hawaii.edu.

More about the Liliʻu Project

The Liliʻu Project is also engaged in educational and community outreach projects about Liliʻuokalani and her impact through workshops, lectures, and performances including collaborations with Carnegie Hall Lullaby Project, Mālama Honua Charter School, Liliʻuokalani Trust, Matsunaga Institute For Peace in ����Ӱҵ ����ԴDz�’s College of Social Sciences, The Peace Studio and various assisted living, library and school presentations.

The project maintains a clear conviction that Queen Liliʻuokalani is among Hawaiʻi’s most significant and influential song composers, and that her song texts continue to inspire contemplation on universal themes and understanding.

Update January 9, 2022: View performances of and .

Original story:

Joseph Stepec described taking the stage for the first time in more than 20 months, in historic Kawaiahaʻo Church, as “one of the strongest concerts” he has ever conducted for the University of Hawaiʻi at ����ԴDz�. Stepec is an associate professor and the (����ӰҵSO) director. The orchestra performed together in front of a live audience for the first time since the start of the COVID-19 pandemic on November 28.

“It was an emotional experience. One of my students actually described it as a holy experience,” —Stepec

����ӰҵSO performed music from John Cage, Jean Sibelius and Johannes Brahms. The program was artfully created to mimic a musical journey. It began with Cage’s 4′33″, which allowed the performers and audience to travel to a meditative state and acknowledge the space they were in. The next piece, Sibelius’ En Saga, is about the power of nature, and the concert concluded with the Finale to Symphony No. 1 by Brahms, which journeys from darkness to light and ends triumphantly. Admission was free and open to the public (proof of vaccination was required).

“It was wonderful to make music with the ����ӰҵSO again, especially in front of an audience after so long,” said Ethan Stanfield, a junior music performance major and french horn player in ����ӰҵSO. “I am also incredibly grateful to have had the opportunity to play the famous alphorn solo in the Brahms and am proud of how much the group has improved over the course of this semester. I couldn’t have asked for a better performance of what we all worked so hard to achieve.”

Stepec added, “It was an emotional experience. One of my students actually described it as a holy experience. The ensemble was amazing.”

The video of the performance will be posted on the at a later date.

Music from the Baroque

����ӰҵSO will host another concert on December 3, at ����Ӱҵ ����ԴDz�’s Orvis Auditorium, in partnership with string instrumentalists from ����Ӱҵ West Oʻahu under the direction of Associate Professor Jon Magnussen. The concert will feature Baroque music from Western Europe in the 17th and 18th centuries. It begins at 7 p.m., and admission is free. The concert will be limited to 50 guests and proof of COVID-19 vaccination will be required. .

This work is an example of ����Ӱҵ ����ԴDz�’s goal of (PDF), one of four goals identified in the (PDF), updated in December 2020.

—By Marc Arakaki

After being sidelined due to the COVID-19 pandemic, the took the stage in-person for the first time since March 2020. The group , which was performed at ����Ӱҵ ����ԴDz�’s Orvis Auditorium on October 10. All members and directors of the ensemble were required to be fully vaccinated for COVID-19.

“There is something so electric about live performance, even with a virtual audience,” said Director of Bands Jeffrey Boeckman. “I’m so proud of how our students performed, and the lovely music they made. We’re also very fortunate to have a terrific staff, who were able to navigate all the AV issues.”

The 24-member group is the premiere band at ����Ӱҵ ����ԴDz�, and rehearses twice a week in the fall and three times a week in the spring. The students performed a variety of works, including pieces by Johann Sebastian Bach, Astor Piazzolla and more. The program featured several soloists, including saxophonist Kouhei Takakura (pursuing a master of music in saxophone performance), percussionist Kelsey Tajima (bachelor of music education major) and conductor Alan Evans, ’s first-ever graduate student in wind conducting.

“It honestly feels like a breath of fresh air, being able to perform with an ensemble again,” said Erin Matsushita, a first-year student and oboe player. “I can’t describe how much I’ve missed it. The 20 months were long, but I feel so lucky to be back, creating music!”

Emmanuel Hobro, a trombone player and music education major, added, “This concert felt like a sigh of relief. We weren’t able to play as a full ensemble for nearly two years, so this slow transition back is a hopeful sign of what’s to come.”

����Ӱҵ’s next concert is scheduled for December 4, 4 p.m. at Kaimukī High School, featuring the Wind Ensemble and Concert Band. The program hopes audiences will be able to attend in person, but if COVID-19 restrictions prevent a live audience, it will once again provide a live stream via YouTube.

This work is an example of ����Ӱҵ ����ԴDz�’s goal of (PDF), one of four goals identified in the (PDF), updated in December 2020.

—By Marc Arakaki

It’s been two decades since the tragic events of 9/11. To pay homage to one of the nation’s darkest days, the University of Hawaiʻi at Hilo and the will debut its fall season with the production . The play, written by California-based writer Jeannie Barroga, takes place after the attacks and parodies the chaotic moment in history of falling buildings and intertwines symbolic Wizard of Oz icons.

“We are opening on 9/11 because this year marks 20 years since that day, and the central character in the play is dealing with the trauma and fallout from that event,” said ����Ӱҵ Hilo Associate Professor of Drama Justina Mattos, who directed the production.

Due to the pandemic, the performance was filmed over the summer, will premiere virtually on September 11 and run continuously through the 13th. A viewing link will be available here beginning on opening day.

“I found out about the existence of this play through a Thursday evening playwrights’ Zoom Hui that I created and have been leading since the start of COVID a year-and-a-half ago,” said Mattos. “We gather online each week to read works in development, and many of the works have appeared onstage or online after being workshopped with us.”

The play’s lead actress is Rhealiza Pira, a 2017 alumna of the ����Ӱҵ Hilo performing arts and English departments. (PDF).

—By Susan Enright

Alumni, researchers and professors with deep ties to will share their diverse stories live and online. The (SCEP), a program of ����Ӱҵ ����ԴDz� , is celebrating its 50th anniversary this year. In commemoration, a new project: SCEP Live Online Story Share, will be streamed online on Friday, April 23, at 7 p.m.

Since 1971, the program has brought culture and arts programs to communities throughout Hawaiʻi. A call for stories about ����Ӱҵ ����ԴDz� was put out to the ����Ӱҵ community in March, and the following individuals will share their stories live from the ����Ӱҵ ����ԴDz� Orvis Auditorium on the :

• Dave Del Rocco, ����Ӱҵ ����ԴDz� graduate in Hawaiian languages, former Hawaiʻi State Public Library System (HSPLS) librarian, and currently a Hawaiian culture and social studies teacher at Punahou School
• Michael Jones, retired associate researcher and professor, ����Ӱҵ ����ԴDz� Department of Physics and Astronomy
• Emma McGuire, UH ����ԴDz� alumna, former ����Ӱҵ ����ԴDz� Hawaiian language teacher; currently, Hawaiian language faculty at Punahou School
• Neal Milner, retired political sciences professor and former ����Ӱҵ ����ԴDz� ombudsman
• Sri Tencate, ����Ӱҵ alumna and retired HSPLS librarian and branch manager, Molokaʻi Public Library

Register at for the direct link to the performance.

Storyteller and former theatre professor Ben Moffat will serve as the evening’s master of ceremonies. The Story Share Band adds a musical component to the evening with musicians Bailey Matsuda, Alex Morrison and Chris Yeh.

Seeking community stories

SCEP Live Online Story Share is also seeking stories from individuals in the community. Story proposals from the community based on a memory of life in Hawaiʻi should be submitted by April 30, 2021. All stories must be true and based on your own memory and the story should be told in a maximum of 10 minutes.

Interested community members should email csinfo@hawaii.edu with the following information:

1. Full name
2. Contact info: phone, email or text
3. A 2–3 sentence synopsis of your story

SCEP Live Online is a joint effort between , , , and .

Giving back to the community is at the core of the University of Hawaiʻi at ����ԴDz� and its generosity was on full display in March 2021. With many school band programs unable to meet in person for more than a year due to the COVID-19 pandemic, the ����Ӱҵ Bands organized the first-ever Hawaiʻi high school virtual honor band, which released two video performances. Approximately 50 students representing 24 different high schools on four islands were selected to participate in the online event.

Students received instrumental lessons with ����Ӱҵ ����ԴDz� faculty, met and worked with guest composers, and talked with Hawaiʻi’s own singer/songwriter/musician Raiatea Helm about her career in music and the meaning behind the mele (song) Kaulana Nā Pua, which she performed with the students. They then individually recorded their own parts, which were assembled into video performances.

����Ӱҵ ����ԴDz� Director of Bands Jeffrey Boeckman saw this as a chance for young musicians from across the islands isolated due to the pandemic, to come together and make meaningful music.

“It has been a long time for all of us away from each other,” Boeckman said. “From the connection that making music together can bring, we were eager to provide a meaningful musical activity. We are so fortunate to bring these young musicians together with an artist like Raiatea.”

The ����Ӱҵ Bands acknowledged the for its support of the project.

View the band’s performances:

This effort is an example of ����Ӱҵ ����ԴDz�’s goals of (PDF) and (PDF), two of four goals identified in the (PDF), updated in December 2020.

Hawaiʻi’s warm tropical climate can make the islands an ideal place to live, work and play. However, it can take a toll on some of the important equipment for the University of Hawaiʻi at ����ԴDz�’s .

Steel is an essential component of quality stage combat weaponry, and Hawaiʻi’s climate can wreak havoc on the material. In February 2021, following appropriate COVID-19 safety protocols, students worked outside of Kennedy Theatre to mitigate the ravaging of rust to protect and preserve the inventory of stage combat weapons used by the department for in-class training and on-stage performances.

“To date, passers by have not caused us any trouble in regard to keeping a safe distance—might be the three-and-a-half-foot broadswords we’re scrubbing,” said Theatre Manager Jessica Jacob.

Training and performances

In select semesters, the Department of Theatre and Dance offers a three-credit course in stage combat training, from hand-to-hand techniques such as the illusions of punching, strangling and falling, to quarterstaff techniques and swordplay. This course offers students and community performers “an edge” in the competitive job market of live and film performance when the illusion of violence is called for in the production.

The stage combat weapons have been used in Kennedy Theatre productions such as, Macbeth (2008), Hamlet (2010), Twelfth Night (2017) and Sueño (abruptly canceled before opening night in March 2020 due to COVID-19 precautions).

This is an example of ����Ӱҵ ����ԴDz�’s goal of (PDF), one of four goals identified in the (PDF), updated in December 2020.

Theatre and dance fans will have the opportunity to experience a world premiere and a curation of celebrated dances, presented by the University of Hawaiʻi at ����ԴDz�’s , February 5–7.

Waiting Game premiere

The student-run Late Night Theatre Company series presents the world premiere of Waiting Game, a digital production focused on the story of a multigenerational household struggling to agree on the right decision for the family and themselves. It asks the question, “What happens to a family dynamic when the children begin to take on the role of caregivers?” The production is written by Ruth Santos, a Kauaʻi native and ����Ӱҵ ����ԴDz� student; and directed by Taylor Bogan, a MFA candidate in theatre for young audiences and acting.

“Waiting Game’s goal is to ask the audience if they’ve tried listening and understanding; to look from the other side,” Santos said. “Unfortunately, many families experience an ever-adapting life living with Alzheimer’s. Hawaiʻi has a culture where family comes first, but which family? Who comes first? I wanted to write this story to remind people that in life there are no straight answers. Let’s not fight to break apart but fight to grow together. You don’t have to be on the same page to do ‘what is best.’”

The production will stream online February 5–6, 9:30 p.m. and February 7, 7:30 p.m. Ticket prices are $5–$10. The performance includes strong language. To purchase tickets, .

Dance Gallery (a retrospective celebration)

Dance fans can experience a blast from the past through a collection of celebrated dances and dance concerts produced by the program over the past several years. Dance Gallery (a retrospective celebration), the program’s first-ever “encore,” is a rare chance for student dancers to watch their own performances, for alumni to look back at peak moments from their time in the program, and for patrons to rewatch favorite performances or enjoy ones that they may have missed seeing live.

Current dance program faculty selected the segments and concerts showcased in this virtual gallery. They include selections from Shazam: Dance + Science, Integral Bodies: a dance-theatre performance, Dances from the Heart/Land; Dancing Off The Page; Dancing Greener: Recycle, Renew, Recreate; Taiko Drum & Dance; Ocean’s Motion; MemoryHouse: Dreams and more.

Dance Gallery (a retrospective celebration) will be presented online February 5–6, 5 p.m. and February 7, 2 p.m. Viewers will have four hours to watch the performances.

To purchase tickets, . Tickets prices are $5–$15 and must be purchased at least an hour before the session begins.

These works are examples of ����Ӱҵ ����ԴDz�’s goal of (PDF), one of four goals identified in the (PDF), updated in December 2020.

The has not skipped a beat during the COVID-19 pandemic. UH Choirs, consisting of the Chamber Singers, Concert Choir and University Chorus, premiered its fall 2020 virtual concert on November 28. Pono Kaulike: Justice for All spotlighted how music can be a catalyst for change on local, national and international levels, while also paying tribute to frontline workers helping Hawaiʻi overcome COVID-19. .

Performance themes:

• ʻOnipaʻa—Choral music created during the annexation of Hawaiʻi, composed by Queen Liliʻuokalani, the last reigning monarch of the Hawaiian Kingdom, seeks how indigeneity and decolonial practice take root in choral music.
• Black Lives Matter: Black Lives and Black Legacies in the Choral Arts—Examines the racial reckoning in America, and seeks how choral and communal music is linked to Black lives and Black legacies in America, and questions how choral craft can affirm that Black lives indeed matter.
• The Singing Revolution—Focus on Estonia and how choral music became a force to combat cultural genocide from the Soviet Union.

Learning outcomes

Despite not being able to meet in-person in fall 2020 due to COVID-19 restrictions, members from the three ensembles met virtually via Zoom, sang in their homes, shared their learning in breakout rooms and dove into musical narratives.

“I am incredibly proud of our students! They have shown an infinite reservoir of artistic resilience and a tenacious curiosity,” said Jace Saplan, ����Ӱҵ ����ԴDz� director of choral activities and assistant professor. “It is a joy to serve them and to know that even in the midst of a pandemic, our student musicians are finding ways to thrive.”

The University of Hawaiʻi at ����ԴDz�’s and Kennedy Theatre showcase I’m Lot Lane (a solo effort), an original virtual production inspired by historical accounts of the last remaining royalist insurgent in Hawaiʻi. Lot Lane turned himself into government forces by simply walking in and announcing “I’m Lot Lane” during the Uprising of 1895.

MFA candidate and project creator Keola Simpson describes the solo production as “a deconstruction of the American and Hawaiian theatres, examining our dependency on propaganda, hierarchy and fear of truth on our stages.”

Online performances are December 4 and 5 at 7:30 p.m., and December 6 at 2 p.m. .

About I’m Lot Lane (a solo effort)

The production is not a biography of Lot Lane, rather it is a pursuit of the man who Simpson believes Lot Lane to be. It also seeks to inspire the cultivation and re-education of what people in Hawaiʻi have been taught about theatre, and to embolden the audience to take a closer look at what theatre can accomplish. It is a brash production that pushes against the norms of what theatre has been used for in Hawaiʻi.

Simpson credits inspiration from several ����Ӱҵ ����ԴDz� departments and programs including, Hawaiian studies, political science, women’s studies and ethnic studies, in addition to professors and students from the theatre program who assisted with the production.

Regarding the switch to a virtual stage, Simpson said, “I look at it as an opportunity. With these online stages, we get to do things we couldn’t do before. There are people we can reach that we couldn’t reach before.”

The performance is 65 minutes with no intermission. After the December 6 performance, there will be a discussion with Simpson and Department of Theatre and Dance Chair Markus Wessendorf. .

The production has a strong language warning.