When a Hawaiian family faces a devastating loss in , the Kumulipo, a Hawaiian creation chant, connects the living with those who came before them. The new play makes its world premiere November 18¨C22 at ¡¯s Earle Ernst Lab Theatre at the University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹.

For playwright Sheila Miles, the story grew out of a search that began in her own family. Her late mother had been tracing their genealogy and died before she could finish. A conversation with her playwriting adviser, Kumu ±á²¹¾±±ô¾±ʻ¨­±è³Ü²¹ Baker, prompted Miles to take a closer look at the Kumulipo and what it could teach her about her Hawaiian identity. Miles is pursuing a master of fine arts in playwriting at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹.

“I have always and will always be interested in indigenous creation stories and how they inform our present day lives,” said Miles. “This is my endeavor to understand this creation story and make connections with present day reality,” Miles said.

The production is directed by Ed Refuerzo, an MFA candidate studying directing, and is part of 2026–2027 Primetime Series.

Told in ʻōlelo Hawaiʻi (Hawaiian language), Hawaiʻi Creole English (Pidgin) and English, the story begins when Haumea receives a hōʻailona—an omen—that she desperately tries to prevent. As generations of one family navigate grief, love and change, the Kumulipo, a Hawaiian origin chant, becomes a thread connecting ancestors and descendants.

“The Storyteller asks us to remember that stories are not simply told¡ªthey are lived. They carry our histories, shape our futures, and help us understand who we are in relation to one another and to the world around us,” said Refuerzo.

Stories across generations

The play presents moʻolelo, or stories, as an active part of life. It explores how stories can guide us through loss, celebrate resilience and shape our understanding of who we are through relationships, place and memory.

Those connections also reflect the theatre¡¯s season theme, Finding Home in the Extraordinary. In The Storyteller, home takes shape through language, ancestry, family and the stories passed between generations.

The production is presented by ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹¡¯²õ .

Ticket information

Tickets are $9 for ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ students and $18 for general admission.

Hawaiian stories of supernatural beings, love and family come to life in Kupua, a play by University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹¡¯²õ Tammy Hailiʻōpua Baker returning to Kumu Kahua Theatre for its 25th anniversary.

Opening October 29, the production brings together ÌÇÐÄÊÓƵ students, alumni and faculty to reimagine the work Baker wrote on commission for Kumu Kahua in 2001. Baker is the founder and director of ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹¡¯²õ .

Kupua weaves together two traditional Hawaiian moʻolelo ka¡®ao (stories), “Ka ʻEnuhe” and “Ka Puhi a me Ka Loli,” from Kaʻū on Hawaiʻi Island. At the center are kupua, supernatural shapeshifters whose appetites threaten the families around them. The stories blend suspense and humor while exploring how people recognize danger and protect those they love.

“I¡¯ve always been interested in the fantastical, so having these stories from our past that have a hint of magic, a hint of something beyond us, were a natural choice to explore when thinking about what magic can happen in the theatrical space,” Baker said.

New mele, dance

This staging features three new mele (songs) composed by Baker and arranged by ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ Assistant Professor Joshua ‘Baba’ Kamoaniʻala Tavares. William Kealiʻinohopono Kāhele and Reyn Afaga co-direct the production that includes movement ranging from hula to breakdancing.

The production draws students, alumni and faculty from four ÌÇÐÄÊÓƵ campuses: ²Ñ¨¡²Ô´Ç²¹, Kapiʻolani, Windward and Leeward. Scenic designer Antonio Hernandez earned his master of fine arts (MFA) at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ in May. Three cast members are current Windward Community College students or recent graduates. Artistic director Harry Wong III of Kumu Kahua Theatre earned his MFA in directing at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹.

For Baker, the anniversary also carries personal meaning. Her daughter, Kaʻiukapu Baker, had not been born when Kupua premiered. Now, she is helping bring her mother¡¯s play to life as a costume designer.

For audiences, Baker hopes the laughter and suspense spark a deeper interest in Hawaiian stories and the places they come from.

“I hope they enjoy and laugh and all of that good stuff. But I also hope that the play might stir people¡¯s interest to learn more,” Baker said.

Performance information

Kupua runs October 29–November 29, with performances Thursdays¨CSaturdays at 7 p.m. and Sundays at 2 p.m. Student tickets are $8 on Thursdays and Fridays and $13 on weekends. Purchase tickets at .

Plastic water jugs become a lion’s head. Old VHS tapes, balloons and cutlery become colorful costumes. At the University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹’s , students are learning to turn everyday trash into theatrical magic.

The creative work is part of the musical running October 23–31. Reimagined by director and master of fine arts candidate Jack Romans, the beloved classic is set in a world inspired by a landfill. The production follows Dorothy’s journey home, with familiar songs, imaginative costumes and puppets made from discarded materials.

Learning through creativity

Led by ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ costume design professor Maile Speetjens, students are discovering that working with unusual materials requires more than sewing. They’re learning to solve problems and find creative ways to make costumes wearable and durable.

“It has been an extremely exciting and rewarding experience watching students in the costume shop problem-solve their way through these unconventional materials!” Speetjens said.

Puppets made from everyday objects

ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ alumna and puppet designer Jill Jackson is bringing familiar characters to life using unexpected materials. The Cowardly Lion features a head made from plastic water jugs, toenails made from hangers and a body built from discarded packaging.

Toto, Dorothy’s beloved dog, has a skeleton made from plastic pipes and bolts, with foam and fabric scraps giving him shape. His floppy ears are one of Jackson’s favorite details.

“I just love when something as simple as hot gluing fabric onto foam can have an adorably profound impact on the believability of a puppet,” Jackson said.

The hands-on experience shows how creativity can transform even the simplest materials into something extraordinary.

“You don’t have to have a lot of specific tools and training for this,” Jackson said. “Puppets can be made with items found around your house and your own imagination! You just have to be willing to see things in a different way.”

University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹ welcomes Indigenous Performance Productions to Hawaiʻi for a special Halloween presentation of The Land Has Spoken on Saturday, October 31 at 4 p.m. at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹¡¯²õ Orvis Auditorium.

The Land Has Spoken provides audiences with a memorable way to spend Halloween while discovering the work of exceptional Indigenous artists.

The live radio-style production brings Indigenous dark fiction to life through stories of monsters, omens, shapeshifters, tricksters, and the supernatural. A blend of live performance, foley sound design, original music, and atmospheric sound design creates a suspenseful Halloween experience centered on contemporary Indigenous storytelling.

The production is led by writers Shane Hawk, Andrea L. Rogers, and Kyla “Tucaya” Garc¨ªa, who also directs and performs in the production. Andre Bouchard serves as producer, director, and assistant writer.

The cast also includes Kalani Queypo, Lorna Bowen, and Andrew Roa, joining Garc¨ªa in an all-Indigenous ensemble of experienced theater, television, and film performers. Original music is composed by Chantil Dukart, with foley and sound design by Ed Littlefield.

Families are welcome, but please note that the performance includes mature themes and some frightening content. Parental discretion is encouraged.

Tickets are available at . For more information, contact or (808) 956-8246.

From real-life acts of bravery and life-saving security guards to historical military sacrifice and standing up against discrimination, powerful true-to-life courage is taking center stage at at Windward Community College.

The (HCPA) will present Everyday Heroes of Hawaiʻi, running November 6–15. Directed by Taurie Kinoshita, the production features emerging student performers in seven original scenes inspired by real-life heroes. Written by local playwrights, the works range from humor and action to deep drama while continuing HCPA‘s focus on Hawaiʻi-based perspectives, inclusivity and diversity.

Among the featured stories is Reuben at Ruby Ridges, written by HCPA alumnus Kekoa A. Shope, which addresses recent issues involving immigration enforcement. Luke Manning’s Paradise Mall is inspired by security guards who helped save a life. Other works by Kinoshita and Tony Pisculli draw inspiration from Private First Class Antony Kahoʻohanohano and a teacher who stood up against discrimination at a local preparatory school.

“We encounter heroes every day—people who are compassionate, resilient and willing to stand up for others,” Kinoshita said. “I hope audiences leave inspired to recognize those people in their own lives and remember that we can all make the choice to stand up for what is right.”

The production provides students with hands-on learning in acting, movement and original storytelling. Due to staged violence, strong language and mature themes, Everyday Heroes of Hawaiʻi is recommended for audiences ages 14 and older.

Performance schedule

• 7:30 p.m.: November 6, 7, 12, 13 and 14
• 3 p.m.: November 8 and 15

Ticket information

Tickets are $25 general admission; $20 for seniors ages 62 and older, active military with ID, ÌÇÐÄÊÓƵ faculty and staff, and Hawaiʻi Department of Education teachers; and $15 for students ages 13 and older and college students with ID (student tickets available in person only).

Purchase tickets online at or at the box office one hour before showtime. For ticket information, call (808) 235-7315 or email paliku@hawaii.edu.

For information on the HCPA contact Professor Nick Logue at logue@hawaii.edu or (808) 236-9138.

When Lele Wale premiered at the University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹’s in March, audiences embraced the original hana keaka (Hawaiian theatre work) inspired by the lived experiences of Lahaina after the 2023 Maui wildfires. This August, the production reaches the destination it was always meant for, home.

A company of 25 students, alumni, faculty and theatre professionals from ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ will travel to Lahaina for four performances from August 7–8. Six members of the cast and crew are from Maui, including three cast members from Lahaina whose personal experiences helped shape the production.

For Maui native Ikaika Mendez, a ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ master of fine arts candidate in and the writer and director of Lele Wale, bringing the production home is both meaningful and humbling.

“I’m hoping that, even though we’re three years later, it still sparks hope, it still sparks joy, and it still reveals to the community that the people are what make the place, and the place is what makes the people. I’m hoping this is a timeless experience where people can reminisce, but also have hope for a better future.”

Related ÌÇÐÄÊÓƵ News story: Lahaina¡¯s story lives in new hana keaka production, February 5, 2026.

For Lahaina

Rather than recreating the tragedy of the fires, Lele Wale creates space for reflection, healing and connection through Hawaiian theatre, hula, music and storytelling.

Lele is the traditional place name for Lahaina. In ʻ¨­±ô±ð±ô´Ç Hawaiʻi (Hawaiian language), lele wale evokes prayer and speaks to motion, as well as the act of releasing. The hana keaka is performed in a combination of ʻ¨­±ô±ð±ô´Ç Hawaiʻi, Hawaiʻi Creole English (Pidgin) and English intertwined with live music, hula and imagery.

The Lahaina performances are presented in partnership with Festivals of Aloha, with support from Hawaiian Airlines and the Wave of Harmony Foundation. Their sponsorship is helping transport the cast, crew and production from Oʻahu to Maui so the story can be shared with the community that inspired it.

“The significance of this hana keaka traveling to Lahaina is in the intention and creation of the work,” said Tammy ±á²¹¾±±ô¾±ʻ¨­±è³Ü²¹ Baker, director and founder of the ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ Hawaiian Theatre program. “The moʻ¨­±ô±ð±ô´Ç (story) encapsulated in Lele Wale was developed by a kama (child) of Maui for their community.”

As Lahaina marks three years since the wildfires, Lele Wale returns not as a finished work, but as an offering. It honors those who were lost, celebrates the strength of those who remain, and reminds audiences that the heart of Lahaina has always been and continues to be its people.

Ticket information

Performances are scheduled for Friday, August 7, at 2 p.m. and 7 p.m., and Saturday, August 8, at 2 p.m. and 7 p.m. in the Haleakal¨¡ Ballroom at The Westin Maui Resort & Spa. .

For generations, audiences have applauded the performers in the University of Hawaiʻi at ²Ñ¨¡²Ô´Ç²¹’s renowned Kabuki in English productions. Behind the scenes, one woman helped preserve the tradition that made those performances possible.

Former students, colleagues and friends gathered on July 21 to honor 95-year-old Japanese classical dance master Onoe Kikunobu, whose artistry and teaching helped shape both ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹’s Kabuki in English and Japanese dance traditions for decades.

The luncheon also recognized two of her longtime prot¨¦g¨¦s, Onoe Kikunobukazu (Howard Asao) and Onoe Kikunobuaki (Shirley Miyamoto), whose decades of teaching, performing and mentorship have helped ensure her legacy endures. The celebration also included a proclamation from Gov. Josh Green recognizing Kikunobu and her prot¨¦g¨¦s for their lasting contributions to preserving Japanese classical dance in Hawaiʻi.

Master artist

Gertrude Yukie Tsutsumi, professionally known as Onoe Kikunobu, is considered one of Hawaiʻi‘s most accomplished nihon buy¨­, or Japanese classical dance, artists. She began her training in Honolulu¡¯s Band¨­ School before continuing her studies in Japan with the Onoe School, where she earned a shihan, or master of dance diploma and received the professional name Onoe Kikunobu. Her lifelong dedication to preserving Japanese classical dance earned her recognition as a Living Treasure of Hawaiʻi and a National Heritage Fellow, the nation¡¯s highest honor in the folk and traditional arts, presented by the National Endowment for the Arts in 2015.

Her ÌÇÐÄÊÓƵ legacy began in 1951, when she worked with legendary theatre professor Earle Ernst on The House of Sugawara, the university’s first postwar Kabuki in English production. Kikunobu helped with choreography and music, served as an interpreter and went on to contribute to nearly every ÌÇÐÄÊÓƵ Kabuki in English production through 2010.

“What she brought was a real, embodied understanding of Japanese dance and kabuki,” said Julie Iezzi, ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ professor of theatre and dance and one of Kikunobu’s former students.

“There’s no substitute for that. It’s not something you get out of a book. You see it, you feel it, and you learn it by working alongside someone like Sensei.”

Sensei¡¯s legacy

Beginning in 1980, Kikunobu served as a lecturer at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹, teaching Japanese dance and preparing students for Kabuki in English productions. Though she has since retired from teaching, her influence carries on through the students she inspired.

“She cared so much about passing on the art correctly,” said former student and ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ theatre alumnus David Furumoto, who later taught theatre and directed Kabuki productions at the University of Wisconsin¨CMadison. “There was meaning behind everything she taught.”

Kikunobu’s influence extends far beyond Hawaiʻi. Former students like Furumoto have carried her teachings to classrooms and stages around the world. In 2024, Iezzi led ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹’s popular Kabuki in English production of The Maiden Benten and the Bandits of the White Waves on a tour to Japan, demonstrating that the tradition Kikunobu helped build more than seven decades ago continues to thrive.

The heart of University of Hawaiʻi at ±á¾±±ô´Ç¡¯²õ creative community is getting a well-deserved upgrade. Beginning in January 2027, the (PAC) will undergo a major $6 million renovation, closing its doors for eight months to transform the 50-year-old facility into a more modern, efficient space for artists and audiences alike.

“We want to ensure we have welcoming and up-to-date facilities for our students, faculty, staff and community that provide a quality environment to showcase the great work and talent of our institution and visiting performers from around the world,” said Lee Barnette-Dombroski, the Performing Arts Center manager.

Long-awaited face-lift

While the building remains structurally sound, many of its public spaces haven¡¯t been updated since it first opened in 1974. This project aims to change that¡ªfocusing heavily on cosmetic and functional upgrades to the exterior, lobby, inner auditorium and box office.

For Barnette-Dombroski, who has steered the facility for nearly two decades, the renovations are deeply personal and long overdue. When asked what she is most excited to see, her answer combines practical relief with aesthetic excitement: “The expansion of the ladies¡¯ room, new carpet, and fresh paint.”

Bidding farewell to lengthy lines

That restroom expansion isn¡¯t just a minor detail¡ªit is a massive win for anyone who has ever attended a crowded show.

“The expansion of the ladies¡¯ room will be a big change, reducing the wait time during intermissions and after performances,” Barnette-Dombroski said.

One last act before intermission

Because the facility will be completely closed from January through August 2027, the theatre team is squeezing a lot of energy into a condensed fall 2026 “mini-season.” Patrons can look forward to a vibrant lineup before the construction crews roll in.

“We¡¯ll have a mini-season in the fall 2026 with a couple of presented artists and an in-house holiday musical production of ‘Dr. Seuss¡¯s How The Grinch Stole Christmas! The Musical,’ and of course our fall special event, the 10th Annual Dance Collective,” Barnette-Dombroski said.

Six students from the University of Hawaiʻi 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 Hawaiʻi 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 Hawaiʻi-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 Hawaiʻi 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 Hawaiʻi 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 ÌÇÐÄÊÓƵ 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 Hawaiʻi (Hawaiian language), and ultimately my MFA in hana keaka.¡±

Voices of place

Lele is the traditional place name for Lahaina. In ʻōlelo Hawaiʻi, 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 Hawaiʻi, Hawaiʻi 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 Hawaiʻi,¡± 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 Hawaiʻi 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 Hawaiʻi 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, Hawaiʻi CC; Kamananui Anderson, Honolulu CC; Melanie Camat, Kapiʻolani CC; Hiʻilani Cremer, Kauaʻi CC; Stevie Puna, Leeward CC; ʻAleʻa Kimokeo, ÌÇÐÄÊÓƵ Maui College; Kauakaweli Haili-Nakamoto, Windward CC.
• ÌÇÐÄÊÓƵ Hilo honored Mary Kawena Pukui with a panel that coincided with Women¡¯s History Month and her posthumous selection as a 2025 honoree for the U.S. Mint¡¯s Native American $1 coin.
• The Hawaiian collection at the ÌÇÐÄÊÓƵ Hilo Edwin H. Moʻokini Library was named the Edith Kanakaʻole Hawaiian Collection.
• ÌÇÐÄÊÓƵ West Oʻahu hosted a two-day ʻAha Hoʻoponopono with 300 haku hoʻoponopono, social sector professionals, aloha ʻ¨¡¾±²Ô²¹ practitioners, and community members.
• ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ Maui College¡¯s 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.
• ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ 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, ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹); Ashlee Kalauli (math instructor, Hawaiʻi CC); Tracie Kuʻuipo Losch (Hawaiian studies professor, Leeward CC); Mehana Kaʻiama Makaʻinaʻi (Hawaiian studies instructor, ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹); Peter Kalawaiʻa Moore (Hawaiian studies professor, Windward CC); and Jamaica Heolimeleikalani Osorio (political science associate professor, ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹).
• Kenny Kaʻaiakamanu-Quibilan received the ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ Student Employee of the Year Award.
• Ka Huli Ao Center for Excellence in Native Hawaiian Law at ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ William S. Richardson School of Law celebrated 20 years.

A student film created at the University of Hawaiʻi at Mānoa has earned international recognition at the . “Praying Mantis,” written and directed by ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ 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¡¯s 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¡¯s degree in digital cinema from the ÌÇÐÄÊÓƵ Mānoa . “It¡¯s a testament to the creativity, dedication and collaboration of our entire ÌÇÐÄÊÓƵ 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¡¯s 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¡¯s will transform into one of ±á²¹·É²¹¾±ʻ¾±¡¯²õ eeriest landscapes in November, when the Hawaiʻi 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 Hawaiʻi.

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 Hawaiʻi faculty and staff, and Hawaiʻi 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¡¯s ÌÇÐÄÊÓƵ News Image of the Week is from the Kauaʻi Community College Performing Arts Center.

The Kauaʻi performances of RENT August 8–10 mark the ÌÇÐÄÊÓƵ 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 Hawaiʻi this summer. Ichikawa Monnosuke VIII, an eighth-generation kabuki master, will lead an intensive workshop at the University of Hawaiʻi 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 ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ 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¡¯s kabuki lineage dates back to 1713, is no stranger to ÌÇÐÄÊÓƵ. In 2024, he and his apprentices trained student actors for ÌÇÐÄÊÓƵ 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 Hawaiʻi. In fact, the university staged the first known English-language kabuki production in the islands 100 years ago. Today, ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹ is helping keep that legacy alive.

• Related ÌÇÐÄÊÓƵ News story: 100 years of Hawaiʻi Kabuki in English: Masters from Japan train ÌÇÐÄÊÓƵ actors, December 10, 2023

Kabuki legacy

With guidance from Iezzi, ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ 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¡¯s 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 Hawaiʻi television screens appearing in commercials for everything from Texaco and 7-Eleven to Kona Brewing Company and the Hawaiʻi Quit Tobacco campaign. But his big break came this spring, when he debuted as Lilo¡¯s kumu hula (hula teacher) in Disney¡¯s 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¡¯s earliest acting stage was his family¡¯s living room in Kailua. As a kid, he and his brother would spend hours performing scenes from hit flicks Wayne¡¯s 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 Hawaiʻi comedian Rap Replinger—classic jokes he proudly calls “scripture.”

La Benz, a Punahou School graduate, earned degrees in (Hawaiian language) and from the ÌÇÐÄÊÓƵ 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 ÌÇÐÄÊÓƵ ²Ñ¨¡²Ô´Ç²¹¡¯²õ . It¡¯s 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¡¯s 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¡¯s kumu hula, La Benz also served as the body double for the alien character Jumba, performing the character¡¯s physical movements on set.

His daughter, Kealaleih¨­k¨± lit up at the film¡¯s Hawaiʻi 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¡¯s 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¡¯s presents William Shakespeare¡¯s 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¡¯s 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, ÌÇÐÄÊÓƵ faculty and staff, Hawaiʻi 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 Hawaiʻi Conservatory of Performing Arts, contact Associate Professor Nicolas Logue at logue@hawaii.edu.