Firstly, Mahalo nui loa me ke aloha pumehana to all of the kumu, GAs/TAs, fellow students, mentors, and friends

that Ive
met during my time in the Theatre and Dance department. It is a privilege to have the opportunities to work with so many versatile,
wonderful, and inspiring individuals who are brought together at this university. Learning about theatre throughout various points in
history, cultures, and styles has shaped my ability to act on stage in ways I was not able to before. My overall approach to theatre has
broadened and greatly enhanced my ability to understand, connect, express and communicate effectively. I am forever thankful to
everyone who has helped shaped me into the person I am today and I am confident that I will continue to make beautiful progress and
perpetuate everything I have been taught.
My first highlight experience is when I was in the production of Lieikawai. All of our work was done biligually in lelo
Hawaii and lelo Haole (english). Through the entire process from rehearsal to performance (even through the remounts and tours)
Ive learned to further my appreciation of my Native Hawaiian culture through our acting/dancing exercises. The oli (chanting) and
hula (Native Hawaiian dance) were times we had to focus on our movement and voices. Even though I am Native Hawaiian I did not
grow up speaking the language in my householdso speaking, chanting and dancing are things I needed to improve on as well. The
techniques for chanting were opposite of western singing technique (basically almost everything you were taught not to do in a voice
classyou did for oli). Working with multiple kumu they helped develop our oli and pronunciation where by the end we were
chanting and speaking as if we were all fluent. By everyone communicating in lelo Hawaii and lelo Haole (english) I believe that
we all helped with the Hawaiian cultural rejuvenation and language revitalization. Not everyone in the cast and crew were familiar
with the language or culture of Hawaii that caused times of tension and conflict. I understand the frustrations and pondered on some
of them. I thought, Why not just operate all in English and save time for those who cannot understand? I realized that the directors
choices were courageous. She was addressing the long lasting post-colonial stigmas and effects in Hawai i. Taking the Theatre
History courses at the time I was able to see how much of an effect colonialism had on indigenous populations (especially in Hawai i)
and what that meant to their culture and history. Through the Native Hawaiian practices of hookuu (release) and hooponopono
(making things right) during our cirlce times before and after rehearsals/performances the cast and crew became closer as a team to
make this production the best it could be.
My greatest challenge in this show was being comical as kahu the hunch backed attendant of Lieikawai. My first attempts
were not reading properly, were too goofy, or just didnt work for the show and I struggled on focusing how to make her funny in a
story that appeared so serious while adhereing to cultural conditions without being too western. She also did not have many lines with
comical puns or phrases the character was mostly based in movement. I began to think that I was not right for the roleI wasnt doing
what the director wanted and wanted to leave because I had convinced myself that I wasnt right for the role. I am so happy I did not,
instead I worked with the assistant director on character walks. That exercise was the pinnacle turning point in kahus character
development. After that the positives fell in place like dominosfrom the clowning class we focused on staying true to a clowns
genuine actions/reactions to situations instead focusing on finding situations to play for the laugh. We read about comic universality

that spans crossculturally and what types of moves, ideas, and situations are universially understood. These all greatly benefitted to
creating her intentions of what she wanted. The final breath that molded kahu into a memorable character for me was the focus of eye
spirit from jingju. Telling the intentions and kahus story through her eye spirit allowed an audience of five hundred and more to
connect with her immediately. In the end I was able to effectively convey the comic moments the director asked for as well as enjoy
the creation of kahus character. Some of the greatest complements came from professors, classmates, and audience members (who
saw me outside in the community). Many of them said that kahus character had made the biggest impression on them from the play
and was their favorite. Although the rehearsal process was long and challenging it definitely without a doubt was extremely beneficial.
Stage Managing the Wayang Listrik was the greatest learning moment in my time in theatre. Organizing a large group of cast
members, musicians, and dancers created a plethora of moments for miscommunication and disorganization. Extreme tension rose
from issues many cast members had from being frustrated with directorial/practitioner expectations and direction. As the stage
manager I felt myself trapped between understanding their frustrations (as an actor having been through a long/trying rehearsal
process I understood and wanted to protect them) and the directors need of their time to create and make the show its best. My
actions of trying to negotiate for the actors turned into a situation where it was not helpful or beneficial for the show or myself as the
stage manager. I became overwhelmed and stressed almost not being able to function effectively. Through my stage management
mentorship I learned how to handle situations professionally so that tasks are completed in an effective and safe manner for all those
involved with the production. I learned to facilitate the environment for healthy communication on both sides so that the production
can grow to its fullest potential. I am now able to distinguish between operating in my role as the stage manager on a professional
level versus overstepping my bounds to save the day.
This production also helped me to improve with conflict management and accepting criticism. Towards the beginning the
director and I butt heads from miscommunications on my part and me not being able to effectively communicate because I was worn
down from over accommodating for the cast. Whenever a criticism was offered at the time I took it as a personal attack on my
character when in fact they were trying to help me as a student. It was difficult to conflict manage whenever a cast member had a
problem with directorial choices or if cast members had problems with each other. I learned to look at all comments, criticism, and
interactions with an open mind and walk in the persons shoes. I was taught to think through how I would react if I knew the person
had a bad day, gotten in an accident, lost a family membermy little trifles and perceived attack on my character disappeared. I was
able to explain this thought process to cast members who were not seeing eye to eye and it allowed them to settle their differences for
the show. I am hopeful that they were able to think calmly and set aside their differences outside of the show space as well. These
lessons allowed me to become more level headed and communicate with the cast/crew members no matter their emotional/energy
states. Whether they were flustered, high energy, irate, or sad I was able to navigate and operate so that directions and expectations
from directors/cultural practitioners were understood at all times. These lessons benefit me the most in my professional experience as
a full time Front of House Manager for Palik Theatre. I am able to communicate better with clients, audience members, and fellow

staff members at our establishment. It has improved my outlook on the work environment so Im able to interact with everyone I come
across in a professional, safe, and efficient way.
Overall Ive learned many of my greatest lessons in theatre that this reflection cannot really touch the surface. My skills of
being able to critically think, assess, and communicate in high stress situations has positively impacted my life as a professional in the
theatre field. I take on my professional and disciplined behaviors that have allowed me to become a person who has been prepared to
withstand various types of people, places and situations. Ive furthered my understanding of world through the theatre history classes.
These have broadened my approach when addressing political, socioeconomic, cultural, and artistic topics from various countries in
Asia, the West and within the Pacific. I am filled with the greatest feelings of thanks and happiness for all of my teachers, mentors,
and friends who Ive come to know. Ive learned to persevere even through things that seem so challenging where I cause myself to
believe it is not for me. My time here at the theatre proves that beautiful, wonderful things come out of it at the end. But most of all no
matter how difficult a challenge or tasks is Ive learned to treat everyone with professionalism and aloha. Theatre is the medium
where we will change the world and aloha is the language every person will understand.