Playwright modernizes old tale

Postmodern Day-Glo wigs put a contemporary spin on a traditional Hawaiian story as Paliku Theatre pre­sents island playwright Moses Goods’ newest play, "The Magical Pu Stealer."

The "pu" in this story is a conch shell of the type Hawaiians still use as a ceremonial trumpet. The "stealer" is a magical shape-shifting dog named Pua­pua­lena­lena.

"The story is fairly well known," Goods said, "but I’m telling a different version of it that is not as well known as the Kama­kau version."

That’s "Kamakau" as in Samuel Manaiakalani Kama­kau, the Hawaiian scholar and historian whose collected works are important references regarding Hawaiian traditions and Hawaii in the 1800s. However, as in all oral traditions passed down from one generation to another, there can be more than one version of Hawaiian folk tales and legends.

"Different lines of storytellers will tell the story different ways or even in completely conflicting ways," Goods explained. "A lot of people, especially the Hawaiian kids, will know the story of Pua­pua­lena­lena, but they’ll know versions slightly different from the one I’m doing it on."

For instance, instead of sneaking into the land of the mene­hune, Pua­pua­lena­lena sneaks into the realm of "akua" (God, spirits or other supernatural beings) characters. He also omitted some more adult aspects of the story so kids and their parents can enjoy Pua­pua­lena­lena’s adventures without any awkward questions. No prior knowledge of Hawaiian culture or language is required to enjoy the play.

"There’s very little Hawaiian language in there because my cast is also not Hawaiian. There’s only one actor that is of Hawaiian ancestry. I knew that going in, so I wrote it with that in mind," said Goods, who is half Hawaiian.

Maui-born Goods is a busy guy these days. He has a full-time job as a cultural educator at Bishop Museum. Other gigs have him singing in the chorus with Hawaii Opera Theatre and participating in a traveling production of "A Midsummer Night’s Dream" performed by a cast of four. Goods was in rehearsals for the Shakespeare show while he was directing the rehearsals of "Pu Stealer."

"I try to develop things that will reach everyone — which is a difficult task. In general what I try to do is make my work something that everyone can identify with in some way."

We want to be happy

What is happiness? What does it mean to be happy? Philosophers have been exploring those questions for centuries. Playwright/director Annie Cusick Wood is offering young children some insights with Hono­lulu Theatre for Youth’s aptly titled production of "Happy."

Two colorful characters — Jolly and Molly — are waiting for the bus that will take them to a place called Happy. Jolly is, well, jolly. Molly isn’t. The bus doesn’t arrive.

Wood describes the play as "‘Waiting for Godot’ for kids, but suitable for children under 5."

"We all want to be happy," she explained. "We’re all born with a different base level of happiness. Other factors are environmental, but you can practice the art of being happy. There’s a balance, of course, but if you get better at doing things that make you happy, you become happier."

Lavour Addison, a veteran of several demanding productions at UH-Manoa, is Jolly. Brittni Shambaugh is the not-so-jolly Molly.

Wood says that kids instantly recognize Jolly as cheerful and, well, happy. Molly is trapped inside a large tentlike garment that represents the weight of the "extra stuff" she’s carrying around.

"When Molly comes on the mood changes," Wood says. "The kids immediately empathize with her."

A third character is heard but never seen. Wood’s husband, internationally known actor Henry Ian Cusick ("Lost," "The 100"), provides the voice of the conductor who announces from time to time that the bus to Happy has been delayed and is running behind schedule.

Molly becomes more depressed with each announcement. Jolly doesn’t let the disappointment get him down; he finds ways to entertain himself while they wait and tries to lift Molly’s spirits by sharing with her. Eventually Jolly gives Molly his sparkling, brightly colored coat.

Molly’s mood changes.

Molly and Jolly eventually stop waiting for the bus, go exploring and enjoy the natural beauty they find away from the bus stop. When they return, the conductor announces that Happy is where they are.

"This is the real message: ‘Happy’ is here and what you’re doing right now,’" Wood says. "It’s how you look at it. Also, don’t just sit on your backside expecting things to come along for you. Get out and explore."

Wood adds that kids should know that it is also OK to not be happy.

"This is not a play that goes, ‘Here is the answer to how to be happy,’ because sometimes you just can’t get out of your funk. In a way, I wanted to say, that’s OK as well sometimes. If you’re in a funk, just sit in that ‘tent’ for a while and then get out of it. You can come out of that tent. It’s your choice."

A free study guide with suggestions for simple story-related activities is available at www.hty­web.org.