The telling of Hawaiian legends can get old and stodgy, so kudos to Kumu Kahua Theatre for their adaptation of noted teacher and artist Jean Charlot’s “ Moa a Mōʻī.”
The title, which means “Chicken Into King,” requires a bit of explaining. The play revolves around Umi, a commoner about to be killed by his abusive father who is saved by his mother, who pushes him to flee.
‘MOA A MO’I’Presented by Kumu Kahua Theatre» Where: Kumu Kahua Theatre, 46 Merchant St. |
Umi ends up sailing the ocean, and before dying on his canoe he lands on Hawaii island. To show thanks for the blessing from the gods, he sacrifices a single lice — the last morsel of food available during his journey.
Umi then finds his real father and instantly becomes mortally disliked by his brother, who is next in line to become king. From that point, the game is on, not only for Hawaii island, but the rest of the Hawaiian archipelago as well.
The machinations of being king and the enemies who seek to overthrow Umi are almost Shakespearean in nature, as are the gods that favor or not favor his quests. Directed by Daniel A. Kelin II, the play has its moments of eeriness and violence, but there are also welcome bursts of humor and romance as well.
Tyler Tanabe as the king of Hawaii island speaks in an informal tone and his benevolence is sprinkled with sincerity and charm. As entertaining as he is though, there are times when his character’s dialogue is so casual and Western, it seems at odds with some of the other ensembles’ more formal, almost Elizabethan tone.
Speaking of the ensemble, a character appendix should have come with the program, similar to lineages found in epic fantasy fiction novels. Since many of the supporting characters are unnamed, correlating them to a cast members is difficult.
(Granted, 50 characters are divided among 10 actors and the program simply reads “Ensemble” with the names of the cast in alphabetical order. Also, perhaps the late Charlot probably didn’t give some of his characters names?)
The in-the-round theater setting is sparsely furnished with vines hanging from the ceiling and a giant rock that dominates the center of the stage, functioning as a seat, a pedestal and a prop container. The lighting is integral, especially when dissolving into a scene where a god appears among humans.
When Umi confronts a ferocious shark god, it is through flashing red light and the clattering and choreography of large wooden sticks held by actors that bring the beast to life. The visualization there is inspired.
Fans of Hawaiian legends will get the biggest kick out of “ Moa a Mōʻī.” Other audiences will find the production an illuminating chapter of Hawaiian culture.