Set in the shadows

Balinese shadow puppetry adds more intrigue to the already dramatic 'Tempest'

Romance unfolds, villains run amok and magical spirits and half-human servants roam the land in William Shakespeare's tale "The Tempest."

'A (Balinese) Tempest' When: 8 p.m. Friday, Saturday, Jan. 31, Feb. 1 and 2; and 2 p.m. Feb. 3 Where:Kennedy Theatre, University of Hawaii at Manoa Cost: $16 general, $14 seniors and military, $11 students and $5 for UHM students with valid ID Call: 483-7123 or visit etickethawaii.com Info: 956-7655 or visit hawaii.edu/kennedy Also: Free pre-show chats at 7 p.m. Saturday with director Larry Reed about the shadowcasting method and his adaptation of Shakespeare's play, and 7 p.m. Feb. 2 with Kathy Foley, professor of Theatre Arts at the University of California-Santa Cruz, about Southeast Asian theater and its impact on "A (Balinese) Tempest"

But even though the University of Hawaii's Asian Theatre program presents this play with all of its drama, it adds an Indonesian twist through the art of Balinese shadow puppetry. The shadows come alive as the students work their magic, transforming both themselves and puppets into life-size shadows.

"Projected shadows create moving imagery, much like a film, with the intimacy of live theater," explained Larry Reed, the show's director.

Reed, founder and artistic director of Shadowlight Productions, has been working with the program's students this past semester in preparation for "A (Balinese) Tempest." As one of the few Americans trained in wayang kulit, or Balinese shadow puppetry, he integrates traditional shadow theater techniques with American theater and film styles.

Reed fell in love with every aspect of the play after playing the role of Caliban in a high school performance of "The Tempest." When he later watched Balinese theater in Indonesia, he was reminded of Shakespeare as he compared the magical qualities of both works. So it's no wonder that he combined one of his favorite plays with the Balinese culture and music that inspired him.

"BEING ABLE to play in this magic world of shadows is really exciting," said Michelle Y. Hurtubise, who plays Miranda. "In a shadow, you come to life both internally and visually ... you get into an ancient tradition that has brought stories to life for eons and eons. It's all done with paper, wire and paint, yet on the screen it looks like it could have cost millions of dollars."

Thirty to 50 sets make up the show, with three different sets available at once by changing various hand-painted slides and light sources.

"If the lights are changed, you are in another place," explained Reed. "It's like a movie, but all in shadow. It's completely different from normal theater and really unlike anything else. We play with scale and timing and fantasy masks that allow the same character to be played by either a person or a puppet."

Getting the masks to fit the actors properly is among the production's challenges. "Everything is made out of cardboard. We always need to bring things up to date."

Other challenges include making sure a character's shadow is exactly where it's supposed to be.

"We need to be precise. One false move could mess everything up," said Rhiannon McCullough, who plays the roles of Trinculo and Gonzalo. "It's like your shadow is a puppet that you are manipulating with your entire body."

Audience members often race to the stage after the production to see how the shadows were created. The production team plans to lift the curtain at the end of each performance, divulging their "secrets."

REED WAS also excited about being reunited with his original teacher, I Nyoman Sumandhi, during this production. Sumandhi, the show's composer and music director, leads the University of Hawaii Gamelan Ensemble, which features 16 instruments.

The two met when Reed was a University of Seattle student. Sumandhi sent Reed to Bali to study with his father, and their lives continue to be intertwined.

"The past three or four weeks has been about integrating the music and action to get all the cues correct," said production director Kirstin Pauka. "Gamelan is so loud that our challenge is to get sound balance."

Most shows don't require the use of microphones, she explained. "The actors are being trained in their craft to project," she added, referring to the actors roaming about with portable head mics.

"We have this big screen between the audience and actors, so it is almost impossible to project into the house without using mics. It's a whole new can of worms."