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February, 2000, HONOLULU, HI - January began with the gentle waves of the Caribbean rolling onto a sunny beach in Cancun, Mexico. And the month is ending with another idyllic beach scene -- this time with the waves of the Pacific rolling on to the beach at Waikiki in Honolulu, Hawaii. But it wasn't all play.
I am the newly elected Chairman of the Board of the Japanese American National Museum. Our first meeting of the year was scheduled to be held in Honolulu. But to make our confinement indoors in the Halekulani Hotel conference room bearable, the Hawaiian weather kindly obliged us with dreary, drizzly skies. Throughout our two-day meeting, it was showery and gray. It was still raining when I adjourned our board meeting.
The next morning, with the runways still wet with early morning drizzle, Irene Hirano, the Japanese American National Museum's executive director, along with several trustees and staff members, joined me on a flight to the city of Hilo on the big island of Hawaii. We were going there for the opening of one of our traveling exhibits, "From Bento to Mixed Plate," at the Lyman House Museum. This was the exhibit that had enjoyed a hugely successful six-month run at the Smithsonian Museum in Washington, D.C.
We landed at the Hilo airport in a downpour. Our shuttle van valiantly struggled against the famously rainy welcome of Hilo. When we arrived at the museum, I saw what looked like an enormous convention of umbrellas gathered at the front entrance. As we stepped out, we were greeted by smiling faces under huge outspread umbrellas and quickly hustled through the crowd. We had arrived just in the nick of time for the 9 a.m. beginning of the opening ceremony.
It is a Japanese tradition to begin ceremonial occasions with a concert of drumming on enormous drums called Taiko. When the first thunderous "boom" sounded, as if pre-planned by some special effects man, the rain miraculously stopped, the clouds parted and golden rays of sunshine began to stream down on the gathering. If that is an omen for the "From Bento to Mixed Plate" exhibit's run at the Lyman House Museum, then it bodes very well for its success. After the ceremony, as expected, the event turned into something not unlike a Star Trek convention. I sat and signed autographs for the crowd of first day museum-goers. In the evening, legendary U.S. Senator Dan Inouye spoke eloquently about the exhibit at a lovely Hawaiian reception for the exhibit's generous supporters. And there I signed more autographs.
Although I have been to the state of Hawaii many times -- mainly to Honolulu -- this was my first visit to the "big island" of Hawaii. I'd heard and read about the beauty of this island, but the dramatic variety and contrasts in its scenery astonished me. Hilo, on the eastern side of the island, is a tropical rain forest matching our image of Hawaii.
The morning after the museum opening, I drove from Hilo to spend a few days of "R&R" at a resort in Kona on the opposite, west side of the island. Driving north, I left the rain forest jungles to a landscape of rolling green pasturelands that reminded me more of Wisconsin than any picture I had of Hawaii. There were herds of cattle grazing alongside white fences. I drove past a sign that announced "Parker Ranch," the biggest cattle ranch in the U.S. I stopped at a town called Waimea for lunch at a recommended place named the Paniolo Café. "Paniolo," I had been told, meant "cowboy" in Hawaiian. The waiter urged me to order the restaurant's famous paniolo hamburger. So I did. It tasted like hamburger - good, but no different than any other hamburger I've had on the mainland. I suppose that is what makes it famous in Hawaii.
About half an hour out of Waimea, the scenery changed again. This time, it became Arizona. Arid, scrubby desert landscape with occasional cactus plants trying to maintain themselves in the sandy soil. Even the sun seemed to get hotter.
Another half an hour and suddenly, the scene changed dramatically. It became a moonscape -- mile after barren mile of rocky, lifeless, unearthly vista. This was an ancient lava flow. Not a blade of grass could exist on this hot, forbidding terrain. I got off the highway on the road to the Orchid at Mauna Lani resort. The smooth roadway that cut through the jagged, rock-strewn topography seemed jarringly unnatural. What kind of god-forsaken resort did I get myself booked into, I wondered. Then, like a mirage, I saw graceful coconut palms swaying off in the distance. As I drove closer, bright splashes of crimson from Jacaranda bushes accosted me. Velvety green lawns appeared in sharp contrast to the jagged lava rocks. An elegant sign read, "Welcome to the Orchid at Mauna Lani." I drove up a curving drive to a grand porte cochere where a smiling group of stylishly clad bellmen was lined up to greet me. I had arrived at an unearthly oasis called the Orchid carved out of the stony crust of a lava flow.
The three days of rest and recuperation were heaven. But I must confess that the environmentalist in me did feel a slight twinge of guilt in this unnatural lap of luxury.
The other trustees of the Japanese American National Museum had returned home by the time I checked out of the Orchid. But I had another speaking engagement at a conference of the Pacific Telecommunications Council a few days later in Honolulu. So it was back to Honolulu and the beach at Waikiki for me. An onerous burden - to have to kill a few days at Waikiki.
At the Kona Airport for the return flight to Honolulu, Kona resident Midori Fujimoto showed me a wonderful museum, a memorial to Ellison Onizuka, the astronaut who died in the explosion of the Challenger Space Shuttle. Midori, whose late husband Fred spearheaded creation of the museum, told me that Ellison was a native son of Kona and took great interest in motivating young Hawaiians. I had met Ellison Onizuka in Los Angeles shortly before he flew off to Cape Canaveral for his ill-fated mission. I remember joking with him then that he was the 20thcentury ancestor of the character I play in Star Trek and thanked him for being one of the builders of the launching pad for the world of Star Trek. He modestly demurred and told me that Star Trek was one of his favorite shows and Sulu his inspiration. I thought of our mutual flattery with poignance as I walked through the Ellison Onizuka Space Center at Kona Airport, a most fitting tribute to the spirit of a space adventurer of our times.
Back in Honolulu, Hoyt Zia, executive director of the Pacific Telecommunications Council, had invited me to speak at his conference, where I met contemporary adventurers of a different kind. This was the annual gathering of high tech communications engineers, executives and entrepreneurs from the Pacific Rim countries from Asia to north and south Americas. Their great challenge is to connect people and nations through telecommunications. They are the explorers of today, linking up not just people, but ideas - sharing ideas, bringing ideas together to spark new ideas. They are the builders of our future in ways not unlike Gene Roddenberry's ideas that he shared through the telecommunications medium of television.
And, as it turned out, these conference delegates were eager Star Trek fans from way back in their college and university days. Star Trek was vibrantly alive even on the beaches of Waikiki. As the soft trade winds caressed us, the coconut palms swayed and the sound of the rolling waves serenaded us, we talked Star Trek and telecommunications.
April, 2002, LOS ANGELES - The stern new security procedures at airports are not the only cause of travel traumas. There still is good old Mother Nature to compound the challenges. And she can be fiercely punishing.
I was the keynote speaker at a session of the annual convention of the National Association of Elementary School Principals in San Antonio, Texas. It was a huge gathering of about 9,000 people and my address had been well received. I must confess, I felt a smug sense of self-satisfaction with a job well done as I was driven back to the San Antonio airport. It had been showering lightly for the past two days but the highway was now starting to slowly dry off. I arrived more than two hours before my flight was scheduled to depart for Los Angeles so that I could comfortably navigate the strict new security checks. But security turned out to be a piece of cake. I sailed through without a glitch. The only bit of slowdown was when a couple of security attendants recognized me and I stopped to sign a few autographs.
I checked in, got my boarding passes to Dallas/Fort Worth connecting on to Los Angeles, and settled in with a copy of the New York Times. At 3 p.m., half an hour before the scheduled departure time, I gathered near the gate with others to await the boarding announcement. Nothing happened. 3:15 came and went with no boarding. The scheduled departure time came and we were still crowded around the gate. At 3:40, the announcement came. There was a storm headed our way and all flights had been temporarily grounded. However, airline officials assured us, as soon as we were cleared, the plane would be immediately available for boarding, and we would take off -- so we were told not to leave the gate area. The tension that swept through the crowd was palpable. I looked out the glass wall and saw that the sky was cloudy but spotty patches of blue could be seen. I speculated that they wouldn't keep us grounded for too long. I assumed that this delay was just precautionary.
At 4 o'clock, the public address system announced that we were still grounded but that there would be half-hour updates so do not leave the gate area. By this time the churning clouds had crowded out any patch of visible blue sky. Eyes began flashing alarmed looks at each other. But I had flown through storms before. This grizzled traveler didn't think there was any need for undue agitation. But I thought I should at least inform my business manager in Los Angeles that my arrival home would now most probably be delayed.
When I reached my manager on my cell phone, I could hear the alarm in his voice. He told me that his computer airline schedule was telling him that the Dallas/Fort Worth airport was also shut down because of the approaching storm. It looked bad. My connecting flight to Los Angeles had also been grounded.
I looked out the glass wall. Those churning clouds had turned much darker now. I began to feel uneasy about getting on that plane and barreling into those ominous-looking clouds. I'd better find another routing to get back home, I thought. I looked toward the gate clerk's counter and saw a long line forming of people with panic in their eyes. As an experienced traveler, I told myself, I'm not about to be stampeded by the hysteria. I knew how to avoid that crowd. With feigned self-assurance, I grabbed my rolling luggage and began striding for the main terminal ticket counter. It seemed, however, a good number of other people also had the same idea. Exactly what I was trying to avoid. Everybody was coming down the corridor right behind me. I blew whatever cool I had been faking. I began trotting with my luggage bouncing along behind me to stay ahead of the others. When I got to the main ticket desk, a horde of people were already there, yelling and demanding that they absolutely had to get home NOW! It is at times like this that I will be eternally grateful for First Class tickets. There were only two people waiting in the red-carpeted line.
When my turn came, the attendant in front of me seemed almost as frenzied looking as some of the passengers. He had thinning frizzy brown hair and he peered intensely at my flight itinerary through heavy, ringed Coke bottle spectacles. But, he was good. "Try Albuquerque as my connection -- or El Paso," I suggested desperately. "Or Las Vegas." His fingers clicked away at the keyboard like a woodpecker's beak. When they were no good, I spat out, "Try Salt Lake City?" No good. "What about San Francisco?" None worked. They were already all booked up. "But I've got to be back by tomorrow. I have a very important meeting," I pleaded. I could almost see him thinking, "So does everyone else." But he soldiered on silently intent, his eyes fixed on his computer screen. Suddenly, his eyes popped wide and his glasses almost jumped up. "How about through Phoenix at 6 a.m. tomorrow morning?" he asked. "I'll take it," I replied. "But it's on another airline," he warned. "I'd fly you guys because I like you," I assured him, "but your birds ain't flying. A bird in hand is better than a bird on the ground," I quipped now smug again. How quickly my desperation had faded. "But it doesn't go to LAX," he added. "It lands at Long Beach Airport." "That's close enough. I want that flight," I insisted. I had a way home now - but at 6 a.m. in the morning! That meant that I now had to get a hotel room near the airport. I had a new challenge. I know from anguished past experiences how quickly airport hotels can fill to capacity at times like this.
I rushed to the airport hotel-listing wall with a bank of telephones. The first one I tried was already full. Anxiously, I called the next one. I lucked out with the second. I hurried out of the terminal to a now lightly raining airport landscape. The front of the storm was arriving. I dove into a taxi and rushed over. Thankfully, the hotel was only about five minutes from the airport. It looked like a glorified motel from the outside, but the atmosphere in the lobby was almost like the airport. Frantic people and a screaming baby surrounded the reception desk. The room I finally got was the last available at the hotel. I had to get up early to catch my 6 a.m. flight back so I asked for a 3:30 a.m. wake up call and went up to my room.
Once I laid down on the bed, hunger gripped my exhausted body. I was famished. But the hotel had no restaurant or room-service. Fortunately, I remembered that I'd saved the bag of peanuts and the bag of pretzels from my two flight legs on my way to San Antonio. Munching on pretzels, I turned on the television. "60 Minutes" was on. It's one of my favorite shows. I had written off catching the show because of the travel, but, thanks to this disaster, at least I wouldn't miss tonight's show. I was getting into the program when suddenly the screen was filled with the bold words, WEATHER WARNING. 
An ominous voice intoned that a thunderstorm was headed toward Uvalde County with the possibility of tornadoes. Everyone was ordered to stay indoors in a safe part of the house. Then a map flashed on. Uvalde was just west of San Antonio and the storm was headed directly at us, east of Uvalde. "60 Minutes" then came back on but now, at the bottom of the screen, was a continuing scroll with weather updates. Trying to read the scroll and, at the same time, focus on the program, I tried getting back into the show. Suddenly, the WEATHER WARNING sign again broke in. The voice reported that hail the size of baseballs was now falling in Uvalde. The order to stay indoors was urgently repeated. It was getting bad, but I realized I had to get up at 3:30. I had better get some sleep. I muted the television so that I could read just the weather updates and turned out the lights. But I couldn't fall asleep. I kept tossing and turning. Suddenly, the entire room lit up electric white. I bolted up from bed. What was that? Then the room trembled with a horrendous crashing sound like the sky ripping apart. A beat later, a sheet of rain, almost like an ocean wave, slapped at the window. It was followed again by another slap with another flash of lightening. It was terrorizing. It was the same terror I felt as a child in the internment camp in Arkansas. Those Arkansas thunderstorms were the most frightening of my childhood experiences. The storm continued for most of the night. Just as it finally began to calm down and I started to doze, the phone rang. It was my automated 3:30 wake up call.
The hotel had promised that there would be a shuttle service to the airport at 15-minute intervals in the morning. The storm had passed but the street was glistening with rain. I waited under the canopy in front of the hotel entrance. A mini-bus, already filled with passengers and luggage, rolled up. There was just enough space for me to board. The driver announced, however, that there would be one more hotel stop where he had to pick up passengers before heading for the airport. There were about half a dozen sleepy looking people waiting there. Our bus could barely take only one or two more. The ones that forced themselves onboard were two out-of-shape women huffing and puffing with effort. The other waiting people would have to take the next bus. The cramped ride from there to the airport was the last ordeal. The check-in went unexpectedly smoothly. Although I was chosen for the special security check, where I had to take my shoes off, open my luggage, and be "wanded" all over, it seemed like nothing after the trauma I'd already endured. The take off was uneventful and landing in radiantly sunny Phoenix, Arizona, was a joy. But, the happiest was landing at Long Beach Airport. I was home! At last!
After a trip like that, I can't tell you how fervently I pray for the early invention of that Star Trek travel mode called "beaming."
January, 2002 I felt a rising sense of gravity as I was driven toward Manhattan. I'd just completed my engagement with Slanted Fedora Entertainment's Star Trek convention at the Meadowlands in New Jersey. The skyline of Manhattan was clearly visible in the crisp, mid-morning light. I saw the elegantly tapered silhouette of the Empire State Building once again dominant as the tallest structure on the horizon. The vacancy in that skyline was heartrending. It was almost as if I were being driven to visit the grieving family of a deceased friend - except that I, too, was a member of that family.
As we emerged from the Lincoln Tunnel into the relentless hurley-burley of 42nd Street, it was almost comforting to be engulfed by the familiar New York assault on the senses. Neon lights blazed in broad daylight. Traffic noise blared in competition with each other. And the unyielding mass of humanity still poured through the streets with determination. New York was resiliently, vibrantly alive.
The next morning, I went on my pilgrimage to "Ground Zero," the place of the devastated remains of the World Trade Center. There was a long line to the viewing platform that had been built just east of the site. It snaked past the wrought iron fence surrounding the cemetery of old St Paul's Chapel dating back to 1780. The fence had become a grieving wall covered with photos, letters, Christmas wreaths, and other offerings posted in memory of the deceased and missing. They were bright, young people with ascendant careers. They were seniors ready to enjoy retirement. They were janitors and restaurant workers. They were people with names of every ethnicity in the world. When I read a letter addressed to "My little brother, our dearest son," my emotions wouldn't be contained. Tears ran cold down my cheeks. Snowflakes were falling softly. They reminded me of the ashes that fell from the sky that horrible September morning.
When I reached the platform, I was stunned by the sheer enormity of the site. Sixteen acres of barrenness where once there had been structures teeming with the energy of global commerce and the two tallest office towers in the United States -- all only memories now. In their place was a vast emptiness. Only a great hole in the ground with a tangled mess remained. Tractors moved somberly among the rubble, clearing the wreckage. Only the day before, the remains of another person had been found. Surrounding this huge void were scarred, soot covered, vacant buildings, some covered with black netting like shrouds of mourning. That snowy January morning, I relived in my mind and bore witness to the horror and pain of the morning of September 11, 2001.
I bore witness to the results of that dreadful day, but I know New Yorkers who actually lived through the terrors of the atrocity. Through friends with the Asian American Legal Defense and Education Fund, I arranged to have lunch with one of the heroes of September 11th, Officer David Lim of the Port Authority Police Department. A native New Yorker, he told his story in the punchy accent distinctive of Queens. Officer Lim is with the Canine Patrol in the World Trade Center. He was in the basement of the South Tower with his dog named Sirius inspecting the incoming cars when his walkie-talkie crackled that there was an explosion in the North Tower. His first thought was that someone had gotten a bomb past them up into the building.
He left his dog in the basement kennel and ran to the North Tower. On pure adrenaline, he rushed up 44 floors past fleeing people in roughly 20 minutes. There were office workers still sitting at their desks too stunned to react. Officer Lim went from floor to floor making sure everybody got out. He was in the stair well at around the 27th floor, when the whole building started to vibrate and rumble. It was the South Tower, which had been hit second but collapsed first, coming down. The North Tower was still upright. He urgently needed to get everyone out quickly. Officer Lim continued bellowing at the top of his voice, "Down is good. Down is good." When he reached the fifth floor, suddenly the entire building began to shudder with an indescribable sound combining an approaching train with an avalanche. He heard the snapping of pipes and cracking of concrete together with the deafening roar as they began to fall. He remembered thinking, "If I'm gonna die, please God, make it fast." Then there was silence. Miraculously, he and two other officers found themselves together and alive, trapped in a pocket. They were imprisoned in that cranny for about five hours before they were able to claw their way out. He ended his story by telling us, "My dog died in the collapse of the South Tower. I know exactly where Sirius is. They still haven't gotten to him yet."
I had dinner with Stan Honda, a photojournalist friend, who took photographs of the attack on the World Trade Center that have now become iconic. His picture of an African American woman completely covered in ash, looking shell-shocked and almost ghost-like, staggering away from the wreckage was published in virtually every newspaper and magazine in the world. Fortune Magazine used his photo of the ash-coated businessman, still in full suit and tie, still carrying his briefcase, on its cover. As I reminisced with Stan about my trips to New York in the early 70's, noting on each flight the progress of the steel skeletons of the World Trade Center as it worked its way 110 stories up into the sky, he shared with me his panic working frenetically as the great structures came roaring down.
A photo exhibit titled "Faces of Ground Zero" opened at Grand Central Station while I was in New York. I made a date to get together with my actress friend, Pat Suzuki, for lunch and a viewing of the exhibit. The display was made up of bigger than life-size photos of the heroes of the tragedy taken with a giant camera the size of a small room. The oversized images of people that we would ordinarily call "common guys" -- firefighters, police officers, medical workers, spouses of those that didn't survive, and others -- were profoundly moving. They were "common guys" caught in an extraordinarily uncommon situation who rose to the full challenge of the occasion with uncommon valor. They were the faces of the muscles and energy of working New York. They were the faces of the diversity of New York -- Hispanic, white, black, Asian and, yes, Middle Eastern. They were indeed, the faces of American resolve and American unity. Those faces and the quotes accompanying them were, at once, deeply touching and so uplifting. Over lunch, Pat revealed to me that for a couple of months, she had gotten up at 4 a.m. in the morning to volunteer as a breakfast cook for the rescue workers at ground zero. It seems all New Yorkers were involved in one way or another. They are all kindred.
After New York, I flew to Park City, Utah, for the Sundance Film Festival. I had worked on a small, independent film titled, "Noon Blue Apples" last year and it was to be premiered as part of the festival. I had been to the Venice Film Festival in Italy twice but this was my first visit to Sundance. What a contrast! It was as dramatic a difference as snow and water, as distinct as skis and gondolas.
However, there are also similarities. Both are storybook cities. Both places look like movie sets - one a floating Italian Renaissance capital turned popular tourist destination, the other an old western mining town turned ski resort. The energy, excitement, tensions, and partying are exactly the same. The overwhelming choices of film screenings are dizzyingly alike. Deal making seemed to be going on everywhere at Sundance, in restaurants, bars and even street corners. "Noon Blue Apples" is a psychological thriller by independent filmmaker Jay Lee with a fine performance by young actress, Lauren Fox. A member of the cast, actor Montel Williams, has a chalet in Park City and threw a lavish party for the cast, crew, press, and distributors. Jay and his producer sister, Angela Lee, were energetically wooing potential distributors.
During my four days at Sundance, I gorged myself on movies - from midnight screenings to early morning shows. But, like gorging on food, constant movie going can cause cinematic indigestion. I ingested some discomforting movies. Among them, however, were gems that I enjoyed greatly. "Love in the Time of Money" and "The Laramie Project" were impressive films with wonderful performances. But the very last movie I saw at Sundance before I left for the airport was the best. It was a 9 a.m. screening of an independent film starring Robin Williams titled "One Hour Photo." It was the highlight of my Sundance movie-going experience. First time feature director Mark Romanek had given Robin Williams his most challenging opportunity to stretch his creative muscles. And he rose fully to the challenge with a brilliant characterization of a sad and chilling loner. I predict that both Mark Romanek and Robin Williams will be Academy Award contenders next year.
June, 2002
(The June installment of George Takei's monthly column has been canceled
because of his mother's passing. George's column is scheduled to return in July.)
Obituary
Fumiko Emily Takei passed away in Los Angeles on May 25, 2002, after a long illness. She was 89.
She was born in Florin, California, on September 29, 1912. She was the daughter of Benkichi and Shigeno Nakamura.
In 1922, her parents sent Fumiko to Japan to be educated. She returned to California, and, in 1935, she married Takekuma Takei in Los Angeles.
With the outbreak of World War II, Fumiko and her family together with 120,000 other Japanese Americans were placed behind the barbed-wire enclosures of United States internment camps. They were evacuated from their Los Angeles home in 1942, first to the Santa Anita Race Track assembly center, then to the internment camp at Rohwer, Arkansas, and then to the internment camp at Tule Lake, California. They returned to Los Angeles after the war.
Widowed in 1979, she was active in the Hompa Hongwanji Buddhist Temple and the Pioneer Center. She was a dedicated volunteer at the Koreisha Chushoku Kai senior citizens hot meal program.
Fumiko and her husband were avid travelers, having covered almost all the continents of the globe. They had been to the African countries of Kenya and Tanzania, Iran, Egypt, India, Singapore, Tahiti, Bora Bora, the Russian cities of Moscow and St. Petersburg, South America, Europe, and Asia. In recent years, she joined her son George on cruises to Alaska, Bermuda, Mexico, and the Caribbean.
She is survived by her children George Takei, Henry Takei, and Nancy Reiko Takei, all of Los Angeles; her grandchildren, Scott Takei of Los Angeles and Akemi Louchheim of Seattle; two great-grandchildren, Hana and Markus Takei of Los Angeles; and her sisters Yukiko Tamura of Hiroshima, Japan, and Setsuko Thurlow of Toronto, Canada. Fumiko's and Takekuma's first-born child, Furuto, died in infancy.
In lieu of flowers, the family requests that donations be made to the Japanese American National Museum, 369 East First Street, Los Angeles, CA 90012.
July, 2002, LOS ANGELES - The loss of a parent is an inevitable part of the journey of life. Thousands experience it every day. I, too, experienced it over two decades ago with the passing of my father. Yet, the pain of the death of my mother, Fumiko Emily Takei, on May 25th was unbearably sharp. It was singular, so personal. She was my final parental link with my past, my memory of a love and determination that carried our family through the turbulence of war and its aftermath. She was bull-headed strength combined with unqualified devotion to family. In her final years, she met the challenges of the many assaults on her health with the same defiant will to overcome. She left me a legacy of love combined with strength. Now, her ashes have joined my father's in the family crypt. I take comfort in the fact that she has, at last, found peace. The expressions of sympathy and generosity from good people far and near have been a great consolation. I feel blessed and grateful for the kind support of so many friends.
About a year ago, I had enthusiastically signed a contract to star in a concert production of Stephen Sondheim's musical "Pacific Overtures" for the Human Race Theatre Company of Dayton, Ohio. The play is an infrequently produced but brilliant musical about U.S. Navy Commodore Matthew C. Perry's effort to "open up" the closed island empire of Japan in 1853. I have been a passionate Sondheim fan who thinks "Pacific Overtures" is his best work. This was a wonderful invitation from the Human Race Theatre and a great opportunity for me to stretch as an actor. But now, the calendar showed that rehearsals were to begin in Dayton just five days after my mother's final memorial service. Can I even begin to think about performing so soon?
Then, I thought of my mother's approach to the challenges in her life. She always thought of the wellbeing of her family. She may have been torn up inside, but she never let on to her children. From being forced out of our home at gun point by the U.S. Army, through incarceration behind barbed wire fences during World War II, to the struggle to rebuild our lives from skid row in downtown Los Angeles, she was always Mama, there for us, strong and loving. Through thick and thin, she was always our Mama. Whatever she may have been feeling inside, she never allowed it to impose itself on her responsibility to her family. Now, I had a responsibility to a professional family waiting for me in Dayton. At this late date, the wellbeing of that family was at stake. I resolved to myself that I would do the best that I could as an actor - and I determined that I would work with my professional family without allowing my personal situation to intrude. I had to be my mother's son.
I arrived at the Dayton airport to be welcomed by Kevin Moore, the executive director of the Human Race Theatre Company and the director of "Pacific Overtures." We immediately hit it off. I found him to be a passionate theater person, a savvy leader of the regional theater community, and an energetic artist/administrator. On the drive in from the airport, we enthusiastically discussed the production.
On the first day of rehearsals, I met the company of singer/actors that Kevin had assembled. What an extraordinary collection of talent!
Two were from New York City with impressive New York credits, Alan Muraoka and Rich Ceraulo. Three were from Cincinnati: Michael Pincelli, Ryan Heinrich, and Juan Carlos Diaz. Actually, Juan Carlos told me he was really a San Franciscan studying at Cincinnati's College Conservatory of Music. Another member of the ensemble, Jamie Cordes, had worked with a variety of musical theater and opera companies throughout the country and had performed in such Sondheim productions as "Sweeney Todd" and "A Little Night Music." A cast member from New Jersey, Jose Solivan, had performed extensively in musical theater throughout the Northeast. Three were veteran resident artists with the Human Race Theatre: Jay Pierce, Scott Stoney and Kay Bosse. All were magnificently gifted performers and superb singers. An indispensable member of the company was our accompanist on piano, Brendan Kinsella.
There I was - a singer who does his best work in the shower - surrounded by singers who perform in operas! I knew I needed help. Neal Gittelman, the music director of the production, is also the conductor of the Dayton Philharmonic Orchestra. It was my singular privilege to work with him daily as my personal vocal coach. Neal was wonderful. He was patient, creative, spontaneous and relaxed. I knew I was going to like working with him, when, from the very first day, he kicked off his shoes before we began work. He is the inspiration for my decision to continue with voice lessons back here in Los Angeles.
Kay Bosse, the only woman in this company of actors, was the anachronism of the cast. "Pacific Overtures" is always performed in classic Kabuki style, where all roles, both male and female, are played by men. In Kabuki, women performers do not exist. The art of depicting females is a specifically male domain in Kabuki, where an actor devotes his entire career to perfecting the portrayal of women through the changing stages of their life. Kay was the token female in this revolutionary Kabuki production. But in terms of talent, she was a full member of the company. She stopped the show with her number, "Chrysanthemum Tea," as the sweetly murderous mother of the Shogun. I got to play her victim - and it was histrionic good fun being poisoned by her chrysanthemum tea.
My principal role was that of the Reciter. In Kabuki, the Reciter is not only the narrator and bridge for scene transitions, but participates in the scenes as well playing many different roles. Thus I got to be Kay Bosse's poisoned Shogun. Another unique Kabuki convention is the role that the Reciter has in giving voice to the inner thoughts and emotions of other characters. There is a scene in the drama where a samurai returns home to find that his beloved wife had committed suicide. A samurai must never show his emotions - even under this tormented circumstance. He stoically swallows his pain. In Kabuki, the Reciter is the one who gives voice to his emotions. It was only in this sequence that I allowed my own pent-up grief over my mother's death full release in the anguished cry I emitted for the tormented samurai.
The production was a smashing success. Opening night was a sellout with a gala party following and the subsequent performances were near full houses.
A surprise treat was seeing my good friend and colleague from the Star Trek movies, Robin Curtis, who played Lt. Savik. She is now living in Cincinnati and drove all the way up to Dayton with her husband for the second night performance. She came backstage to see me after the show, as sparkling as she always has been. She told me how moved she was by my cry of anguish for the grief-stricken samurai. Then she conveyed her condolences on the passing of my mother. I wonder if she had sensed her presence in that tortured wail.
All the time that I was in Dayton, I thought of my mother. I missed her terribly. But, as she did in her life, I never let my personal sorrow intrude on my work with my professional family. When she did make her presence known, it was to help me make my stage emotion that much truer.
I had a rich and engaging experience with "Pacific Overtures" working with a company of talented artists. I appreciate the many new friends that I made in Dayton. The experience I had with the Human Race Theatre was profoundly fulfilling. All this and more are gifts that my mother's love continues to give me. I dedicate my performance in this "Pacific Overtures" to the woman whose loving strength never stops guiding my life - to my Mama.