![]() In fact, blockchain and DLT platforms have crossed the disillusionment trough of the hype cycle andĪre well on their way to driving real productivity. Technologies (DLTs) are also making waves in the enterprise. Trendy cryptocurrencies and nonfungible tokens (NFTs) capture media headlines and the public imagination, but these and other blockchain and distributed ledger Prioritize efficiency and safety, and preserve intellectual property. Moreover, these sameĭata-sharing protocols have helped drug makers, government agencies, hospitals, and pharmacies coordinate and execute expansive vaccination programs that For example, by pooling clinical data on shared platforms in the early days of theĬOVID-19 pandemic, researchers, medical authorities, and drug makers were able to accelerate the development of treatments and vaccines. Indeed, the ability to share secured data with others within anĮcosystem or value chain is giving rise to new business models and products. This can open up a new arena of data-driven opportunities. Growing trend, organizations are unlocking more value from their own sensitive data while leveraging enormous volumes of externally sourced data that has These plays celebrate and also confront who we are, and yet you experience pleasure.A host of new technologies promise to simplify the mechanics of data-sharing across and between organizations while preserving the veil of privacy. This would be merely trying to please you. While all people need this escape, we should get it by taking a warm bath, not at the theatre. To paraphrase Tom Wolfe, most people want to slip into a play like you would a warm bath. Though this seems self-explanatory, it isn’t that simple. Without changing a word, the play changes each time we return to it. Also, the crew, the actors, myself, and you will find something new in Aloha Las Vegas every time we come back to the play. Times have changed from the mid-90’s, and yet without changing a word in the script, it remains relevant to now. Wally in Aloha Las Vegas considers leaving Hawai‘i just like many of us consider every day here. (That would be a play I’d love to direct.) The plays in this season are abstracted or taken from life. Not that these plays are like Modern Art paintings with squares and rectangles, splashes of paint, and distorted faces. Now what qualities do theses play possess? I turn to the three qualities listed in Wallace Stevens’ poem Notes Toward a Supreme Fiction: The five plays in this season represent some of those plays. The late Dennis Carroll, one of our founders, hoped that Kumu Kahua would develop a repertoire of plays that we could return to plays that would continue to speak to Hawai‘i’s community. These plays would also be part of Kumu Kahua’s repertoire. ![]() I know they gave and will give you joy, move you, and make you think. We chose these plays as a thank you to you for your more than 50 seasons of support, and to introduce a new generation of theatre goers to these plays. Rather than tell you about Aloha Las Vegas, I’d like to talk to you about this season of favorites. Ed continues to support the work of Kumu Kahua Theatre through a generous gift from the Edward K. We are honored to have known him and to produce his work. Sakamoto has also been the recipient of a Rockefeller American Playwrights in Residence Fellowship, and an NEA grant. KKT staged his historical ‘ghost’ play Obake in 2003, Fishing for Wives was produced in 2012, and It’s All Relative in 2011.The sequel to Aloha Las Vegas, Mahalo Las Vegas, was produced by KKT in 2006. Sakamoto received the Hawai‘i Award for Literature in 1997. Chikamatsu’s Forest was staged Off Off Broadway by the Blue Heron Theatre in 1995. ![]() He received Hollywood Dramalogue Awards for Stew Rice and Chikamatsu’s Forest, and local HSTC Best Original Play Po‘okela Awards for Our Hearts Were Touched With Fire and for Aloha Las Vegas. University of Hawai‘i Press published Hawai‘i No Ka Oi: The Kamiya Family Trilogy in 1995, and Aloha Las Vegas and Other Plays in 2000-the “other Plays” being A‘ala Park and Stew Rice. His plays have also been produced in Los Angeles, New York, Sacramento, and San Francisco. Edward Sakamoto has written seventeen plays, twelve of which have Hawai‘i themes, and fifteen of which have been produced by Kumu Kahua Theatre.
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