Kumu Kahua has started off its 56th season with a bang, with the premier of Sean T.C. O’Malley’s The Queen’s Will. This fast-paced three-person show dramatizes the events surrounding the explosive 1918 trial of Princess Theresa Owana Kaʻōhelelani Laʻanui Wilcox Belliveau, charged with conspiracy and forgery of the late Queen Lili'uokalani’s will. Though the show takes place solely in the law offices of Lorrin Andrews (no, not that Lorrin Andrews, his lawyer cousin) and only portrays two days separated by three years, O’Malley is able to present both an underrepresented moment in Hawaiian history as well as the broader context of the time period. Everything feels period-specific, but never dated. In short, it is perhaps some of the best fiction based on historical events I have ever had the pleasure to witness.
Director Reyn Afaga’s choice to stage this show in the round was a smart one, as it allows the audience to feel almost like a jury hearing Princess Theresa’s case ourselves. The stage (Teia O’Malley), a simple raised platform with scalloped cutouts along the bottom that are lit from inside in very effective moments (lighting design by Chelsea LC Yamashiro), is only sparsely populated with two desks and a few chairs. The lighting and sound (sound design by Pō’ai Lincoln) act as support to some of the more “theatrical” moments, specifically when the actors shift into the multitude of other people, presenting their testimonies as another person altogether. Each new “other” is assigned their own lighting color and music to underscore their appearance, which makes it easier to distinguish one from the other. The first few times these “switches” occurred were jarring, but I was very soon after sold on the effect, primarily due to the brilliant embodiment of each new person by the actors.
Maile Kapua’ala delivers a truly masterful performance as Mr. Andrews’ meek-yet-brilliant paralegal Mary K, but it is when she “shifts” into the many others that I was especially blown away. Her physicality and vocal changes for each person were unique, specific, and engrossing, often comedic, but never over-exaggerated or cartoonish. It is a fine line to walk, and she glided through each shift with admirable grace. Reb Beau Allen’s Mr. Andrews was all business and brass tacks, trying (and sometimes failing) to keep his cool in the face of the imperious and dogged Princess Theresa, balancing his knowledge of not only the law, but also the boy’s club politics and public opinions that sway the course of justice. This performance marks the return of Allen to the stage after a ten-year absence, and I hope this will not be the last time we see him for another decade. Hōkū Gilbert’s Princess Theresa, at the heart of it all, was fascinating to watch. Fully aware of her precarious position, she remains resolute about her testimony, her lineage, and especially her rights as the rightful heir to claim what is hers. The passion with which she recited her mo’okūauhau was heartbreaking and memorable.
With such meaty roles, simple staging, historical heft, and exceptional writing, I hope to see The Queen’s Will revived again and again. I lost count of the number of times I overheard fellow patrons whisper “I had never heard about this before!” during intermission and after the show, so it is a testament to the entire artistic team that they have successfully revived a nearly-forgotten slice of Hawaii’s history in a way only live theatre can. Furthermore, I believe would make an excellent addition to any university’s theatre season, even outside of Hawai’i. This show is not to be missed, and it bodes well for the remainder of Kumu Kahua’s 2026-2027 season to be starting off this strong.
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The Book of Mormon Neal S. Blaisdell Center [Concert Hall] (11/25-12/06) |
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el momento en que me desperté UHM Kennedy Theatre - Earle Ernst Lab Theatre (12/03-12/06) |
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MFA/BFA Dance Concert UHM Kennedy Theatre - Earle Ernst Lab Theatre (2/03-2/07) |
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