World Premiere DOLLS: A TOY STORY at Mānoa’s Department of Theatre & Dance

The University of Hawai‘i at Mānoa’s Department of Theatre & Dance and Kennedy Theatre will present the world premiere musical Dolls: A Toy Story written and directed by MFA candidate Alison Burce-Maldonado. Set in a 1940’s American toy store, this moving tale of love, loss, and societal change, this production reminds audiences that despite injustice, hope endures and change is always on the horizon. Performances will run from Wednesday, October 22 through Saturday, October 25 at 7:30 p.m. and Sunday, October 26 at 2:00 p.m. Tickets ($9-$18) and more information at: manoa.hawaii.edu/liveonstage/dolls. Content Advisories: Segregation, racism, prejudice and harmful ideologies, war and its impacts, loss and grief, tense moments and conflicts. Recommended for ages 8 and up.  

Audiences follow LENA, a Black teen aspiring to be a fashion designer, and TIMOTHY, a white teen and budding engineer, as they navigate the challenges of segregation and societal upheaval. All the while, the secondhand toy store’s dolls look on with quiet wonder – bearing witness to a world reshaped by war, prejudice, and resilience. With original lyrics, evocative storytelling, and a poignant historical lens, Dolls: A Toy Story blends whimsy and weight. Through the eyes of its toys, it asks audiences: how do we remember the past, and how do we build something better?

Playwright and director Bruce-Maldonado notes, “This is not just about dolls, toys, and puppets – it’s about us…It’s about what we inherit, what we resist, and what we create together.”

The inspiration for Dolls came while Bruce-Maldonado was hand-stitching brown skin onto a white thrift-store doll using her own old tights. As she crafted the doll, she imagined the stories the dolls might share – about survival, difference, and belonging. That spark became the show’s first scene.

Drawing on her love of 1940s music and fashion, and inspired by the reimagined symbolism in Paul Rucker’s Klan Robes project, Bruce-Maldonado layered the piece with cultural memory, historic research into Jim Crow and Nazi-era laws, and a passion for puppetry and costume design. She describes the musical as a soulful reflection on survival, systemic oppression, forgiveness, and grace – with the character LENA at the center. “This script does not seek to demonize anyone,” she notes. “It draws on real-life stories – blending the experiences of my mother and myself (we both served in the U.S. military) – into a narrative that holds both pain and healing.”

This richly imagined world is brought to life by an interdisciplinary team of student and professional collaborators. Antonio Hernandez’s set transforms the stage into a nostalgic toy store with whimsical depth. Lighting and projections by Gabriella Raitano add layers of visual storytelling, balancing nostalgia and innovation. Hair and makeup are helmed by Kevin Murata and Sherry Fox. Costumes by Allison “Kanani” Sato ground the characters in vibrant 1940s fashion, and puppetry-supported by collaborations with doll maker Kim Gaines and puppetry direction by Jack Romans – blurs the line between human and toy.

Music director Nicole Crame and musical contributor Feliz Bonet shape the show’s evocative soundscape, supported with audio led by Trey Hawthorne and Chesley Cannon. Choreographer Jonathan Sypert brings tap and movement to life on stage. “The designers are true co-creators,” Bruce-Maldonado shares. “They are helping shape an aesthetic that balances childhood wonder with historical truth.”

At a time of rising nationalism and social division, Dolls: A Toy Story is a reminder that racism, antisemitism, and fascism are not just relics of the past. A scene inspired by the real-life 1950s “doll test” anchors the story’s intersection with landmark desegregation history, while the dolls – acting as a Greek chorus – guide the audience through trauma, compassion, and healing. “Hawai‘i understands hybridity, cultural collision, and survival,” Bruce-Maldonado continues, “this story speaks to those values while connecting to larger global struggles.” She hopes the production will spark reflection across generations – from students to kupuna – using music, humor, and tenderness to stir important conversations.”