Hawaii Tribune-Herald Island Beat Thursday, March 30, 2017 9 in previous UH-Hilo productions including “Hilo: Da Musical,” “Pinocchio” and “Guys and Dolls.” Johnson says she deals with her daughter in the same manner she does with other actors: high expectations, patience and directness. “But Malu also knows what my subliminal messages mean,” Johnson says. “She reads my nonverbal signals and knows when I’m puzzling over a situation and/or expecting more than what was given. Because she is sharp, she often is one step ahead of me in seeing problems, either practical — ‘How can Eva climb that level with her heels?’ — or internal — ‘Eva is impatient, demeaning her assistant.’ It really feels like a team effort.” She says Debus’ Eva shows range, from saucy self-assurance to defiance and unquestionable determination. “Vulnerability comes through, too, when Eva’s illness looms,” Johnson says. The other lead roles are portrayed by Doug Scheer as Juan Peron, Scott Wuscher as Che, Norman Arancon as Magaldi and Simone Tincher as the Mistress. “Doug Scheer is a veteran actor and theater practitioner whose career has included work as a property designer and builder, wig specialist and a myriad of other theatrical tasks,” Johnson says. “He once played Che, but now creates the suave, complex Juan Peron with a charisma that makes tangible the electricity that charges the air when the colonel and Eva first meet.” Scheer was raised in California and first started singing in high school. His love of music led him first to opera and then musical comedy. “I find Broadway-type musicals much more entertaining and fun to do,” he says, noting that once he found musical theater he gave up opera. This will be Scheer’s first production with Johnson, whom he says has to be the most kind-hearted director he has ever worked with. “She allows actors to discover their own characters,” he says. “Juan Peron, in my eyes, is quite staunch as a public figure. I also feel that in this particular production he has to be portrayed as an all-important and supportive, loving partner and husband. This character has quite a wide range of emotions. “‘Evita,’ as far as I’m concerned, is one of Andrew Lloyd Webber’s top two (productions): challenging music, very difficult to stage and a very interesting story line. It’s not often on the stage that you have the opportunity to play real characters in history. The only show I have ever done that was anywhere close to ‘Evita’ emotionally was ‘Titanic.’” Even the secondary roles in “Evita” are an integral part of this “well-oiled team.” Eva Abraham’s character of dresser is required to be quick on her feet, patient and remain somewhat “invisible” so as to let Eva Peron shine brighter than any other. For Abraham, acting is an avenue to portray a character completely different from her day-today self. It also helps her gain an understanding of other people’s situations. “‘Evita’ is an inspiring and eye-opening piece of art,” she says. “It conveys a lot of different morals, but the most important one for me is the message that one person can certainly make a big difference. ‘Evita’ rings with so much truth about life, love and sacrifice. I am positive everyone who watches the show will be touched and be able to connect with at least one character in some way.” Also essential to staging a production of this magnitude are Johnson’s artistic staff, which, for this show, includes music direction by Armando Mendoza, vocal direction by Chris Tomich and choreography by Celeste Staton. “The bonds between performers and artistic staff as they grow and explore their craft will remain my favorite part of the theater,” Johnson says. “There is nothing akin to birthing a production from concept to the final daub of paint on the set. Decades later, you are still connected to those who were part of your vision, who worked long and hard to bring the story to life, who shared the echo of the audience’s applause.” A resounding theme from those Johnson has worked with through the years is an appreciation for how she has nurtured talent and passion on the stage. “I was 27 years old when I began at UH-Hilo in 1979,” Johnson says. “They took a chance on hiring a young woman to run a million dollar facility. I was told to create a drama program. I’ve been so lucky to have a stage, technical finesse and a team of visionaries to carry out my hopes for each production.” Through the years, Johnson has directed one or two productions a year at the UH-Hilo PAC, including, “Miss Saigon,” “Amadeus,” “Grease,” “Momotaro,” “I Hate Hamlet,” “Pinocchio” and “Twelf Nite ‘O Whateva.” She also has also written and directed several additional shows including “Hilo: Da Musical” and “Lili‘uokalani at Washington Place.” The theater, Johnson says, has been her refuge. “When life was tumbly turvey, I could anchor, create, find solace and work out my problems in a safe, healthy manner,” she says. “Each moment (in ‘Evita’) is more meaningful because it represents a culmination: 38 years of trying out ideas, pulling out possibilities from gifted actors, working with gifted scenery and lighting and sound designers.” After retirement, Johnson will focus on a few projects that are meaningful to her, continuing the work she’s done through the years in living history, for instance. She also will work with the Hilo Community Players’ “Shakespeare in the Park” performances. “I wanted my final year’s production to have particular meaning, so I chose ‘Ghosts of Hiroshima’ and ‘Evita.’ Both speak to our times,” Johnson says. “Both were not ‘easy’ productions, and would tax my abilities. “Eva Peron, with her flaws and questionable politics, still was a heroine for women’s rights. That alone made her important to me. In some way, it is the last card I wanted to play in putting my beliefs on stage. Humble beginnings can lead to great influence. That’s the message. With three strong daughters of my own, I thought this show embodied the way I want them to live.” EVITA From page 7 ‘Evita’ When: 7:30 p.m. April 7- 8, 12-15 and 2 p.m. April 9. Where: University of Hawaii at Hilo Performing Arts Center Tickets: Advance ticket sales are $20 general admission, $15 discounted and $10 UHH/HCC students (with valid ID) and children 16 and younger. All ticket prices are $5 more at the door. Box office hours are 9 a.m.-1 p.m. Tuesday through Friday. Order online at artscenter.uhh.hawaii.edu or by phone at 932-7490.
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