The intersection of ancient Javanese folklore and contemporary stagecraft is arriving in Honolulu this April. The University of Hawaiʻi at Mānoa’s Department of Theatre &. Dance is preparing to launch a massive Balinese shadow puppetry production at Kennedy Theatre, bringing a centuries-ancient storytelling tradition into a modern, large-scale theatrical space.
From April 17–26, the stage will host Panji and the Lost Princess, a production that eschews digital shortcuts in favor of “electric shadows.” This modern Balinese technique utilizes giant screens and dramatic lighting to blend the boundary between the physical performers and their towering silhouettes, creating a visual experience that mirrors the complexity of cinema but is executed entirely in real time.
The production is a collaborative effort between the university and Balinese master artist I Madé Moja, who returns to the Kennedy Theatre after two previous engagements. The present integrates a full gamelan orchestra—a traditional Indonesian ensemble known for its intricate, layered percussion—alongside live actors, dancers, and student performers.
A Legend of Disguise and Destiny
At the heart of the performance are the Panji tales, a cycle of stories rooted in 13th-century Java that were later adopted and adapted in Bali. These narratives center on a prince and princess whose love is constantly tested by misfortune, separation, and the necessity of disguise. The stories are not merely romantic; they serve as cultural touchstones that explore identity and resilience.
To translate these ancient themes for a modern audience, the production utilizes a hybrid performance space. Actors move both in front of and behind the screens, allowing the audience to see the human effort behind the shadow, while the shadows themselves take on a mythic scale. This approach transforms the Kennedy Theatre stage into a living canvas where the physical and the ephemeral coexist.
Photo credit: C. Lamborn
The Architecture of the ‘Live Take’
While many modern productions rely on digital projections or CGI to create otherworldly visuals, Panji and the Lost Princess takes a strictly analog approach. There are no computer effects; instead, the team relies on handmade designs and the precise manipulation of light and material.
Co-director Kirstin Pauka, a professor in theatre and dance, likens the technical demand of the production to cinematography. “Everything you see on the screen is created live, in the moment,” Pauka said. “This type of theatre is as complex as shooting a movie, and we do it all in one take.”
This “one take” philosophy requires a high degree of synchronization between the puppeteers, the lighting technicians, and the live actors. The result is a high-stakes environment where the timing of a shadow’s movement must align perfectly with the rhythmic cues of the music.
Photo credit: C. Lamborn
A Community-Driven Collaboration
The production serves as a cross-cultural bridge, involving a diverse cast that spans generations and backgrounds. The ensemble includes UH Mānoa students, professional local performers, and keiki (children) who are being introduced to the art of Balinese storytelling.
The auditory landscape is as essential as the visuals. Led by master musician I Madé Widana, the gamelan orchestra provides the rhythmic heartbeat of the show. The music is not merely accompaniment but a driver of the narrative, signaling shifts in mood and marking the entrance of specific characters.
According to Pauka, the collaboration required for such a synthesis of music, movement, and shadow is immense. “The level of teamwork required goes far beyond most theatre productions,” she said.
Performance Schedule and Access
The production is designed to be accessible to the wider community, with a tiered pricing structure and educational opportunities to facilitate audiences navigate the unfamiliar art form.
| Date/Time | Ticket Pricing | Additional Features |
|---|---|---|
| Friday & Saturday Evenings | $9 to $25 | Select Pre-show talks |
| Sunday Matinee (April 26) | $9 to $25 | Final performance |
For those interested in the technical or cultural aspects of the show, pre-show talks will be available before select performances to provide context on the “electric shadows” technique and the origins of the Panji tales.
The production concludes its run on April 26. For updated schedules and ticket availability, the public is encouraged to visit the official Kennedy Theatre website.
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