George Takei

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A Month of Theater

May, 2000

May, 2000, NEW YORK - This has been a month of travel and tri-city theater going. I flew from home in Los Angeles to Washington, D.C., for my commission meetings, then on to Manhattan for the weekend. And wherever I am, theater is something I search out. It is my refreshment, my muse and my passion.

Before I left Los Angeles, I had taken in two wonderful productions, the Odyssey Theater Company's interpretation of Shakespeare's "Hamlet" in contemporary dress and an imaginative new play based on the myths of Ovid, "Metamorphosis," by Mary Zimmerman at the Mark Taper Forum. Even before I began my trip to the East, I was transported back and forth through time by both productions with their ever-compelling tales that still resonate with such contemporary relevance. To quote Mary Zimmerman, "Myths are public dreams, dreams are private myths."

Then on to Washington, D.C., for the meetings that consumed most of my time there. On the last night, I joined friends for dinner and theater. My friend Marc Okrand sits on the board of the Washington Shakespeare Company and the play we were to see that night was its interpretation -- in collaboration with the African Continuum Theater -- of Shakespeare's "As You Like It." And I liked it! It was delightful. It was very today. Have you ever heard iambic pentameter spoken to hip-hop rhythm? Can you see the forest of Arden in New York's Central Park? And can you imagine the frolickers in that park as Blacks, Whites, Asians and Latinos? I saw it, I heard it, and I was thoroughly enchanted by it. Old Will can be so now! Shakespeare was vibrantly multi-ethnic in his infinite variety.

The theatrical offerings of New York can be overwhelming in volume as well as in diversity. One has to be selective -- and lucky. Tickets for new Broadway shows can be enormously difficult to get. I was very lucky. I was able to secure great tickets to three dazzling new productions. The first night was Julie Taymor's stylish "The Green Bird." The next was a matinee of Elton John's and Tim Rice's rock version of "Aida." And the final evening was the highly praised import from London, the Royal National Theater's production of "Copenhagen."

Julie Taymor is the boldly inventive director who created the big Disney smash of a few seasons back, "Lion King." She has the gift of taking the conventions of ancient theater such as masks, marionettes and shadow puppets and magically transforming them into the language of today's theater as she did with the Disney hit. With "The Green Bird," she used the style of the old Italian, Comdia del Arte with its cast of stock characters in masks and comically exaggerated costumes to create an entertaining evening of Broadway theater. As much fun as the style was, however, the story was as rambling as a tale told by an over-enthused Italian raconteur.

The tragic love story of Aida, the Nubian princess, is one that lends itself to extravagant production excesses. Some opera productions have even had real elephants and camels parading on stage. Elton John's and Tim Rice's "Aida" is also richly produced but, unlike other Broadway musicals, there are no chandeliers crashing, helicopters landing or other show-stoppingly spectacular effects. The effects used are imaginative and organic to the plot and the characters. The satire on the obsession some women have with high fashion is dead on and the fashion effects are hilariously, fabulously spectacular. The effect of looking down on a huge oval pool with swimmers languorously moving about in the water is pure stage magic. And the music is not only beautiful but has deep resonances beyond the love story. The lovely song "Elaborate Lives" could be taken as a cautionary commentary on our present affluent society. The bookending of the play with contemporary scenes in the Egyptian gallery of some museum seem to underscore the story's relevance to our times. At the core is a deeply moving tragic love story sung and acted by three brilliant performers. Heather Headley as Aida, Adam Pascal as the hero, Radames, and Sherie Rene Scott as the Princess Amneris are all shining stars.

Perhaps the most impressive play was the London import from the National Theater, "Copenhagen." It is based on an actual event but moves beyond that to explore issues of morality, nationality, personal responsibility and the mysteries of the human psyche. The central event is a meeting between Niels Bohr, the brilliant Nobel Prize-winning physicist who helped develop the atomic bomb and his former student, Werner Heisenberg, also a Nobel Prize-winning physicist and a Nazi. That they met in 1941 in Copenhagen during the war is known fact. Why Heisenberg wanted to see his mentor and what they discussed is unknown. Michael Frayn, the playwright, moves us back and forth in time to speculate from different vantage points on the motives, the discussions and the reactions of the brilliant but conflicted scientists at that meeting. "Copenhagen" was theater at its finest.

American theater at the beginning of this century is vibrantly alive. It is inventive and pertinent. It has substance as well as style. It is finding new theater languages to interpreting classic theatrical forms. It is thoughtful and provocative. And it is fun.

What's next on my busy theater calendar? I'm looking forward to East West Players' production of Stephen Sondheim's "Follies" at the David Henry Hwang Theater in downtown Los Angeles. This musical, directed by Tim Dang, runs from May 17 to June 11. If you're in the L.A. area, why not catch the show?

NASA Must Rise Again

February, 2003

February, 2003, LOS ANGELES - I always watch the news as I go about my morning exercise routine. When I turned on my television on the first morning of February to begin my workout, I saw a graceful white line streaking across a pure blue sky on the screen. It looked beautiful. What chilled me was the grave tone in the announcer's voice and the words, "BREAKING NEWS" across the bottom of the screen. "The Space Shuttle Columbia is breaking up across the Texas sky. All seven astronauts are believed lost," came the horrifying announcement. I stood there, fixed on the screen. It was incredible - it was happening again, seventeen years after the Challenger disaster.

Fragments of information came tumbling in. There may have been trouble from the very beginning, we were told, with problems from the left tail wing. The shuttlecraft Columbia was very old, the oldest in the fleet - its maiden flight having been back in 1981. Photos of the astronauts on board the Columbia were flashed on the screen. It was gut wrenching to watch - two women, one born in India; five men, one African American, who, as a youth, had been inspired by Star Trek; six Americans and one Israeli national hero. My heart broke for these courageous men and women and their grief-stricken families. I saw these astronauts as the real-life ancestors of the fictional characters we portrayed on Star Trek. My co-stars and I were there for the rollout of the very first space shuttle - named Enterprise - back in September of 1976. I always felt that the space program was a part of my life. My spirit soared with the astronauts every time they blasted off into the sky. Now, I was watching seven of them plummeting down in a fiery streak.

This terrible tragedy may be the wake up call for a nation that had become too distracted and lost its sight on the great human challenge that lies out in space. That challenge is humankind's eternal quest for knowledge. Christopher Columbus sailed into the unknown, beyond the horizon of his era, to open up more than a new world, but old, congealed minds as well. Lewis and Clark ventured beyond the mountains that defined the barriers of their time to expand, not only a nation, but the boldness of its vision as well. President John Kennedy's stirring words to put a man on the moon before the end of the 60's galvanized, not only the spirit of America, but began breaking through the knowledge barriers of those days. The enlarged information bank produced, not only expanded knowledge of space, but greater understanding of this, our own planet. That knowledge, in turn, produced new discoveries that benefited humankind, created new industries, advanced health care processes and developed medicines that could not have been otherwise produced. Our destiny is in space exploration.

For much too long, the United States' commitment to space has been a neglected priority. NASA has been an under-funded orphan. Necessary equipment upgrades have not been made. New technologies have not been developed. Too tragically, we have had to use equipment past its prime.

The Columbia tragedy has become a powerful challenge to President George Bush's much-challenged set of priorities. Are tax cuts for millionaires more in our national interest than funding commitment to our space future? On the Columbia, experiments were being conducted that dealt with clean energy development, medical tissue cultures that could enhance the quality of human life, insect studies that would improve knowledge of our environment and a whole host of breakthrough studies. Will tax cuts for the rich get our slack economy moving better than an investment in space exploration? The knowledge gained from our space venture would develop new industries, new jobs and energize the global economy. Tax cuts would only deepen our Federal budget deficit and raise interest rates. Can tax cuts for millionaires improve our relations with our international allies? Our space program has been a pioneer in global teamwork with this planet's diverse people working together in concert - just like on Star Trek. Yet, what we hear from George Bush is a torrent of aggressive rhetoric of unilateral action unaccompanied by increased funding support for the space program. His primary commitment seems to be to millionaires.

The crash of the Space Shuttle Columbia was a shocking tragedy. The alarm has now been sounded. From the charred debris scattered over a hundred miles across Texas and Louisiana, the NASA program must rise again like a Phoenix. We owe this to the memory of those heroic science- adventurers of the Columbia. A re-energized NASA must be our tribute of gratitude to those astronauts who gave the last full measure of their devotion to our eternal quest for knowledge.

David M. Brown, Rick D. Husband, Laurel Clark,Kalpana Chawla, Michael P. Anderson, William C. McCool, Ilan Ramon

March, 2003, LOS ANGELES - Those who know me know that I am an inconvertible Anglophile - or more broadly, a Britanophile, which includes my affection for Scotland and Wales as well. I love things British. My car is British. My wardrobe, to a good extent, is British. I even love the food in London - I think British food has shaken its prevailing perception as indigestible and become quite wonderful. I try to get to Britain for holidays as often as I can. I love things British.

Only a month since I was last there on holiday, I was back in England again in February. This quick return was prompted by a most welcome invitation by convention organizer Anne Lindup to attend the Starfleet Ball in Bournemouth on the south coast of England. What a happy combination this was - a Star Trek convention in England! And what a symbolically appropriate place Bournemouth was, because it could be said that it was in this English seaside town, that our high tech world got its start. The very first wireless exchange took place from Bournemouth between the inventor, Guglielmo Marconi talking to physicist Lord Kelvin on the Isle of Wight in 1898. A bit more than a century later, Star Trek fans, armed with their 21st century wireless communication device -- the cell phone -- gathered in Bournemouth for a weekend of celebration, talks and fantasizing about the science wonders yet to come. The only damper to a super weekend was that I had caught an awful cold with a nagging cough that just wouldn't quit. I felt miserable.

It was my luck that Marina Sirtis was also a guest at the convention. She is an uncanny healer. She told me at the hotel of her secret curative - what she called "Dr. Footlights." "Get in front of the warm light of the footlights," she said, "and that miserable feeling will disappear. You'll be cured." She was so right. The minute I stepped before those bright lights to be embraced by the thunderous welcome of the fans, that wretched feeling miraculously faded. I was functional again. It was great to be with long-time fans that had now become friends. I enjoyed the talks and especially - the highlight of the convention - the Starfleet Ball itself. Everyone was dressed to celebrate. There were people clad as Starfleet officers, alien ambassadors, and other imaginative beings. The men in drag looked "divine" but rather conventionally 20th century. Only my rude coughing interrupted occasionally to remind me that I was sick. But the combination of the Starfleet Ball and "Dr. Footlights" made for a potent curative tonic.

After the convention, I went on into London for a week of theater. It was like reliving history to see the D'Oyly Carte Opera Company's production of Gilbert and Sullivan's "H.M.S. Pinafore" at the Savoy Theater. This theater and Gilbert and Sullivan are inextricably linked in theater history. Richard D'Oyly Carte, presenter of Gilbert and Sullivan's works, built the Savoy Theater in 1881 to present his productions of their operettas. I myself also have a personal history with "H.M.S. Pinafore." I had played the Captain of the Pinafore in college, a fact known by some. Thus, I was sternly cautioned to restrain myself from singing along with the performers. I did as ordered - but I manage to sing along mentally. It was a nostalgic evening of familiar tunes performed sparklingly - both on stage as well as in my mind.

It was a week of eclectic theater going that ranged from classic American comedy, "Arsenic and Old Lace," starring Michael Richards from the TV series, "Seinfeld," to an autobiographical musical by Boy George titled, "Taboo," to Shakespeare's "Tempest" with a towering performance by Derek Jacobi as Prospero. I even included an evening at the Royal Opera House in Covent Garden with Verdi's "Falstaff." A very special evening was a hilarious American comedy, "Triple Espresso," produced by my friend Dennis Babcock. He had designated one night "George Takei Night at Triple Espresso" and all my friends were admitted at half price. It was wonderful to share an evening of theater together with long-time friends as well as new fans. Freda and Colin Boydell, dedicated editors of my fan club newsletter, who live down in Cornwall at the very southwestern tip of England, astounded me with their fantastic support. They took a bus all the way into London just to see the show with us and then went back right after a post theater drink in the theater bar with us to make that same long journey back to Cornwall through the night. They had made a similar trip all the way up to Edinburgh, Scotland, when I was performing there in a play titled "Undertow." They are wonderful, devoted friends and I very much appreciate their support.

The week was capped by the opportunity to attend the Olivier Awards Show at the Lyceum Theater. This is the award show named for the great actor Sir Laurence Olivier to recognize outstanding achievements in British theater. One of the many presenters was the royalty of theater herself, Dame Judi Dench. In her inimitable way, she was, at once, elegant and natural. After the show, we visited the nearby St. Paul's Church in Covent Garden, traditionally known as the "actors' church." That reputation was certainly proved true when we spotted Judi Dench come in alone and quietly slip into a pew. She prayed calmly and undisturbed. We left silently. It was a rare and touching moment.

As much as I am an Anglophile, I am an even prouder Californian and more specifically, an Angeleno. I am a native of Los Angeles and I love my hometown. I love its dynamism, its diversity, and our incomparable climate. My English cold quickly disappeared once I got home. The welcoming sunshine was glorious. But, therein lies our drawback as well. Los Angeles is built on land that is a semi-arid desert. The one essential that makes the existence of this great metropolis, the second city of America, possible is water brought in from afar. On the last weekend of the month, I went on a journey that gave me a deeper appreciation for what we take for granted - a glass of water.

A colleague on a board on which I sit, Phil Pace, is the chairman of the Metropolitan Water District of Southern California, which provides the water for our sun parched metropolitan area. Phil invited me, together with a busload of dignitaries, on a weekend tour of the Colorado River Aqueduct system, which supplies a large portion of the water for southern California. It was an awe-inspiring experience.

We traveled all day across the southern California desert to Lake Havasu straddling the California-Arizona border. Created by Parker Dam on the Colorado River, the lake was pristine and turquoise blue. The calm water lake had transformed the red, mud-roiled water of the Colorado River. Indeed, the name of the lake, Havasu, is the Navaho Indian word for "blue water." This vast body of water is one of three sources of life for southern Californians. That night, we stayed at the lodge in a small nearby camp for the maintenance workers.

The next morning, we were taken to a great concrete building by the dam that housed the pump station. We had explained to us that the water of the lake was pumped up by the sheer might of the centrifugal force created by the row of giant impellers before us. The water was pushed up the rugged mountainside through massive pipes to a high altitude reservoir at Copper Basin. We were then driven up a winding mountain road to that facility. The reservoir was a vast basin but the water level was at about half capacity. We were visiting the aqueduct system at an historic moment. A massive inspection and repair work on the aqueduct - something that had not been done in five decades - was taking place at a cost of $8.2 million. The aqueduct and the reservoir system had been shut down and drained. Yet, the people served by the system were oblivious of this program because a new reserve reservoir, Diamond Valley Lake, was being tapped to supplement the system. It was from this high mountain reservoir at Copper Basin that the water flowed down by gravity through the aqueduct system to make its two hundred and forty-two-mile journey across desert and through mountain tunnels to serve eighteen million people from Ventura to San Diego in southern California. Our bus followed the concrete aqueduct all day across the desert. A monumental engineering achievement along the water's trek is the thirteen-mile long tunnel blasted through the San Jacinto Mountain Range, the third tallest mountain in the state, to maintain the water's flow. Our bus skirted that daunting climb up the San Jacinto range. We arrived back in Los Angeles tired but profoundly appreciative of the colossal human effort and ingenuity that make possible the shower we all looked forward to as well as the drink of ice-cold water that we so took for granted. I am today, both a proud and deeply grateful Angeleno.

Japan

March 11, 2011 I extend to the people of Japan and especially to those of the Tohoku region my heartfelt sympathy and condolences in the aftermath of the devastation from the earthquake and the subsequent tsunami. The pictures we see on our television news reports are unbelievable -- horrific. At times like this, we are united in our effort to bring relief to those people suffering in the wreckage of the horrors of nature. Please stay strong. Today, we are all Japanese.

February 26, 2010 The death of Andrew Koenig is a painful tragedy. I always knew him as the sweet, bright-eyed son of my friends, Walter and Judy Koenig. My heart goes out to them on their devastating loss. Brad joins me in heartfelt condolences to the Koenig family.