jeanne sakata
this sunday, there will be a q & a with hold these truths playwright jeanne sakata after the 2pm performance .
( l - r) pasadena playhouse, producing artistic director danny feldman; playwright jeanne sakata; actor ryun yu and director jessica kubzansky at the opening of hold these truths at pasadena playhouse .
thank you, jeanne for taking your considerable time to enlighten my fellow asian - americans' history .
jeanne sakata is an asian american film, television and stage actress and playwright whose work is known for provoking public conversation about culturally significant topics. jeanne' s career spans across theater, film, television, and voiceover. in 2015, her celebrated solo play hold these truths was selected to be featured in seattle' s act ...
i was most excited to get jeanne' s insight on this dark and deplorable episode of american history .
an interview with playwright jeanne sakata about her play hold these truths, performed at the pasadena playhouse until june 25th. it tells the story of gordon hirabayashi, a civil rights leader who took his fight against japanese american internment in world war ii all the way to the supreme court .
joel de la fuente stars in jeanne sakata’s one - man show inspired by the true story of first generation japanese american and courageous civil rights leader gordon hirabayashi. challenging the forcible removal of all people of japanese ancestry on the west coast, gordon journeys toward a greater understanding of america’s triumphs—and a confrontation with its failures .
in december 2011, jeanne was honored with an outstanding artist award for her career achievements by los angeles’ asian pacific american friends of the theatre .
sakata' s first appearance on the big screen was in the 1992 erotic thriller poison ivy. in 2005 she appeared in a minor role as a field reporter in xxx: state of the union .
has attracted rave reviews from the new yorker, washington post and ap critics, as well as additional raves across the country. the script, published in japan studies association journal in 2010, is currently on display at the library of congress playwrights archive in the asian american pacific islander collection in washington dc, where the jeanne sakata collection was established in july 2011 .
jeanne resides in los angeles with her husband tim, and together they enjoy traveling, cooking and baking, reading, writing, hiking, charity work, and music .
the epic theatre ensemble' s new york premiere of jeanne sakata' s solo play hold these truths (formerly known as dawn' s light: the journey of gordon hirabayashi), starring joel de la fuente, and helmed by lisa rothe, has been extended through november 25, 2012 at the theatre at the 14th street y in new york. as gordon hirabayashi, de la fuente is a revelation in his nuanced tour - de - force portrayal of gordon, seamlessly transforming into 30 + other characters throughout the course of the play. i sat down to chat with jeanne sakata to talk about her inspiration to write gordon hirabayashi' s life story, how she did her research, why she chose the solo show format and what she hopes audiences will take away from de la fuente' s performance. urltoken
wow! just from your answers, i can feel how close to your heart and passionate you are about this. i cannot wait to see hold these truths. thank you again, jeanne !
this evening’s performance will be followed by a special talkback featuring playwright jeanne sakata, actor joel de la fuente, kathryn bannai (the first lead attorney on the hirabayashi case), and activist suki ports. g. w. (greg) kimura, president / ceo of the japanese american national museum in los angeles, california, will moderate the conversation on the legacy of the hirabayashi case in the context of asian american struggles for civil rights .
ten years ago, actress / playwright jeanne sakata began writing down her various thoughts on her personal connections with the subject matter of her dawn' s light: the journey of gordon hirabayashi. through various reincarnations over the last decade, and a title change to hold these truths; jeanne will be opening her play at the pasadena playhouse, in association with the east west players, may 30, 2017. hold these truths recalls the true story of gordon hirabayashi, a university of washington student, who began a 50 - year quest to right the wrongs to his family and his fellow japanese - americans who were relocated to internment camps in world war ii .
throughout her more than 30 - year career, jeanne has been honored as an actor for dynamic portrayals in both comedy and drama. called a “local treasure” by the los angeles times, her talent has been reflected onscreen in
is a renowned actor and playwright known for using her passion, versatility, talent and wit to provoke public conversation about culturally significant topics. jeanne’s talents span across theater, film, television, and voiceover, with upcoming productions in 2017 - 18 of her nationally acclaimed solo play
jeanne sakata: initially, the inspiration came from john de graaf’s fascinating documentary film a personal matter: gordon hirabayashi vs. the united states, where i learned about gordon for the very first time in the 1990s, and which you can now watch online. then further inspiration came from peter irons’ book the courage of their convictions which featured a couple of chapters on gordon; sansei poet david mura’s poem gardens we have left, which mentions the deep impact that meeting gordon had on him; and of course, gordon’s own writings – articles, interviews, and letters he wrote in wwii as a college student at the university of washington .
sakata has performed in many stage productions, working often with east west players (ewp) in los angeles. in 2002 she won the ovation award for lead actress in a play for her performance in chay yew' s red at ewp. in 2007, her first play, dawn' s light: the journey of gordon hirabayshi, premiered at ewp .
earlier this year, jeanne’s voice work was featured in jennifer phang’s acclaimed indie film advantageous, which world premiered at the sundance film festival’s u. s. dramatic competition, and followed by showings in new york, los angeles, and san francisco. other feature film credits include playing mom wanda to olivia munn in the comedy the babymakers, xx2: state of the union, and american fusion .
well known to los angeles theater fans, jeanne performed in the 2011 - 2014 seasons in the brothers paranormal at la jolla playhouse, blood at the geffen playhouse, hannah and the dread gazebo at the ojai playwrights conference, a cage of fireflies at the sundance institute theatre lab, seven at usc as cambodian human rights activist mu sochua and in julia cho’s the language archive at east west players. an la ovation award winner for best lead actress for her cross - gender portrayal of master hua in chay yew’s red at ewp, jeanne has performed regionally with the public theater, lincoln center theater, kennedy center, mark taper forum, la jolla playhouse, south coast rep, american conservatory theater, northlight theatre, intiman theatre, berkeley rep, a contemporary theatre, portland center stage, syracuse stage and the arizona theatre company. she received a 2013 monaco charity film festival award for best actress for her work in the indie film adultolescence, a stagescene “best of 2007” outstanding performance mention for her performance as maria callas in ewp’s master class, an entertainment today award for best supporting actress in chay yew’s a winter people at theatre @ boston court, and a dramalogue award for outstanding performance for her work in jean genet’s the maids at ewp .
a limited number of a / p / a - sponsored tickets are available for this performance and talkback. for nyu students, tickets are free (limit 1), but must be reserved with a $ 5 deposit; for non - students, tickets are discounted (limit 2) and priced at $ 10 each. please email apa. rsvp @ urltoken for more information or to make a reservation, indicating the number of tickets desired (for non - student rate) and nyu id # if you are a student .
hold these truths will be at the theatre at the 14th street y from october 21 to november 18, 2012. please visit http: / / epictheatreensemble. org for additional information on showtimes and ticketing .
co - sponsored by the japanese american association of new york, japanese american national museum, and japanese american citizens league ny .
unless otherwise noted, all content copyright new york university. all rights reserved .
the supreme court was right to overturn korematsu. now it needs to overrule hirabayashi
@ elmunc' s wonderful essay in la times on # gordonhirabayashi' s supreme court case - - a warning for us today. urltoken
@ ctschroeder please join us carrie, and bring everyone you know - - we' d love to meet you. 🙏
friends! check out this terrific interview with @ joeldelafuente, starring as # gordonhirabayashi in # holdthesetruths @ theatreworks, directed by @ lisamarierothe 7 / 11 - 8 / 5. thanks @ mercnews! # bayareatheatre urltoken
buzzing comedies such as the spy who dumped me await you in our summer movie guide. check in for all the info you need .
- listen to the rain on the roof (2006)... li wang
- i' m your boogie man (2004)... mai lin
- suffer unto me the children... (2003)... nguyen
- good to the last drop (1991)... foreperson # 1
- do not attempt to remove (1990)... shopper # 4
: played
prudencia
in
the house of bernarda alba
, a play by' federico garcia lorca', adapted by chay yew (mark taper forum, los angeles, california, usa) .
enjoy a night in with these popular movies available to stream now with prime video .
html public
- / / w3c / / dtd xhtml 1. 0 transitional / / en
urltoken
nspired by the true story of civil rights pioneer gordon hirabayashi, to whom president obama posthumously awarded a presidential medal of freedom, the nation’s highest civilian honor, in 2012. after its world premiere in 2007 at east west players, and subsequent workshops with the lark play development center and the the new york theatre workshop, the play made its off - broadway debut in 2012 with the epic theatre ensemble, and has since been performed at pasadena playhouse, portland center stage, the guthrie theater, perseverance theatre, seattle’s act theatre, playmakers repertory company, honolulu theatre for youth (co - produced with daniel dae kim), terranova collective, people’s light & theatre, plays and players, coachella valley rep, and silk road rising .
a justin lin (fast & furious 6) yomyomf youtube webseries. a recipient of the la ovation award for best lead actress for her cross - gender portrayal of master hua in chay yew’s
she has recently developed and performed new works with the la jolla playhouse, geffen playhouse, sundance theatre institute and ojai playwrights conference, as well as the east west players, the nation’s premiere asian american theatre. she has also performed with the public theater, lincoln center theater, kennedy center, mark taper forum, south coast rep, american conservatory theater, northlight theatre, intiman theatre, berkeley rep, a contemporary theatre, portland center stage, syracuse stage and the arizona theatre company, and is a member of la’s acclaimed classical group, the antaeus company. other special honors include the 2016 lee melville award for outstanding contribution to the los angeles theatre community from playwrights’ arena, los angeles’ pacific american friends of theatre outstanding artist award, city of pasadena certificate of recogntion for
tap here to turn on desktop notifications to get the news sent straight to you .
hold these truths
was first produced in 2007 by east west players under the title
dawn' s light: the journey of gordon hirabayashi .
the current production at pasadena playhouse is directed by jessica kubzansky and stars ryun yu who directed and performed in the first run. can you talk about this play' s 10 year journey ?
we’ve been very fortunate in that we’ve had several different productions that have happened across the country in that 10 - year span. after ryun and jess premiered the play at east west players in 2007 and took it to silk road rising in chicago, lisa rothe directed joel de la fuente in a production at the epic theatre ensemble in new york, that subsequently went to playmakers repertory honolulu theatre for youth, act seattle, and the guthrie. jess and ryun also took the play for a second time to act seattle, then portland center stage, and next year, they’ll be at the arena stage .
leslie ishii directed greg watanabe in a perseverance theatre production, and there have also been two other director - actor teams: daniel student and makoto hirano at players and players, and ron celona and blake kushi at caochella valley rep. marty yu played gordon in the first east west players high school tour. and finally, michael hisamoto will be doing the role in december at lyric stage company, directed by benny sato ambush. so, yes, literally an embarrassment of riches in terms of the brilliant artists and dear friends that have brought hold these truths to life over the last 10 years .
when i first wrote the play, it was intended to be told only from the very personal perspective of gordon himself. after our world premiere in 2007, i got a chance to workshop the play with the new york theatre workshop, and the main feedback there was that it would be a more powerful play if gordon’s personal narrative were juxtaposed against the larger narrative about the social and political forces operating in 1940s america that led to this mass incarceration of american citizens .
the main reaction i’ve gotten over the years is astonishment from audience members that they have never heard of gordon. his story is simply not in our history books, and that’s a real shame .
also, as our country’s politics have lurched to the right, with hate crimes against minority groups and anti - immigrant hysteria terrifyingly on the rise, more and more audience members seem to be viewing gordon’s story as almost a direct response to threats and tragedies happening here and now .
one of the best moments for sure, was when the hirabayashi family – gordon’s wife, children, nephews and grandchildren all came down to see the play in seattle. they loved the play, which was deeply gratifying, and i even ended up babysitting gordon’s great - grandchild in the lobby so that his granddaughter could watch the show !
the greatest challenge was writing the first rough draft, which incorporated tons of historical research—facts, data. but, above all, i wanted the play to tell a great story, vibrant and alive, and not just be a recitation of those facts. so i had to do a lot of cutting and reworking before i felt i had achieved that .
the title
hold these truths
refers to the passage of the declaration of independence ,
we hold these truths to be self - evident: that all men are created equal .
can you talk about your thoughts on this as it applied in world war ii for japanese americans, and how this might apply now ?
i think it would have been very difficult for most of the wwii japanese american community members to “hold the truths” of their constitutional rights during that period of wartime, so rife with fear and hysteria and racial hostility, and to defy the government orders as gordon did .
many went into the camps, hoping that by cooperating with the government’s orders, they would win the trust of the american government, and also the trust of their fellow americans .
culturally, many were not brought up to resist the group dynamic, as japanese culture emphasizes the group over the individual, and putting the group’s needs first. that’s why gordon’s defiance dismayed and shocked so many in his own community .
today, if the government ordered americans of asian ancestry into concentration camps, i think the reaction would be very different – i think there would be much more active and impassioned resistance, because we have been able to absorb the lessons of our parents’ suffering .
i didn’t have a specific process in mind when i started out – i just plunged in with great passion for the story, knowing that i had terrific mentors like chay yew, len berkman, and so many others to whom i owe so much .
my script is based on personal interviews that i and historians, including roger daniels, had with gordon, as well as letters and articles that gordon wrote. i also drew heavily from dr. peter irons’ book justice at war, and my research on the wwii seattle japanese american community .
in the script, i often used direct quotes of gordon’s and stuck to the events as they actually happened whenever possible, but real life doesn’t always fit into the structure of a good drama, so there is also some ficitonalization of events and conversations in the play, and some chronological changes and compression of events .
in this production, gordon hirabayashi is played by ryun yu, who' s not ethnically japanese (it seems, please correct me if i' m wrong !). have people ever taken issue with this for your play or has this mainly been a non - issue ?
gordon has been played by a korean american, a chinese american, a filipino american and three japanese americans – and gordon’s wife told me she thought gordon himself would have been very pleased by that! it hasn’t been much of an issue, as i don’t think this particular play demands an exact match of ethnicity. the larger requirement is that the actor cast can command a stage for 90 minutes solo, can bring gordon alive in a dramatically wonderful way, and have the versatility and virtuosity to create some 30 - plus other characters of different genders, ages, ethnicities and dialects !
that’s a huge topic, and i can’t cover it all here, but off the top of my head, i think of the phrase “two steps forward and one step back. ”
there are reasons to be encouraged. there are more asian american series regulars than ever before, more indie filmmakers and screenwriters who are doing stellar work. there are amazing asian american playwrights who are in the spotlight now and who are getting regularly produced at our country’s leading regional theaters .
but that progress is still slowed by whitewashing and limited perceptions on how apas can, and should, be cast .
i hope first, that they will be inspired and uplifted to have shared in a great american story, so little known by most of the country, as i was. i hope they will feel the urgency of recognizing that we can never take our freedom and our constitutional rights for granted, that we have to be willing to fight for them, not just for ourselves, but for future generations. and i hope gordon’s quiet heroism, his persistence and heart, will remind each of us that in our own individual ways, we can take small steps to build a world that may not be here yet, but that is still to come .
8 p. m. tuesdays - fridays, 4 and 8 p. m. saturdays, 2 and 7 p. m. sundays; ends june 25
this interview was edited for clarity and length, and cross - published in alhambra source .
this post was published on the now - closed huffpost contributor platform. contributors control their own work and posted freely to our site. if you need to flag this entry as abusive, send us an email .
first - person essays, features, interviews and q & as; about life today .
you had the world premiere of your hold these truths ten years ago at the east west players. how does it feel to celebrate its 10 - year anniversary coming full circle with east west involved with the pasadena playhouse this month ?
it feels incredibly gratifying. east west players launched the play in 2007 with our world premiere, and since the script (then titled dawn' s light) was new and untested, it was still in a lot of flux. i have vivid memories of wrestling with the script with jessica (kubzansky, hold these truths' director) and ryun (yu, the original gordon), who both contributed so generously to its development, along with the rest of the team - we were dissecting, cutting, adding, exploring moments from every angle, and then there was the thrill of watching it all come to life onstage for the very first time. and i remember walking into the gorgeous interior of the pasadena playhouse as a young actor, and hoping i would get to work there someday. so, this feels like a special l. a. homecoming in more ways than one .
in the 1990' s, i saw on pbs, a documentary film made by john de graaf called a personal matter: hirabayashi vs. the united states, where i first learned about gordon. and i was just floored, because here was this absolutely riveting story about a young japanese - american college student who had taken such a brave stand for his rights as an american citizen, and i had never heard about him. it was fascinating, and enthralling, and also upsetting at the same time. i asked myself the same question that many people ask when they come to see the play -
why haven' t i heard this story before? why isn' t it in our history books ?
after that, i became absolutely obsessed with the story and determined that i was going to find out everything i could about it .
that' s right. gordon adamantly refused to register for the camps on several occasions, baffling and confounding officials who couldn' t figure out what to do with him. so, he never set foot in the camps as a prisoner, although he did visit a couple of them .
his immediate family - his mother and father: mitsu and shungo, and his sister and brothers: esther, richard, james and edward - they were all prisoners behind barbed wire at tule lake, along with all of his relatives who lived anywhere on the west coast .
yes, i actually met gordon and his two brothers ed and james, all on the same day. gordon was visiting in california' s bay area and he needed a ride from james' place in mill valley to ed' s in glen ellen, so he suggested i give him a ride and said we could do my first interview with him up at ed' s. so, my husband and i drove him up there. gordon and ed started reminiscing over lunch and pretty soon they were just laughing and ribbing each other and telling stories about when they were kids. so i just sat there listening, taking it all in. and a story that ed told about the family
ofuro ,
or their japanese - style outdoor wooden bath, made it into the beginning of the play. later on, when i finished a first rough draft, james read it and gave me a lot of great suggestions as well. he also sent me writings by shungo and mitsu, their parents, and more anecdotes and historical details. and finally, in seattle, i met and became good friends with his sister, esther, who passed away only recently; she was the last surviving hirabayashi sibling .
my father' s side of the family was living in my hometown of watsonville, california, on the west coast when wwii broke out - so, yes, my father and my aunts and uncles, and my grandparents, all had to pack up with just a few days' notice, and abandon their homes and schools and business, and they were all imprisoned in the poston camp in arizona .
no, never. if it was ever mentioned, it was in a very oblique way, and then they would quickly change the subject. later on, when i was older, and i was determined to learn more about the camps, i would ask my father questions; but it was clear from his silences that he didn' t want to discuss it. i didn' t get much further with my aunts and uncles - just little bits of information given here and there, but almost secretively, like they weren' t supposed to talk about it out loud. you could feel how deeply those experiences were buried, how traumatic it must have been for them
allegiance was a tremendous achievement, and i take my hat off to all who had a hand in its making. if you had told me years ago there would be a broadway musical telling the story of the wwii japanese - american concentration camps in my lifetime, i' m not sure i would have believed it. watching it onstage, i wished my parents were still alive, so that they' d witness their history being acknowledged on the american stage like that. and i think what allegiance did so successfully was to illuminate the very painful schisms that emerged in the japanese - american community by the internees being forced to declare whether they would: 1) be willing to fight in the armed forces for the united states, and 2) be willing to swear unqualified allegiance to the united states and forswear all allegiance to the japanese emperor. the paralyzing question of whether to answer
yes, yes
or
no, no
caused great panic and turmoil in the camps and tragically set friend against friend, family member against family member, often for a lifetime. the lasting impression i have of allegiance is watching george stand onstage at the end as the elderly sam kimura, finally forced against his will to come to terms with that schism in his community, in his family, in his own scarred psyche. it' s a powerful moment i won' t ever forget, especially knowing george as a friend, and all he went through during wwii with his own family .
i' ve been in touch with susan carnahan, gordon' s second wife, over the years, and so when she told me that the hirabayashi family was going to the white house to accept the medal of freedom' s on gordon' s behalf, i was just so happy for all of them - and for gordon' s legacy, because he has been an unsung american hero for so many decades, and still unknown to many americans. i wish this had happened in his lifetime, to have been honored at the very same white house whose occupants persecuted him in the 1940' s for standing up for the constitution. and when i watched the ceremony on the white house website, and president obama giving gordon' s medal to susan, it was incredibly moving .
this happened when i was having talks with the epic theatre ensemble and others in new york about an east coast production. it was suggested that dawn' s light, while being a beautiful image, didn' t actually tell you much about what actually happens in the play. so, the brainstorming began for a new title. and i started riffing on phrases from the constitution, from the preamble, from the declaration, the most obvious of these being
we hold these truths ...
. and my friend zak berkman, one of the epic' s founders, said ,
hey, what about that phrase without the' we' ?
and i knew that would be a great new title, because that is exactly what gordon tries so hard to do through all the twists and turns of this unpredictable journey - to just hold on to the truths of the constitution, and not let go, no matter what .
you bring hold these truths to high schools. why did you condense your 90 - minute show to half its length to tour schools? was that to better fit into school class period restraints ?
marty yu, the actor that did the first east west players school tour, told me this great story about when he did the play at a high school with a large asian population. when the play finished, these students all jumped to their feet, cheering, and then they rushed up to marty and surrounded him, all wanting to talk. they wanted to help him take down the set, and help him carry the props to the car. and that meant a great deal to me, because when i was a young student growing up at a time when so few people on tv or in the magazines, or in the history books looked like me; i know how much it would have meant to have a performer of asian ancestry come to my school, and share the story of an asian - american hero .
you are working with director jessica kubzansky and ryun yu as gordon hirabayashi again. ryun was the original gordon and has played the role in numerous productions since the first. any major changes or just minor tweaks between this production and the original 2007 east west production? any specifics you kept in from the abridged school version ?
with the invaluable input of jess and ryun, i' d actually made a number of changes in my original script for our ewp premiere. and then afterwards, one more change came about when i had the opportunity to do more work on the play with the new york theatre workshop at their dartmouth residency. up to that point, i had exclusively focused on gordon' s personal journey in fighting the us government' s racially targeted curfew order, and later, executive order 9066. at dartmouth, and working this time with the east coast team of director lisa rothe and actor joel de la fuente, who each made wonderful contributions of their own, i discussed the play with jim nicola, linda chapman and geoffrey scott, who felt the play could benefit by addressing some additional questions: how did this mass violation of thousands of american citizens' constitutional rights occur? what were the social and political forces at work that allowed it happen? who was responsible? who could have stopped it and didn' t? they suggested some answers to these questions would be a great counterpoint to gordon' s personal quest for justice. so, i added some of that content, and it gave the play a scope and breadth that i' ve been very pleased with .
hold these truths lives on as you' re taking it to dc' s arena stage next year from february 23 through april 8. any other plans for it? more school tours ?
i n addition to the arena stage production next year, i' m excited there will also be two new productions in 2017 in massachusetts - at the new century theatre in south hadley, massachusetts, july 27th to august 5th; and the lyric stage company in boston, december 1st to 31st. there are also plans being developed to take the play as a dramatic staged reading into colleges, where it would be accompanied with a talk about the wwii japanese - american experience. and i' m hoping to work on a screenplay soon !
years ago, after one of our very first staged readings in the ctg playwrights' group, a mexican - american woman in the audience said that the way ryun played gordon, with such an engaging
everyman
quality, along with the ordinary circumstances of gordon' s college life that had been so similar to her own - dorm life, dating, struggling to pay her tuition, struggling with racial discrimination, experiencing that first political awakening - that all these things made her feel like she was gordon. so much so that in the play, when he was suddenly thrust into extraordinary circumstances where he had to make some agonizing choices, she felt that shock and confusion right along with him. and i think that' s what we are ultimately hoping for - that our audiences will identify in a very personal way with gordon, that they will feel they are walking in his shoes. i' m sure gordon himself would wish to impress upon us all, that it is up to each of us to fight to protect our rights as american citizens, that we can never take them for granted. as echoed in the title of john de graaf' s documentary film, the constitution is a personal matter. it is only a piece of paper unless, we as american citizens, safeguard it and give it life .
st. louis: backstage bite: deluca celebrates the muny' s 100th season w / ooey gooey st. louie bars
can' t find a community you love? create your own and start something epic .
we' ve detected that javascript is disabled in your browser. would you like to proceed to legacy twitter ?
actor / author, hold these truths, inspired by gordon hirabayashi. join us at theatreworks in the bay area, july 11 - august 5, 2018 !
gordon hirabayashi' s wife susan has given # holdthesetruths the best review of all :
gordon would have been thrilled .
urltoken
it’s a good time to remember that 3 days ago a school teacher named @ kristinminkdc spoke truth to power, confronting pruitt in a restaurant. the next day pruitt was trending on twitter. we should all have her moral courage and raise our voices. they’re needed now more than ever .
the supreme court was right to overturn korematsu. now it needs to overrule hirabayashi
la - oe - muller - korematsu - hirabayashi - 20180703 - story. html
has begun! see joel de la fuente as gordon hirabayashi, an unsung american hero, telling the story of japanese internment. buy tickets now !
last week ice reportedly encouraged a brazilian father seeking asylum to accept deportation in order to be reunited with his son. he refused. here he describes what living through family separation feels like .
justice kennedy' s replacement will be another vote to strike down the aca and pre - existing condition protections. the health care security hotline is up: 1 - 866 - 426 - 2631 call and pass it on; key points and sample script below urltoken
as a career prosecutor, i actually went after gangs and transnational criminal organizations. that' s being a leader on public safety. what is not, is ripping babies from their mothers. urltoken
be bold. be courageous. never be afraid to speak up and speak out. together we can build a more perfect union. # goodtrouble
“through a lot of my work, i’m always trying to parse and understand what might really be chinese as opposed to the stereotypical or westernized views of what is chinese. ” –
sen. kamala harris at the families belong together march in los angeles :
we are better than this .
this is a beautiful play, a true story, and couldn’t be more relevant to what’s happening in our world * right now. * i do hope you join me in the coming weeks and see
twitter may be over capacity or experiencing a momentary hiccup. try again or visit twitter status for more information .
you can add location information to your tweets, such as your city or precise location, from the web and via third - party applications. you always have the option to delete your tweet location history. learn more
here' s the url for this tweet. copy it to easily share with friends .
by embedding twitter content in your website or app, you are agreeing to the twitter developer agreement and developer policy .
not on twitter? sign up, tune into the things you care about, and get updates as they happen .
this timeline is where you’ll spend most of your time, getting instant updates about what matters to you .
hover over the profile pic and click the following button to unfollow any account .
when you see a tweet you love, tap the heart — it lets the person who wrote it know you shared the love .
the fastest way to share someone else’s tweet with your followers is with a retweet. tap the icon to send it instantly .
add your thoughts about any tweet with a reply. find a topic you’re passionate about, and jump right in .
her television credits include ncis los angeles, tyler perry’s meet the browns, desperate housewives, er, threat matrix, line of fire, presidio med, american family, numb3rs, john ridley’s i got you, the mow’s the reading room, hiroshima, consensual relations .
hold these truths - in act' s 50th anniversary mainstage season, july 17 - august 16, 2015. also july - august 2014, 4 performances in central heating lab
jeanne sakata is an american film , television and stage actress and playwright . her appearances include supporting roles in episodes of knots landing , la law , port charles , providence , family law , er , desperate housewives and others . her first appearance on the big screen was in 1992 in the erotic thriller poison ivy . in 2005 , she appeared in a minor role as a field reporter in the action film xxx : state of the union . sakata has performed in many stage productions , working often with east west players ( ewp ) in los angeles . in 2002 she won the ovation award for lead actress in a play , for her performance in chay yew 's red , at ewp . in 2007 , her first play , dawn 's light : the journey of gordon hirabayashi premiered at ewp . the play was later retitled as hold these truths . 
jeanne sakata is an american film, television and stage actress and playwright. her appearances include supporting roles in episodes of knots landing, la law, port charles, providence, family law, er, desperate housewives and others. her first appearance on the big screen was in 1992 in the erotic thriller poison ivy. in 2005, she appeared in a minor role as a field reporter in the action film xxx: state of the union. sakata has performed in many stage productions, working often with east west players (ewp) in los angeles. in 2002 she won the ovation award for lead actress in a play, for her performance in chay yew's red, at ewp. in 2007, her first play, dawn's light: the journey of gordon hirabayashi premiered at ewp. the play was later retitled as hold these truths.
jeanne sakata is an american film, television and stage actress and playwright. her appearances include supporting roles in episodes of knots landing, la law, port charles, providence, family law, er, desperate housewives and others. her first appearance on the big screen was in 1992 in the erotic thriller poison ivy. in 2005, she appeared in a minor role as a field reporter in the action film xxx: state of the union. sakata has performed in many stage productions, working often with east west players (ewp) in los angeles. in 2002 she won the ovation award for lead actress in a play, for her performance in chay yew's red, at ewp. in 2007, her first play, dawn's light: the journey of gordon hirabayashi premiered at ewp. the play was later retitled as hold these truths.