Maria quiban and brian messner relationship

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Brian Messner (m. ; div. 20??) Sean Whitesell (m. 20??; died ). Children, 2. Maria Quiban (born October 28, ) is a weather anchor for KTTV in Los Angeles, California. Stars: Steve Edwards, Maria Quiban, Rick Dickert, Lisa Breckenridge .. Meanwhile, Sal Price discovers Dexter's relationship with Hannah and tries to get . Help us build our profile of Maria Quiban and Brain Messner (ex spouse)! Login to add information, pictures and relationships, join in discussions and get credit.

In the near future, LEDs are gradually expected to be replaced by OLEDs, also, major manufacturers have announced that they will increasingly produce smart TVs in the mids. Smart TVs with integrated Internet and Web 2. Alternatively television signals are distributed by cable or optical fiber, satellite systems and. Until the early s, these were transmitted as analog signals, a standard television set is composed of multiple internal electronic circuits, including a tuner for receiving and decoding broadcast signals.

The Anglicised version of the term is first attested in and it was. In the 19th century and early 20th century, other. The abbreviation TV is fromthe use of the term to mean a television set dates from 7. Twitter — Twitter is an online news and social networking service where users post and interact with messages, tweets, restricted to characters.

Registered users can post tweets, but those who are unregistered can only read them, users access Twitter through its website interface, SMS or a mobile device app. The service rapidly gained worldwide popularity, inmore than million users posted million tweets a day, and the service handled an average of 1.

Init was one of the ten most-visited websites and has described as the SMS of the Internet. As ofTwitter had more than million monthly active users. On the day of the U. Jack Dorsey, then a student at New York University. The original project name for the service was twttr, an idea that Williams later ascribed to Noah Glass, inspired by Flickr.

The developers initially considered as a code, but later changed it to for ease of use. The definition was a short burst of inconsequential information, and chirps from birds, and thats exactly what the product was. The first Twitter prototype, developed by Dorsey and contractor Florian Weber, was used as a service for Odeo employees. Williams fired Glass, who was silent about his part in Twitters startup untilTwitter spun off into its own company in April Williams provided insight into the ambiguity that defined this early period in a interview, With Twitter and they called it a social network, they called it microblogging, but it was hard to define, because it didnt replace anything.

There was this path of discovery with something like that, where over time you figure out what it is, Twitter actually changed from what we thought it was in the beginning, which we described as status updates and a social utility. It is that, in part, but the insight we eventually came to was Twitter was really more of an information network than it is a social network, the tipping point for Twitters popularity was the South by Southwest Interactive conference.

During the event, Twitter usage increased from 20, tweets per day to 60, the Twitter people cleverly placed two inch plasma screens in the conference hallways, exclusively streaming Twitter messages, remarked Newsweeks Steven Levy 8. Criminal Minds — Criminal Minds is an American police procedural crime drama television series created by Jeff Davis, and is the original show in the Criminal Minds franchise. In accordance with the plot, Criminal Minds differs from many procedural dramas by focusing on profiling the criminal, called the unsub or unknown subject.

Cook, and Kirsten Vangsness are the only actors to have appeared in every season. The series follows a group of FBI profilers who set about catching various criminals through behavioral profiling, the plot focuses on the team working cases and on the personal lives of the characters, depicting the hardened life and statutory requirements of a profiler. For season one, Garcia was not a main cast member, inat the start of season two, Lola Glaudini announced her departure from the show, as she wanted to return home to New York City.

Paget Brewster replaced her in the role of Emily Prentiss, at the start of season three, Mandy Patinkin announced his departure from the show because he was deeply disturbed by the content of the series. He left letters of apology for his fellow cast members, explaining his reasons, joe Mantegna replaced him as David Rossi, a best-selling author and FBI agent who comes out of retirement. Cook became pregnant with her first child and her pregnancy was written into the show.

Cooks son, Mekhai Andersen, has written into a recurring role as Jennifers son Henry. Later that season, Emily is seemingly killed off, although she survives, she does not appear for the rest of the season. Cook and Brewster were both replaced by Rachel Nichols as Ashley Seaver, an FBI cadet, cBSs decision to release Cook and Brewster from their contracts resulted in numerous fans writing angry letters to the studio and signing protest petitions. She was replaced in the season by Jeanne Tripplehorn, who played Alex Blake.

Later in season nine, Paget Brewster made a special guest appearance, after two seasons, Tripplehorn was released from the show 9. It was originally co-owned with local radio station KMTR, operating as an independent station early on, it began running some programming from the DuMont Television Network in after KTLA disaffiliated from the network after a one-year tenure.

It was usually the third or fourth highest-rated independent in Southern California, the station carried Operation Prime Time programming at least in InKCOP added more syndicated programs.

InChris-Craft and its subsidiary, United Television. Soon after, the station ran an hour-long morning cartoon block, Channel 13 was the last local television station to air cartoons on weekdays, like the other local stations, the cartoons were replaced with informercials The station is available to DirecTV subscribers in the few areas of the Western United States that do not have an over-the-air Fox affiliate.

It was one of five licenses that were granted simultaneously by the Federal Communications Commission to parties interested in launching commercial television stations in Los Angeles. CBS did not join Times-Mirror in the purchase, at the time its West Coast production facilities were based at Columbia Square, KTTV converted the Nassour Studios into a major production house for television, producing programs locally and for the emerging syndication market.

Prior to the move, KTTV operated out of different facilities. Inchannel 11 scored an advantage against its rivals when it became the home of the Los Angeles Dodgers baseball team. For the first 11 years and at the request of the team, eventually, the number of Dodger games broadcast on the station increased and the home game blackout was lifted, the relationship between KTTV and the Dodgers would last until He is in a relationship with his girlfriend Grace Connelly, but also has a mild crush on his co-worker, Susan Ortega.

Furious, Bruce aggressively and profanely criticizes the station during his first live report, following a series of other misfortunes, Bruce takes out his frustration on God, blaming Him and claiming that He is the one who should be fired. Bruce later receives a message on his pager directing him to an empty warehouse, God offers to give Bruce His powers, to prove that He is doing His job correctly.

God gives Bruce two rules that he must follow, firstly, Bruce cannot tell anyone else that he has Gods powers, Bruce then uses his powers to cause Evan to humiliate himself on air, causing Evan to be fired in favor of Bruce as the new anchor. After taking Grace to a dinner and telling her he made anchor.

He re-encounters God, who confronts Bruce about his use of his powers. He explains that the voices are prayers to God, and that Bruce must deal with them, during a party to celebrate Bruces promotion, Susan seduces and kisses him. When Grace arrives and sees this, she storms out, Bruce follows her and he tries to use his powers to convince Grace to stay, but cannot influence her free will. As Bruce looks around, he realizes that automatically granting everyones prayers has plunged the city into chaos.

Bruce returns to God, who explains that despite how chaotic things seem, there is always a way to make right. Bruce then begins to solve his problems in life practically, such as helping a man whose car has broken down, training his dog normally, Bruce returns to his computer system, having briefly unplugged it, and goes about answering prayers manually as best he can. As he reads them, he finds a prayer from Grace, wishing for Bruces success.

As he reads it, another prayer from Grace arrives, this one wishing not to be in love with Bruce anymore, a despondent Bruce walks alone on a highway, asking God to take back His powers and letting his fate be in His hands. Bruce is suddenly struck by a truck and regains consciousness in a white void, God appears and asks Bruce what he really wants, Bruce admits that he only wants to make sure Grace finds a man that would make her happy.

God agrees and Bruce finds himself in the hospital, shortly after being revived — near miraculously — by the doctors, Grace arrives and the two rekindle their relationship, later becoming engaged The series revolved around a fictionalized Philadelphia Police Department division that specializes in investigating cold cases, on May 18, CBS announced that the series had been canceled. The series aired in syndication, and also on Ion Television in the U.

Inthe show aired on MyNetworkTV, rush was initially partnered with Detective Chris Lassing in the first five episodes and then with Detective Scotty Valens for the remainder of the series. They work under Lieutenant John Stillman and are assisted by other detectives from their squad—Nick Vera, Will Jeffries, usually, each episode would focus on a single investigation.

All cases involved murders committed in Philadelphia, although investigations occasionally required travel outside the city, cases were also spread out over much of the previous century, with some as recent as a year or two old and others dating back to the s. Generally, an investigation would begin when the received a new lead.

In some cases, the lack of a body meant that it was unclear if a crime had even occurred. Over the course of the episode, the detectives would interview witnesses associated with the crime and these interviews were accompanied by flashback sequences to the time of the murder which dramatized the testimony.

Witness testimony, even people who would later be revealed as the killer, was almost never false. At most the guilty party would lie by omission, leaving out critical details, the witness testimony was also generally presented in chronological order so that it formed a cohesive linear story for the audience.

This was done with different actors as children or much younger selves especially if the year in question was well in the past. If it was judged that the character was not likely to have altered in appearance significantly except for weight and gray hair and this was not just with the guest actors themselves but sometimes with the detectives as well if they had any involvement in the original investigation.

Detective Jeffries for example had flashbacks to himself as a child in two episodes and a detective in another. The scene would show the details with exceptions having to do with the utter heinousness of the motive of the crime such as rape or sexual assault. The pain is reenacted as a reporter, played by Khamkhoune Souvannarack, goes to the heart of the situation many years later to talk to the parents of the victim, played by Jules Escalona and Elizabeth Manipol.

This tragedy relives the sorrows in the reality of the brutal death. Roel Suasin acted in the flashback of the dead boy. Seventeen-year-old Lucien Rose M. Palomares directed her first play and stated, "Being the director has taught me more about my Filipino culture and values. It was a new learning experience for me and a great privilege to see that my fellow students from the Edison High School Drama Department are quite talented.

Through all this challenging work, students have found ways to make the job enjoyable and exciting. They have learned more about the Filipino values, backgrounds, and morals and also at the same time feel what the characters felt according to the script. The dedicated actors and actresses for this play were all first year drama students.

They hoped the exciting adventures they experienced were also felt by the viewers. Both these works are less than fully realized, but they're still absorbing, within their limits, and quite well-produced. Taking off from a recent news story about the gang slaying of a Stockton teen, Jeannie Barroga's Kenny Was a Shortstop echoes her Asian American Theatre disaster Eye of the Coconut in that it throws more issues into the air than it fan bring together.

Still, this is a much stronger piece of writing and directionpowerful in detail if not in overall dramatic design. Kenny Michael Ordona is the slain youth, a high school loner "reckless enough.

Through she manages the very good performers and the text's complicated flashback structure with some panache as a director, Barroga never connects the story of a dreamy adolescent outcast to the seemingly unrelated topic of gang violence. Barroga overcomes this sketchiness on a scene-by-scene basis with her precise sense of domestic drama, but more development might turn this solid piece into a home run. The one act play is based on a true incident.

On July 15, in Stockton, California, Leobardo Barajas, an year-old Filipino youth, was accidentally gunned down with another person during a gang war shootout.

Five other people were wounded. The accused face criminal counts. The defendants entered their pleas on April 15, Relatives and friends of wounded victims are usually overlooked by the media in its reportage of these unfortunate events. Cora Janis Chow is a reporter who interviews Tommy Ron Muriera and Nan Wilma Consul over a period of time for an indepth article on the aftermath of their son's murder.

Michael Ordona portrays the late Kenny in flashbacks which build a jigsaw portrait of a youngster frustrated by racism that blocks both his career choices "I'm not a g--k[y] geek! To strip off the barnacles of the so-called "model minority" image by being a bad boy. Kenny's one fleeting moment of glory was a double play when he was a shortstop on the school baseball team. The irony, of course, is that an Asian American kid, who vainly tried to assimilate in White America, was able to achieve a nanosecond of distinction in baseball, an all-American sport.

Kenny's mom wants that one bright instant of happiness to be described in Cora's story to counterbalance the negative press. Not in this 'sixth of a page'. And THAT's the real enemy. That's what makes the war,]" Nan cries out. Base Hit The only major problem with "Kenny" is that it's only one act. Ron Muriera does a credible job as the aloof fisherman father who wonders what went wrong with his son. Wilma Consul gives a good performance as the mother whose grief boils just beneath the surface.

Michael Ordona is a Filipino James Dean. Finally, Barroga handles both the subject matter and the cast with just the right amount of sensitivity to effectively dramatize the anguish of the forgotten victims of gang violence without fortifying the stereotypes that the mainland media foster about so-called "Asian gangs. Janis Chow, another long-time actress at Asian American Theatre Company, completes the cast as a columnist interviewing the parents, discovering many things about them and herself.

Teirah McNair and Pat Beaupre. Barroga is a prolific Filipino playwright. Her plays have been read and staged at various theaters in the Bay Area. Although there are vague references to a traffic manager in the Middle Ages and indications that playwrights in the Renaissance might have suggested line readings, staging tended to be controlled by the simple fact that memorizing lines was not the done thing in European theatre.

With the rise of realism, it became necessary to put someone in the house to see how the thing looked. Do I need to say that the man in charge, has, for the most part, been a man or did you guess that?

The decision of Women Direct and Brava! For Women in the Arts to showcase the work of local women director is a good one, whose time has long since come. Women Times Three consists of two programs: Because of the fine work exhibited in the first program, I feel comfortable recommending the second as well. Separate Agendas Kenny Was a Shortstop, written and directed by Jeannie Barroga, is the story of parents attempting to make sense out of the accidental murder of their son.

Barroga the writer has chosen flashbacks and innuendo as her way of commenting on the mutability of memory and experience. I was particularly struck by this when Cora, who has taken a lot of time to get to know the family so that she can report the truth, admits that her editor may change the focus, and her truth, in ways that she cannot control. Barroga the director serves the text well, using split focus to remind us visually of the thematic values in the text.

His realistic additions of bird song and sirens enlarge the worlds of each play. The minimal set is effective and allows the actors to claim our undivided attention. Brava has inaugurated its new studio with a pair of well-crafted pieces. Whatever follows will have much to live up to. This one-act play is about the past and present. Occasional flashbacks paint a vivid picture of Kenny played by Michael Ordona as lacking in self-confidence and unable to deal with failure and frustration.

When he gets jilted by the girl he likes, he slips into a non-conformist personality as a way of getting the attention he wants. However, the flashbacks merely provide the basic scenario for the play.

Cora accuses Tommy of not having given enough attention to Kenny. Tommy, in turn, says that he himself needed some attention for Nan. Like Kenny, Tommy says he was also a baseball player. In an outburst, Tommy reveals that Kenny was not his son, that Nan was two months pregnant when he married her.

The play ends with Nan asking Tommy to pick just one bitter melon from the garden. It will just be dinner for two. Consul with a curly wig and Muriera with that baseball capfaking a strong Filipino accent, are almost real and certainly funny. Chow could very well be the journalist of Channel 7. It was a cast efficiently put together, under the able direction of the scriptwriter herself.

Central Valley Vietnam Vets organized the art-show memorial. Ray Newman directs "Walls" with a similarly quiet touch. A narrow, shiny black strip forms a long triangular outline at the front of the stage. A teddy bear, flowers, medals, photographs placed along that line tip the audience.

The fourth wall -- that space between audience and performers -- represents the Vietnam Memorial wall. The play begins with a blond, long-haired man unfurling a flag. He puts it in a holster and holds it nearly motionless for the play's two-hour duration. Dan Magginetti makes his acting debut in this powerfully poised, symbolically loaded position. Dressed more like a war protester, he will gradually reveal that he keeps vigil to honor members of his wiped-out company.

Twenty-one people visit the wall: Two dead soldiers move in spectral light from the audience and over the wall. Controversy surrounded the wall's design and construction. Kerry Ito plays Maya, the year-old architecture student who designed. Many vets objected to the designer of "their" memorial being an Asian woman who had nothing to do with the war. The play's power grows from the small vignettes played out in front of the wall.

Personal conflict shows some of the diverse walls humankind builds. However, the production loses some power with occasionally mushy diction. Scruggs Mike Kiley represents the vets who object to design and designer. Dave didn't go to war. A mother and father face their son's memory as a name chiseled in the stone.

Julie Erin Wells struggles to understand a war she protested and the sacrifice of two boyfriends honored there. Newscasters bicker over personal image and non-involvement.

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A paraplegic in a wheelchair argues with the war nurse who stayed stateside and who outranks him. The play is as spare as the 58, names simple engraved by order of their death[s]. The production employs minimalist scenery, mimed props and action.

When people stand before that polished granite wall in Washington, they see themselves reflected. Members of AART's audience will also see their own reflected history. So will our community. When cast members read a roll call of local names, the impact is visceral. Ironically, by building one open-ended memorial wall, we may have begun the healing process of tearing down walls that divide us. For many people the name of this small country triggers a variety of emotions.

For some Vietnam veterans the name may conjure up memories filled with sadness, regret or resentment. For others, it may instill a defensive pride, or anger over the way many were treated upon their return home. And for all who mourned the deaths of the tens of thousands who died there, a deep loss is felt, one that will never be forgotten. It is for these and other reasons that "Walls," a play by Jeannie Barroga, has been created.

The human element is expressed very well through the characters in "Walls. At a press conference she explains why [she] felt the plan is effective, by saying, "The strength of the design was in its understatement and its simplicity. Opening night last week included a special audience member: Barroga, the play's author. A resident of San Francisco, Barroga has been a successful playwright since and has authored many productions. At the end of "Walls" the cast gathers on the stage and one by one calls out a name and its location on The Wall.

Barroga explained who those names were. Julie had protested the war and how tries to come to grips with the reason their lives were lost.

There's also Stu, a Chinese-American who served in the war in the disturbing capacity of taking care of the bodies and sending them home. Last, but not least, is Maya. She's the year-old Chinese-American college student who designed the memorial.

Her character represents the many prejudices and resentment of others who protested the choice of Maya as designer. Throughout the two-hour performance, the audience is drawn into the story and into each character's life. The set design is simple and strong in its lack of an elaborate set, avoiding distraction and enabling viewers to bring their minds that much more into the action. Filled with symbolism and related themes -- based on the walls of fear, prejudice and hatred -- the story serves as a cartharsis.

It's possible that it helped in healing the author's own soul, for it also acts as a personal tribute to her high school classmates that were killed in the war. The diverse cast was well-chosen and the characters represent many perspectives.

The actors are wonderful in their emotion-filled performances and, despite the intense heat and lack of air conditioning on opening night, they held the audiences full attention.

For anyone with an interest in the Vietnam war, or who just loves a great drama, "Walls" is the play to see. It is as much a healing to watch as is a visit to the Wall itself. The 58, names inscribed on "The Wall" were at the heart of the issue.

Likewise, those who died in Vietnam area at the center of "Walls", Jeannie Barroga's dramatization of the memorial's creation. Director Ray Newman acknowledges that "Walls" carries a special significance for him. The Modesto resident was in the U. Army during the Vietnam war during a year career that stretched from the Korean conflict to the late s. Newman wasn't stationed in Southeast Asian. Having spent those years in uniform gives him a different perspective.

You're kind of torn. The walls that they're really discussing are the walls we build around ourselves. She, Newman said, had no personal ties to the conflict: The work has been produced at Stanford and the University of Massachusetts-Amherst, which will include "Walls" in an upcoming anthology of Asian-American women playwrights.

Barroga's script so moved Newman that he agreed to commute from Modesto each night for rehearsals and make his directing debut. When I do things down here in Modesto, they come see me and when they do things up there, I come see them. They've been asking me to direct something for them. When they gave me the script, there was no way I couldn't.

It's fun to watch the actors grown. They've really come a long way. There are really about five or six people in this who have never done any acting before. The inspiration for the play was a notable group -- a whole generation from the '60s and '70s -- that came together on a long narrow peninsula in Southeast Asia called Vietnam.

The story WALLS, which received two standing ovations at its opening Friday night -- one for the play and one for the playwright -- carries the audience through the historical two-year background of the controversy behind the building of the Vietnam Veterans Memorial and moves the audience forward to the day of its dedication in -- all the time painting a human canvas of the American affected by that war, both living and dead.

Controversy surrounding the building of the memorial hinged on not only the reason for it and design of it, but also on the year-old architecture student, Maya played by Kerry Ito who happened to be a Chinese-American, and whose design entry won over those submitted by other candidates. Ray Newman, the Director, said, "The Vietnam Veteran's Memorial, a black granite wall with more than 58, names carved on it began a healing process that is still going on today.

The play is not just about that wall. It's about other walls: I have enjoyed watching this cast, as fine a group of actors and technicians as I have ever worked with, building their characters and develop a passion to present a play that will honor all those who served in Vietnam.

There were 21 roles portrayed by 18 actors. The local Filipino-American actors were Fel Tengonciang, who played Stu, a veteran who found he no longer shared a life with his buddy who didn't go to war and couldn't understand him; Ken Alfonso played Rich, a newsman; Alfonso Cabrera, a parent who visits the Wall with his wife to see their son's carved name; and Alex Hernandez, who stepped in two nights before opening after a full day of cramming for the role of Jerry, one of the ghosts.

To set the mood for the play, memorabilia such as photos of veterans in Vietnam, letters, poetry, flags, etc. By the end of the play, the 'tolling of names like a bell in your head' brought tears to Andy and the twenty or so vets and audience members and even to the cast itself, as some of the names called were those of sons, brothers and friends who were Stocktonians and former students at Stagg High School.

A special night had happened; a special moment was re-created that accomplished the same thing as in Washington, D. People I served with are on the wall. His friends aren't on the wall. The names of Americans who died in the military adventure that swelled from a small and advisory role into a major conflict whose divisive impact on the United States was exceeded only by the Civil War.

The play looks at the background and the impact of the Vietnam War Memorial wall in Washington, and treats the wall as a metaphor for continuing divisions in American society. Living in Modesto and holding down a full-time job doesn't mesh easily with commuting to Stockton nightly and investing the effort that goes into directing, especially directing a complex venture with a large cast. The production went up last July in Stockton.

The response was "very good," Newman says. Even the city's Vietnam veterans organization lent a hand, decorating the lobby with memorabilia of the war.

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From that point on we had nothing but the highest praise and support from those guys. Some fought in the war, others didn't. A buddy rings him to the wall in hopes that the experience will open him up and they can get back to being the kind of friends they were before he went away. After last summer's response in Stockton, bringing the cast together for another staging in Modesto was no problem, Newman says.

I polled all the people and almost all said, "Don't worry about it. We'll clear our schedule[s]'" For the few actors who couldn't make it, finding replacements was no problem. Although the play is being produced by an Asian-American company, the performers span the American gamut. None stands out as the star. As in war, all have important parts to play. No one can doubt the sincerity that Bay Area playwright Jeannie Barroga poured into "Walls", a drama about the meaning and history of the Vietnam Veterans' Memorial in Washington.

And it's impossible to question the commitment and effort that has gone into Asian American Repertory Theatre's staging of "Walls", which opened Friday at Modesto Junior College. The performances are passionate and the interlocked stories ring of truth, if not freshness. But a sprawling play that unfolds in short episodes poses too many barriers to engagement, either of the mind of or the emotions.

For many viewers, thought, those barriers may be easily brushed aside by strong feelings about the Vietnam War, its victims and its consequences, and about the wall that commemorates the human toll of over a decade of American involvement. The play's central narrative revolves around the struggle to erect a memorial to U. In the late '70s, only a few years after Richard Nixon turned over the failing battle to South Vietnam, the wounds of domestic division were still raw. The idea of any monument was controversial.

When the judges of a national competition chose the design of a year-old Yale architecture student, Maya [Ying] Lin, the roar of controversy became thunderous. To many backers of the war, the thought of a memorial devoid of heroic resonances was [sacrilegious].

Playwright Barroga summarizes the skirmish that ensued in the vignettes employing Lin, project supporters, project opponents, and the press. Lin, depicted as a shy woman with unshakable convictions, rejects any compromise.

Some foes, ostensibly aided by Ross Perot's money, would prefer no monument rather than a black granite wall engraved with the names of the dead. Between them are compromisers who would supplement the wall with a flag and a statue. Their squabbles alternate with anguished scenes which focus on visitors to the wall -- veterans, parents, lovers -- and flashes of black humor via the ghosts of two soldiers.

There is inherent poignancy in a parent's tears, in the terrors that plague the minds of men who saw friends die, in the guilt-driven hysteria of a vet who spent years handing corpses and body bags. To elicit a response, Barroga needs only to lay out suggestions and depend on the memories of anyone who experienced the era. With most subjects, such shallowness would be disastrous. In "Walls" it is only disappointing.

Ray Newman, a Modestan who spent 20 years in the Army without seeing Vietnam, directed the earnest and competent performance. The most affecting member of his cast of 22 is Dan Magginetti, as a vet who comes to the wall on a days-long vigil, holding the Stars and Stripes. Magginetti stands on stage throughout the two acts, supporting a heavy flag. Asian American Repertory Theater is based in Stockton, where it originally staged "Walls" last summer.

The show is the troupe's first in Modesto. Panel discussions on the impact of the war on Southeast Asians will beheld Saturday and Sunday. In an eminent panel of architects and artists unanimously selected the nontraditional, nonpolitical design of Chinese American Maya Lin - a simple, black marble V, rising from beneath the ground, on which the names of all the U. There was an outcry from conservative veterans' groups, who wanted a more traditional monument, preferably designed by a Vietnam vet.

Lin, to them, was unacceptable -- not only was her design abstract but she was an architecture student rather than a practicing architect, was only 21 too young to know the war firsthanda woman, and, to some vets, she looked too much like the enemy fought in Vietnam.

Finally, this opposition forced significant changes: Lin's monument was built but an American flag and a traditional status of three U. Clearly, politics won out over art. That's part of Bay Area playwright Barroga's message in this somewhat plodding, overwritten but often absorbing play. Another part is a fairly tired statement about how people erect walls around themselves; and the necessity for breaking those down.

The play, directed by Marian Li on Sandra Howell's abstract wall-like set, unfolds on at least two tracks: In the play, Lin explains why she chose reflective black marble panels on which to engrave the names of the dead: You are forced to see yourself at the same time you are reading the names -- you can't help but reflect on that war.

We meet six visitors to the memorial, of various ethnic hues, who break off in pairs to confront one another: Barroga occasionally captures real drama in these fairly cliched confrontations -- and the actors are strong -- but tends to undercut the strength of these scenes by her overwriting and her Psych bromides.

Like, the information-conveying scenes revealing the political and media machinations -- involving an administrator David Kudlera veterans' leader James Reeseand a news-hungry Chinese American reporter Sharon Iwai -- are awkwardly structured. Finally in her attempt to create a noncontroversial script, she removes much of the starch from the confrontations. The pro-Vietnam War argument is barely mentioned, and her one protester merely wants to apologize. So much for joining the issues.

Or it can be as healingly cathartic as the AIDS quilt.

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Today, the Vietnam Veterans Memorial in Washington seems unquestionably to fit the second category. But less than a decade ago, as its design and execution became a vortex for the competing interests and wishes of politicians, veterans' leaders and artists, it threatened to collapse into one final note of discord in the long saga of Vietnam War-related disputes.

The story of the fight over the monument's design could make for a fascinating dramatic study of the politics or art. But that story, though present in "Walls", is buried -- immured, you might say -- by the playwright's broader, poorly focused ambitions. One -- you could call it "The Education of Maya Lin" -- traces the fate of the designer's elegant modernist solution to the problem set by the competition: How do you produce a "nonpolitical" memorial to the most politically charged of wars?

The idealistic student Janis Chow gets a crash course in the compromises of public-sector life. She's caught between the memorial's director David Kudlerthe veterans' leader James Reesethe veterans who want a statue and a flag rather than a wall, the secretary of the Interior and the press, as represented by scoop-hungry Vi Sharon Iwai. While there's hardly any suspense in these events -- we know from the abstract black slabs of Sandra Howell's set, if we're otherwise uninformed, that the monument will raise its money, gets its permits and be built -- Barroga has a sharp eye for the artistic issues.

And though the playwright plainly sides with Maya Lin in her plea to preserve the harmony and integrity of her design, she allows the statue-craving, flag-waving vets to have their say, too. What "Walls" lacks is a sense of its own harmonious integrity. The sage of the monument's birth is interspliced with scenes of veterans and other visitors facing up to their pasts and to one another as they stare into the reflective face of the memorial wall.

These scenes amount to a barrelful of dramatic capsules, some effective and some perfunctory, all arranged within "Walls" with little sense of logic, chronology or interrelation. The characters are paired off. Embittered, flag-hoisting Terry Charles Shaw Robinson has to bring himself to talk to ex-radical Julie Maura Vaughnwho only wants to apologize.

Nurse Sarah Geneva Baskerville and wheelchair-bound sergeant Morris Lewis Sims have to find common ground as scarred but not hopeless survivors. Hovering behind them all are two ghosts of veterans Michael Racela and Eric Cazenavewho egg the living on toward reconciliation while humming bits of "Surfing Bird. But unless you have a very high tolerance for instant poignancy achieved at little cost, these scenes may leave you climbing the walls yourself: They're too visibly didactic.

Only Baskerville and Sims are able to create full characters rather than human placards urging brotherhood. Director Marian Li might have done well to speed up the many transitions blackouts are hardly needed after each scene, since we can see the actors take position on the abstract set anyway. At times some of the actors confuse low volume with intimacy; even in as small a theater as the Asian American's new home, in which "Walls" is the second production, it helps to speak up.

On the other hand, several of the performances --notably Chow's earnest Maya and Racela's jaunty ghost, along with Sims and Baskerville -- find extra life in Barroga's writing when you least expect it. The Vietnam wall has become a powerful symbol; a sort of mass-participation memorial.