I did this profile of then-Omaha City Councilman Frank Brown in 2004 for The Reader (www.thereader.com) at a time when he was entrenched in his elected position though a frequent target of controversy. As the representative for the largely African-American District 2, a long economically depressed district with a myriad of challenges facing it, he saw himself cut from the same cloth as his idol, Nebraska state senator Ernie Chambers. As with any politician or public figure, some people liked him, some people didn’t. Some thought he was doing an effective job focusing attention and resources on his district, some thought he wasn’t doing enough. He had his loyal supporters and he had his outspoken detractors. He was the third in a short line of black District 2 council members who were elected to office after Chambers got district elections instituted. The first was Fred Conley. Then came Brenda Council, who narrowly lost a mayoral bid. For a time, it appeared Brown was untouchable in his seat on the council. The former television reporter then faced a serious challenge in 2009 when another television professional, veteran photojournalist and public affairs host Ben Gray, took him on and squeaked out a win. Brown went on to a position with an offshoot of the Omaha Housing Authority but was later forced to resign and now I’m not sure what he’s doing, though he remains a voice an dpresence in the community as host of his own public access TV show.
This blog features many of my stories about North Omaha and various African-American figures and institutions here, including a profile of Ben Gray. In the coming months you can expect to see an extensive story on Ernie Chambers, the subject of a forthcoming biography by Tekla Johnson.
North Omaha Champion Frank Brown Fights the Good Fight
©by Leo Adam Biga
Originally published in The Reader (www.thereader.com)
Given its predominantly African-American demographics, any black elected representative from northeast Omaha is naturally expected to carry the torch of the civil rights struggle in addressing inner city and minority issues. Those historically consistent issues run the gamut from inadequate housing to high unemployment to poor health care to unequal representation to depressed living conditions to alleged police abuse. Since the mid-1960s State Sen. Ernie Chambers has been the one constant if often strident voice among state lawmakers about the plight of north Omaha’s disadvantaged residents. Other politicos have paid lip service or given short thrift to the needs and problems confronting the community, not surprising since until the start of district elections in 1981, which Chambers fought for, Omaha had no black City Council members.
Since district elections began, northeast Omaha’s District 2 has had three black City Council representatives. Fred Conley, an affable businessman, and Brenda Council, an astute attorney, may have raised the profile of District 2 challenges but neither was considered the firebrand crusader many envisioned when district elections were instituted. Instead, the two were viewed as bland coalition builders with moderate agendas that steered away from controversy and confrontation.
By contrast, current office holder Frank Brown, a former television news reporter, is seen as a different breed. Observers say Brown, a council member since 1997, seems unafraid to articulate the root causes of northeast Omaha’s problems and to challenge public and private leaders in seeking drastic remedies to longstanding ills.
In addition to his Council position, he serves on the Omaha Housing Authority and police union boards. A Democrat, he has been a driving force on several issues: the installation of an independent public safety auditor in the wake of several police shootings that raised the black community’s ire; speeding-up work on the long delayed sewer separation project to alleviate chronic street-house flooding from north Omaha’s antiquated sewer system; and bringing Old Omaha’s widespread lead contamination problem to the forefront and making its cleanup a priority.
Known for his tenacity, he’s pushed hard recently for more accountability by the quasi-public MECA board. While his attempt to require mandatory minority representation on that and similar boards failed, his insistence that MECA leaders disclose previously unnanounced salary bonuses succeeded, despite or because of his ruffling some feathers. MECA board member and former Mayor Hal Daub, with whom Brown had his share of battles, said, “I really have nothing to say about Councilman Brown, and you can quote me on that.”
Brown’s adamant call for full disclosure by MECA, which had board members bristling, is characteristic of his probing approach. “He can be pretty forceful when it comes to items that are especially meaningful to him,” said District 7 Councilman Chuck Sigerson, Jr. “He has a no-holds-barred style of asking questions, and that can be very beneficial and that can also put people on the spot, and sometimes people take it wrong. He doesn’t like to let people try and evade the questions…and if someone wants to stonewall him, they’re going to get re-asked the questions even more forcefully…”
Perhaps his most public victory — the public safety auditor — is proving a major frustration. Since being formed in 2001, support for it has withered among a majority of council members who contend it’s made little impact. In the city budget battle Brown fought to keep the auditor position alive. When the Council submitted a budget to Mayor Mike Fahey calling for its elimination, Fahey vetoed the measure, but a subsequent 5 to 4 Council vote overrode the veto.
Brown, who echoes north Omaha sentiment that the oversight of an independent auditor is needed as a safeguard against potential police abuse, feels criticism of the auditor’s effectiveness is unfair because the office is woefully under funded and staffed. “The auditor is limited. Her hands are tied. And that’s unfortunate,” he said. “My colleagues won’t give her the people and resources she needs to conduct investigations, so it’s doomed to fail. I say, Give her a chance because what have you got to lose? We pour millions into Rosenblatt Stadium, which is projected to lose $1 million a year, but it’s not OK to pay $250,000 for an auditor? There’s got to be give and take on both sides.”
The auditor’s current $150,000 budget has been supported the past two years by private funds. Despite the City Council’s recent vote to ax the position, Mayor Fahey has pledged he will find outside funding to keep it running.
With his bold, outspoken approach, Brown is viewed much closer in philosophy, rhetoric and practice to the aggressive, volatile Chambers than to the more placid Conley and Council. “Frank has a kind of persistence and political savvy his predecessors did not approach,” said the Rev. Everett Reynolds, president of the local NAACP. “Here’s a guy that’s helping the cause and, I would say, responding with much more gusto on behalf of minority, disenfranchised and poor folks. I don’t know that his predecessors dealt with critical issues as Frank has done. He faces the issues. He went some rounds with then Mayor Hal Daub in trying to get the city to deal with the sewers. His dealing with police-community relations stands out.” Rev. Larry Menyweather-Woods, a UNO Black Studies professor and retired pastor of Mount Moriah Missionary Baptist Church, said, “He’s been quite a significant player in trying to bring back to life the near north side. And there are certain issues — I’m talking about social justice and things of that nature — where Frank has been a leader. He’s been right out there.”
Pressing the issue doesn’t guarantee victory. Brown is still at a loss for why his minority representation proposal was defeated but implies racism is at the core of the opposition. “Why are people afraid of diversity? I don’t know. People will accept money from women, minorities and poor folks, but when it comes to sitting at the same table they say no,” he said.
Brown’s hard-nosed reporting background may explain his unrelenting style. “Those of us that knew Frank when he was a reporter know that he has not changed much. He still has a very dogged approach in trying to get to the truth of issues,” said Omaha police officer Marlin McClarty, president of the Brothers of the Midwest Guardians, a black police association.
Brown’s news career also gave him a ringside seat into the political process. “I watched what works and what doesn’t work and what to say and what not to say,” Brown said. “His experience was invaluable,” said the NAACP’s Reynolds. “Even though it was his first time in public office he had watched others perform, which was a tremendous asset for him. All his years in the news business gathering information, talking to people and working with people, taught him how to sift through that which is authentic from that which is not.”
As a trained journalist, Brown holds the news media to a high standard. He’s been known to chew out reporters and editors when he feels they’ve distorted his stance or somehow failed to measure up in his eyes. “It really hurts me to see when something as near and dear to me like reporting is not fair,” he said.
He knocks the local news media for portraying his relationship with Councilman Franklin Thompson, the black Democrat from largely white District 6, as contentious. For his part, Brown said he has no enmity for Thompson. “I’m not at loggerheads with the guy at all. We may have some different views, but that’s not even a blip on my radar screen. The news media makes more of a perceived controversy than there really is. I’m not sitting at home saying, I bested Franklin Thompson today…I’m not even keeping a scorecard.”
The two most recently sparred over the naming of a walkway, with Thompson favoring Omaha’s Heisman Trophy heritage and Brown, who won, advocating Martin Luther King’s legacy. Brown faulted the Omaha World-Herald’s take on the so-called walkway “flap,” saying, “It wasn’t a flap at all, yet people were calling me at home saying the World-Herald reporter just had interviewed them and asked a bunch of negative questions and the first one was, ‘Why is Frank Brown doing this to Franklin Thompson?’ If I want to create a negative story, I’ll ask negative questions. Then, when I see an editorial cartoon in the paper that is tied to the ‘controversy,’ I know it’s a full-court press against me. People’s hatred comes out. They say, Oh, that Frank Brown is just all over the place and he hates white people, and they have no idea what’s in my heart and soul. If this is the tone the paper is taking, what else am I supposed to think?”
Brown said his sometimes stormy relationship with the media has mellowed somewhat. “Oh, it’s still lumpy at times,” he said, “but it’s different now than what it was. They’ll come after me no matter what, and if I say something goofy I deserve it, but all I want is balance and fairness.”
One thing he feels can’t be questioned is his dedication to north Omaha, where he grew up and still resides. However, he’s the first to say he cannot impact all the quandaries facing his district and minorities at large. To date, he’s won and lost his share of battles but even when a measure he backs is defeated or a motion he opposes is approved, his supporters admire the tenacity he shows in going down swinging.
“I feel Frank is willing to put himself out there — on the spot — for what he feels is right,” said Midwest Guardians president Marlin McClarty.
“You know, I try and fight the good fight,” said Brown, who knows well where northeast Omaha stands. “It’s neglected. It’s been neglected,” he said of his district. “The way government looks at impoverished areas is they blame the blight on the people who live there. They criticize north Omaha but what does government do — the government puts all the public housing projects practically…in one district. They place social service programs in one area. So, they create a poor district and they tell people, Well, you should lift yourself up by the bootstraps and join us. Well, how can you do that when you can’t achieve? I mean, you can, but when you remove people from Logan-Fontenelle (a large housing project razed in recent years) and you don’t improve the surrounding area where people live, than what expectations can you have? You’ve got to create a positive environment.”
Long regarded as the other side of the tracks, the northeast district lost whatever economic-political clout it had in the wake of two events. The late 1960s riots there caused property damage and engendered a perception of fear that drove out many business owners and residents. Perhaps even more disruptive, the North Freeway construction in the 1970s razed hundreds of homes, in the process driving out many more residents, and imposed a daunting physical-psychological barrier that drove a wedge through the heart of a formerly unified community.
“The North Freeway dispersed families and divided the area,” Brown said, “and we still haven’t recovered from it. It took out thousands of residents. How do you recover from that? It’s a slow process. Government doesn’t think about long term effects to a viable area.”
The loss of people, spending power and cohesion led to the decline of North 24th Street, the traditional cultural-commercial strip that coursed with pedestrian-vehicular traffic day and night. As people moved out, businesses closed and pockets of blight took hold in the form of abandoned structures and vacant lots. Brown said if the area is to be made attractive again to investors, more households and amenities need to be in place. He feels the only way to attract more home buyers and business owners is to increase the stock of quality affordable houses, increase the pool of decent indigenous jobs and spruce up the community.
“Businesses will not come into north Omaha unless there are more rooftops and consumers and workers. That’s just basic economics,” he said. “People in the area want to work, but the lack of transportation is a major issue. If you don’t have jobs and businesses in the area, than how can people go to work in the first place?”
Thirty years or more have passed since the district’s decline took root and not a single comprehensive plan has surfaced to address the situation. Brown has no plan either, but he sees a need for one in an area that to date has seen sporadic redevelopment in isolated commercial-residential federal block grant-funded projects. Any assurances being made by city flaks and community leaders about the burgeoning riverfront development sparking a northeast Omaha revival is met with extreme skepticism by Brown, who demands proof he’s yet to see.
“Everyone’s waiting and waiting and waiting, but how long will we wait? I’d like them to show me how the future’s bright. I want someone to point out to me how the area northwest of the arena-convention center is improving because of the development going on. Has anyone shown you where it’s improved? The truth is there never was a plan to improve northwest of the riverfront development. There should have been a massive plan and time schedules and dollars.”
That is not to say no progress has been made. New housing developments, community centers and commercial properties have sprung up in recent years in a variety of neighborhoods that heretofore saw little change for decades. There is the Fontenelle View town home project just west of the intersection of Fontenelle Boulevard and Ames Avenue. The latest project, Miami Heights, is a 24-block mixed residential-commercial development going up in the Salem Baptist Church neighborhood. A number of southern style-soul food restaurants have opened along North 16th Street and surrounding areas. But until an overarching initiative is in place that ties various redevelopment efforts into a grand, sweeping design, Brown suspects many areas in need of revitalization will remain untouched because they fall outside any targeted development zone.
“Even if there was such a plan…the dollars were never there to complete it. Somehow or other we’ve got to thread the needle and bring these efforts together,” he said. To pull it off, he said, government entities and private investors need to collaborate. “It’s always been left up to government, but it’s also going to take private investors to take a look at the area and say, We’re going to make a commitment there. They should not be afraid of the poor people in the area because they’re great people and they’ll work. They just need a chance.”
|Precious Moore, right, with her mother, Yvonne Moore and Omaha City Councilman Frank Brown.|
“Can North 24th Street revitalize itself? I can only hope so and I’m doing everything I can. The jazz center is a start. A lot of things have got to happen,” said Brown, who wants to see the community add to its popular Native Omaha Days homecoming celebration with an annual black expo patterned after one in Indianapolis.
A longtime admirer of Chambers, who along with former State Sen. Gene Mahoney he regards as his political idols, Brown went to Chambers early on for advice.
“Oh, I remember it vividly,” Brown said, “and I took everything he said to heart, especially his comments about knowing the rules and reading everything, and I try and do that every day. You’ve got to read everything. Some things will pass by your desk and if you don’t pick it up and read it, it could affect a project in such a way that when you vote for it it will really hurt your district or the city. There’s so many nuances, twists and turns that you just have to read it and understand it.”
The reservations Chambers had about Brown’s cozy relationship with the police and city hall were understandable, Brown said, and have “been a driving force to make me try and do some things to prove there was more to me than that.”
As the black community’s most visible torch bearer, Brown feels pressure doing the right thing for a constituency in great need and with little voice. No one agenda can take up his focus without him being accused of favoritism. “This is a lonely job,” he said. “It’s been a hot seat from day one and it gets hotter every day.”
From the start, Brown has put in long hours as a Councilman and he bristles at the notion he stretches what’s really a part-time job into a full-time gig. “I knew going into this there was a tremendous amount of issues in my district and that’s why I made the decision to put in 8 to 10 hours a day here down at city hall. I think you have to. Besides, my salary is probably higher than 50 percent of households in my family and so it would bother me to…work part-time for that amount.” Then there is his old-school attitude. “My dad was a great influence on me because he instilled my strong work ethic. He never missed a day of work and I’ve probably only missed two days of work my entire life. I’m down here reading and reading and reading…taking phone calls and meetings…and not taking vacations.”
Brown, who’s single, said being consumed by his work has extracted “a price. The job and the daily grind have taken their toll on me.” In holding an office many say is his for as long as he wants it, he said there is a danger of taking things for granted. “I’m going to be honest — it creeps into your mind, but you can’t think that way because if you let that distraction become a daily event then you become lax.” Politics can be an isolating experience. When everyone seemingly curries your favor, who can you trust? He’s recently lost some of his closet, most trusted advisors. “I lost a good friend of mine and then my father passed away. And then I lost my best friend, Vernon Breakfield. He was a person I would go to to bounce everything off of and he was brutally honest with me.”
Noncommittal as to how much longer he may want to serve on the City Council or what other political office he may seek, Brown said whatever he does “I’ll always have a fire to help people that’s burning inside me. Hopefully, I’ll be here for as long as people want me but if not the person that replaces me will have a big footprint to fill and will have to try to achieve a lot, and I think that’s good.”
“He’s done it in a way that pleases me and sets a very high standard and an example for anybody that will follow him,” Chambers said. “But I hope he stays there until at least I die.”
- Tired of Being Tired Leads to a New Start at the John Beasley Theater (leoadambiga.wordpress.com)
- Art as Revolution: Brigitte McQueen’s Union for Contemporary Art Reimagines What’s Possible in North Omaha (leoadambiga.wordpress.com)
- Everyone’s Welcome at Table Talk, Where Food for Thought and Sustainable Race Relations Happen Over Breaking Bread Together (leoadambiga.wordpress.com)
In 2009 I wrote this story about an Opera Omaha production of the children’s opera Brundibar, whose back story and very existence is remarkable given the fact the original piece was written and performed amid the throes of the Holocuast. The engaging work is all the more remarkable for being a serious social-political critique of Nazi and Hitler in the guise of a metaphorical children’s story. The aching humanism of the fable is palpable.
Art Trumps Hate: ‘Brundinar’ Children’s Opera Survives as Defiant Testament from the Holocaust
©by Leo Adam Biga
Originally published in The Reader (www.thereader.com)
Omaha area youths performing the children’s opera Brundibar this week find themselves linked to some potent history and to a spirit of defiance transcending even the most horrific circumstances.
Czech composer Hans Krasa scored the operatic fable in 1938. With a libretto by Adolph Hoffmeister, it was first staged at a Prague Jewish orphanage. Germany’s 1939 invasion brought anti-Jewish decrees. By late ‘41 the Nazis’ forced Jews into ghettos, dispossessing them of their homes, belongings, livelihoods and freedom.
Amid the chaos, Krasa’s score went missing. He and other artists ended up in Terezin, a fortified garrison town. Homes and barracks meant for 4,000 housed 60,000 men, women, children. The unsanitary conditions, scarcity of food and harsh treatment made a perilous, hopeless life for inhabitants targeted for death camps.
One respite was the music, theater and dance prisoners were allowed to perform. Art flourished in this dead zone. When Krasa’s found score was smuggled in, Brundibar became a show piece for the Nazis, who cruelly used Terezin’s creative culture as “proof” its inmates were well-treated. Infamously, the Nazis paraded Brundibar for an International Red Cross team and a propaganda film.
But for Jews Brundibar took on symbolic meaning in direct opposition to such distortions. The fable’s Pepicek and Aninku try buying milk for their sick mother. They’re foiled by Brundibar, a loud, evil, buffoon-like bully patterned after Hitler. The allegorical community unites to defeat the hateful tyrant. Just as the themes of oppression and resistance took on added import then, the opera’s tragic context and fate give it deeper meaning today. Krasa, the musicians and much of the cast went to their deaths at Auschwitz.
Brundibar’s past and present are joined in the current Opera Omaha and Institute for Holocaust Education (IHE) co-production at the Rose Theater. Bass-baritone David Ward portrays Brundibar. Area students comprise the rest of the cast. Tying things together is guest Ela Weissberger, the original Cat in all 55 Terezin productions. She’s speaking before each performance this week.
More than 9,000 Omaha school kids are expected to see the opera by week’s end. The lone public performance is this Saturday at 6:30 p.m.
Ela, now one of only two Terezin cast members still alive, said by phone, “After the last performance my friends were taken to their deaths to the gas chambers. It feels sometimes to me a very long time ago, but sometimes I feel like it happened yesterday. I always thought this little opera went with them but if it’s performed here it will never be forgotten. I think Brundibar has became a memorial for those children and with every performance people are reminded that something like that happened, that they are not here, and I feel a duty to speak for them.”
“You need to know about what was actually happening and why this show was put on before you can actually put it on. That’s very important,” said Elizabeth Lieberman,. 17, who plays Cat. As helpful as that education was, Liebermann said, “I don’t think we can possibly imagine like it really was.” Scott Goldberg, who plays Pepicek, said, “We can think, we can try, but it’s so much different.”To inform the student cast of Brundibar’s heavy back story, IHE director Beth Seldin Dotan gave them a power point presentation.
Seldin Dotan, whose Institute is celebrating its 10th year, said, “These kids get it. They understand that even under the most dire situation there were people who presented a show like this within the ghetto. When they sing the victory song on stage the hope is they feel they can make a difference as an individual and as a group, and hopefully they present that to the audience. One of the most important things we do at the Institute is educate people about what happened and how we can make a difference to change that.”
Some Brundibar principals have personal stakes in the story. Sarah Kutler, 12, is the grand-daughter of Holocaust survivor Bea Karp of Omaha. Stage director Helen Binder lost many elders in the Shoah. Binder said, “The one thing I felt I couldn’t do as a director is direct the history. I can’t direct the piece with the history looming over it. If the audience knows the history it makes it that much more poignant but I can’t direct it as somber, sad, they’re-all-going-to-their-deaths. I have to direct it the way Krasa wrote it and intended it, so I’ve tried infusing it with things that make kids laugh and really go for the joy in it.”
“It’s very much a children’s piece. I think the music is very original and very appropriate. It’s sophisticated, but it’s just right for a young cast and for its audience,” said conductor Hal France, “and I think that in a way is what makes it powerful, because it is quite bright.”
For Seldin Dotan, this collaboration is “very meaningful” because it realizes a long-held dream of putting on Brundibar. It’s also a coming out for the Institute. “I feel after 10 years we’ve grown up. The response of 69 schools bringing their students and 70 volunteers and tons of sponsors is just magic. What we’ve found is that people wanted to get to close to this.” An Institute-devised guide was provided schools in preparation for students seeing the opera.
- A story of hope amid the horrors of Holocaust (pbpulse.com)
- A mission to revive lost notes from the Holocaust (boston.com)
- The schoolgirl who survived the Holocaust by fooling the Nazis (guardian.co.uk)
- From the Archives: Opera Comes Alive Behind the Scenes at Opera Omaha Staging of Donizetti’s ‘Maria Padilla’ Starring Rene Fleming (leoadambiga.wordpress.com)
Several years ago I did this story for The Reader (www.thereader.com) about an independent film that shot in the city where I live, Omaha, Neb. At the time the project went under the title Out of Omaha, only the film ended up getting released as California Dreaming. I’ve never seen it and I guess I don’t much care to since the reviews I find are mostly negative, though I do admit to a parochial interest in catching views of my burg on the big screen. Movies, indie or studio, small or large, rarely get made here, and if it wasn’t for Alexander Payne this place would truly be off the radar of filmmakers. The feature film production pace did pick up for a time in the late 1990s and early 2000s and probably peaked right around the time this movie shot and this story appeared (2006). Nik Fackler revived things with his Lovely, Still a few years ago. But it’s been pretty quiet since. I wrote the story in the hopeful but misguided spirit that a lively feature filmmaking scene was upon us here, but it just hasn’t been so, and it likely won’t be as long as tax incentives are not offered to film companies and as long as Omaha colleges and universities fail to offer full-fledged film programs. California Dreaming-Out of Omaha writer-director, Linda Voorhees has family connections to Nebraska and she counts as her mentor native and resident Lew Hunter, whose Superior, Neb. screenwriting colony she read and workshopped her then fledgling script at. This blog features a profile I wrote of Hunter after spending a few days at his colony.
©by Leo Adam Biga
Originally appeared in The Reader (www.thereader.com)
As further proof of the robust cinema scene evolving in Omaha, where little niche features regularly shoot after years of film inactivity here, there’s Out of Omaha, a modestly-budgeted indie with a “name” cast. The NoHo Films International venture was scheduled to wrap principal photography October 12 following a 20-day shoot.
Second unit work may continue through week’s end on the pic, described as a character-based comedy played straight about a dysfunctional clan whose aborted efforts to leave Omaha for a family vacation open old wounds and spur new values.
Like most such projects, this one has Nebraska ties. Writer-director Linda Voorhees, a native Californian and a UCLA visiting film professor, has relatives here. She also teaches at screenwriting-meister Lew Hunter’s script colony in Superior, Neb. She’s best known for the television movies Crazy from the Heart (wrote) and Two Mothers for Zachary (wrote and directed).
She’s been coming here since she was a child to visit her aunt and uncle, Martha and Larry West of Bellevue, and her cousins. She even used their homes as key film locations. She said her familiarity with the place and her warm regard for it and its people, is why she views her film as “a valentine to the city of Omaha.”
“I really, truly, and this not bullshit, have very positive feelings about this place,” she said. “I see it as a very sophisticated city and I see it incorrectly interpreted by people I meet who haven’t been to Omaha. I happen to think this city has a lot to offer. I’m very impressed with theater here. I’m very impressed with the music scene. I love downtown and Old Town (the Old Market).”
Out of Omaha centers on the Gainors, an upper middle class suburban family controlled by wife-mother Ginger, played by Lea Thompson (Caroline in the City), and indulged by husband-father Stu, played by Dave Foley (Kids in the Hall). Their 15-year-old daughter, played by Bellevue native Lindsay Seim, is full of teenage angst and rebellion. Seim said her character is “the catalyst” for a lot of the things that go awry on the journey.” She said her younger brother in the story is “hiding behind his Game Boy…trying to just go with the flow.”
The 40ish Ginger has regrets about past chances lost and aches for what’s beyond her hometown borders. Her family resists being force-fed her bitter dreams.
“It’s about her yearning for something bigger, not realizing that wherever she goes she’s going to be unhappy. It has nothing to do with Omaha. It has to do with her own sense of discontentment,” Voorhees said.
When Ginger pushes her family to ditch its traditional Branson vacation for a California RV trip she hopes relives an adolescent idyll, the family’s cracked seams come apart to reveal all the emotional stuffing inside. Their journey, which never makes it outside Omaha due to a series of family meltdowns, leads them right back where they started, only with a new understanding of each other.
Aiding and abetting the turmoil are the flighty Porters (Vicky Lewis and Ethan Phillips) and snobbish Aunt Connie (Patricia Richardson of West Wing).
By the end, Ginger realizes “what’s right here and wonderful in her own life and her own world. There’s a sense of there’s-no-place-like-home with this,” ala The Wizard of Oz, “but we’re doing a comedy version and without the music,” Voorhees said. Omaha’s virtues, she added, are intrinsic to this awakening.
“I do see Omaha as an arena and a setting, but also sort of as a terrific character.”
If the film is, as she said, “a big, sloppy, wet kiss to Omaha,” than it’s also a bow to the workshop process at Lew Hunter’s writing colony.
She calls Hunter, himself a longtime UCLA film instructor and author of popular books on the screenwriting trade, “my mentor” and “the one that taught me how to write screenplays.” She trusts his opinion enough that she first read her Out of Omaha script, then entitled Omahaulin’, at Hunter’s conference last year.
“I read the first 30 pages there just to see how it went and Lew gave me the first critique on it. You can’t ask for a better assessment of your writing and where you stand with it. He said, essentially, ‘All systems are go.’”
The colony, a pastoral workshop setting that unfolds in restored Victorian homes, is what brought together Out of Omaha producer Patricia Payne, a native Australian with decades of experience in the Aussie and American film industries, with Voorhees. Payne was at that initial reading of Voorhees’ script and through subsequent meetings with her “friend and colleague” she came to the conclusion “this is going to be good and this is something I want to be involved in.”
A film with Omaha in the title still doesn’t have to be shot here. So, why was it?
“It actually would have been cheaper for me it we’d shot it in L.A.,” Payne said, “because I wouldn’t need to fly actors and crew in here, but Linda and I both decided we wanted the authenticity, and we’ve got it, and it’s worth it.”
Voorhees said that she, along with cinematographer James Bartle and crew, have worked hard to capture Omaha’s essence on screen. “We’ve tried to get the shots that really convey the city, the heart and pulse in a true way, not in a cliched way, and I do believe we’ve been finding that.”
Rounding out the film’s local flavor is co-producer Dana Altman, president of North Sea Films in Omaha. His feature credits include directing The Private Public. Altman was referred to Payne by native son Dan Mirvish, the founder of Slam Dance and the director of festival favorite Omaha, the Movie, which Altman produced.
Only greenlighted recently, the project started shooting its summer-set story in late September. The production hauled ass to avoid losing the season.
“Logistically, the city’s been outstanding in the level of support they’ve given,” Altman said, “and they just always seem to be.”
Then there’s 2004 University of Nebraska theater grad Lindsay Seim, cast on the coast after the filmmakers auditioned several actresses there and in Omaha. The L.A.-based Seim has appeared in a couple smaller indie films, but ranks this as “the one with, by far, the most legitimate chance of going somewhere.”
Ironically, Seim’s mother, Sharon Seim, was hired as the film’s location director a few weeks before Lindsay was cast. Since retiring from the Bellevue Public Schools a few years ago, Sharon’s worked as location director for Altman’s North Sea Films, a commercial film/video house. Sharon’s husband and Lindsay’s father, Don Seim, was recruited as a transportation wrangler on the shoot.
“It’s been kind of neat having us all work on this,” said Lindsay, who plans returning one day to make a film with her roommate, an aspiring writer-director. “It’s really the people that make Omaha a good place to do an independent film. It has to be such a group effort and you really have to lean on people. Money can’t be the driving force behind it. It has to be heart. And the people here are so welcoming.”
The filmmakers agree, saying Omaha’s well-suited to follow the Robert Rodriguez paradigm of using friends and culling favors. Voorhees said, “I really see a push of independent film here…I hope our project continues the momentum. Omaha deserves it and has a rich talent pool to make it happen.” Or, as Payne put it, “It felt good to come here and do it, and do it now. That’s what said hello to me.”
- From the Archives: Alexander Payne – Portrait of a Young Filmmaker (leoadambiga.wordpress.com)
- From the Archives: Alexander Payne Discusses His New Feature ‘About Schmidt’ Starring Jack Nicholson, Working with the Star, Past Projects and Future Plans (leoadambiga.wordpress.com)
- About Payne: Alexander Payne on ‘About Schmidt,’ Jack Nicholson and the Comedy of Deep Focus (leoadambiga.wordpress.com)
- From the Archives: About ‘About Schmidt’: The Shoot, Editing, Working with Jack and the Film After the Cutting Room Floor (leoadambiga.wordpress.com)
- From the Archives: Alexander Payne, an Exclusive Interview Following the Success of ‘Sideways’ (leoadambiga.wordpress.com)
- From the Archives: Conquering Cannes, Alexander Payne’s Triumphant Cannes Film Festival Debut with ‘About Schmidt’ (leoadambiga.wordpress.com)
- When Laura Met Alex: Laura Dern & Alexander Payne Get Deep About Collaborating on ‘Citizen Ruth’ and Their Shared Cinema Sensibilities (leoadambiga.wordpress.com)
- Screenwriting Adventures of Nebraska Native Jon Bokenkamp (leoadambiga.wordpress.com)
- Vincent Alston’s Indie Film Debut, ‘For Love of Amy,’ is Black and White and Love All Over (leoadambiga.wordpress.com)
- Home Boy Nicholas D’Agosto Makes Good on the Start ‘Election’ Gave Him; Nails Small But Showy Part in New Indie Flick ‘Dirty Girl’ (leoadambiga.wordpress.com)
- The Cut Man: Oscar-Winning Film Editor Mike Hill (leoadambiga.wordpress.com)
- Omaha’s Film Reckoning Arrives in the Form of Film Streams, the City’s First Full-Fledged Art Cinema (leoadambiga.wordpress.com)
The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.
Here’s an excerpt:
Madison Square Garden can seat 20,000 people for a concert. This blog was viewed about 68,000 times in 2011. If it were a concert at Madison Square Garden, it would take about 3 sold-out performances for that many people to see it.