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Nebraska’s Changing Face; UNO’s Changing Face

March 18, 2014 Leave a comment

I wrote the following  feature and sidebar exploring some trends about the changing face of Neb. and the University of Nebraska at Omaha, my alma mater.  Slowly but surely the state and some of its institutions are becoming more diverse.  Some of the changes can be readily seen already, others not so much, but in a few decades they will be more obvious.   It’s a healthy thing that’s happening, though diversity is still taking far too long to be fully felt and lived and embraced in all quarters, but that’s for another story.

 

 

 

 

Nebraska’s Changing Face

©by Leo Adam Biga

 

Nebraska’s “Plain Jane” sameness has long extended to its racial makeup. Diversity hasn’t held much truck here. Even when the foreign-born population was at its peak in the state’s first half century, the newcomers were predominantly of European ancestry.

An African-American migration from the Deep South to Omaha in the early 1900s established the city’s black base. Until a new immigration wave in the 1990s brought an influx of Africans and Latinos-Hispanics to greater Neb., the composite face of this Great Plains state was decidedly monotone.

The perception of Flyover Country as a bastion of white farmers has never been completely accurate. The state’s two largest metropolitan areas, for example, have always boasted some heterogeneity. Urban areas like Omaha and urban institutions such as the University of Nebraska at Omaha express more racial-ethnic diversity because of longstanding minority settlement patterns and the university drawing heavily from the metro.

But it is true Neb.’s minority population has always been among the nation’s smallest, which only supported the stereotype.

Finally, though, its minority numbers are going up and its diversity broadening.

Still, if Nebraskans posed for a group portrait as recently as 1980 more than 9 of every 10 would have beeb white. Only 6 percent identified as African-Americans, Latino-Hispanics, Native Americans or Asians.

The lack of diversity extended virtually everywhere. The largest minority group then, blacks, was highly concentrated in Omaha. Despite slow, steady gains blacks still account for only 13 percent of the city’s population and 4 percent of the state’s population.

But as recently announced by UNO researchers, Neb. is changing and with it the face of the state. A group picture taken today would reveal a noticeable difference compared to a quarter century ago, with whites now accounting for 8 of every 10 residents. Indeed, the state’s minority population has more than doubled the past four decades, with by far the largest increase among Latinos-Hispanics, who now comprise the largest minority segment. Latinos-Hispanics are on a linear growth trajectory. They tend to be young and their women of childbearing age.

Minority growth has been even greater in select communities, such as Lexington, where meat processing attracted newcomers.

Celebrated native son filmmaker Alexander Payne’s new movie “Nebraska” – set and shot primarily in the northeast part of the state – accurately portrays a slice of Neb.’s past and present through a large ensemble of characters, all of whom but two are white. The exceptions are both Hispanic. The Oscar-winning writer-director may next make a partly Spanish-language feature about the impact of the immigrant population on Neb.’s towns and cities.

New UNO Center for Public Affairs Research projections posit that by 2050 the state’s portrait will dramatically change as a result of major demographic trends well under way. Within four decades minorities will account for about 40 percent of the entire population. Nearly a quarter of the projected 2050 population of 2.2 million, or some 500,000, will be Latino-Hispanic.

It’s a sea change for a state whose diversity was traditionally confined to a few enclaves of color. Immigration, migration and natural causes are driving this new minority surge.

Everything is relative though. So while CPAR Research Coordinator David Drzod says, “Our diversity will increase,” he adds, “Neb. is one of the less diverse places countrywide and other states are going to become more diverse as well.”

Still, the snapshot of Neb. is changing due to real demographic shifts with significant longterm consequences. Just as the majority white base is holding static or declining, non-whites are proliferating. The results can be seen in the ever more diverse profiles of some communities, neighborhoods, schools and other settings.

Thus, for the first time in Neb. diversity is becoming more lived reality than aspirational goal.

Economic conditions were the main driver for the sharp rise in Latinos-Hispanics migrating here. Plentiful jobs, a low cost of living, coupled with aggressive industry recruitment, lured people to move here from places with comparatively weak economies, high cost of living and job shortages. Neb. grew its Latino-Hispanic base from points of origin in California, Texas. Mexico, Central America and South America, The state also saw its African and Asian populations increase as refugees from Sudan and Bhutan, for example, resettled here.

Drozd says, “People are not coming as directly for new jobs like in the ’90s when the meat processors were expanding and recruiting. We expect to see some regional migration that Neb. has typically seen from smaller locations to more urban locations that tend to have a diverse pool of job opportunities within various industries.”

While migration has slowed from its peak waves it’s expected to continue in fits and starts. Migration, researchers agree is “a wildcard” that can’t be accurately forecast, but Office of Latino and Latin American Studies Research Associate Lissette Aliaga Linares notes an uptick in Latinos-Hispanics from Arizona, which OLLAS Director Lourdes Gouvia attributes to that state’s anti-immigrant policies.

Drozd says Neb.’s minority experience is consistent with some surrounding states and inconsistent with others.

“We are typical of the Great Plains in that we tend to suffer from outmigration especially of young college-aged whites, which is counteracted by in-migration and increase in the minority population groups. On the other hand Neb. is unique in that we are growing faster in some of our metropolitan areas and not holding our population as well as some of the more rural areas.”

The emergence of more minorities is perhaps most visible in urban inner city public schools, where student enrollment naturally reflects the heavily minority communities these schools serve. Minority enrollment in the Omaha Public Schools stands at 68 percent.

“The diversity of UNO will continue to grow and one only has to look at the demographics in the metro area to understand that traditional middle school and high school students will increasingly be students of color,” says UNO Senior Vice Chancellor for Academic and Student Affairs B.J. Reed.

Some outstate school districts are now majority Latino-Hispanic.

The impact of diversity in this small population state that suffers from brain drain cannot be overstated.

“There’s a large part of Neb. that would be having population decline if it were not for minority growth,” says Drozd. “There’s all sorts of implications with respect to aging, the workforce, health care, education. From a gerontology standpoint you have the possibility of seeing a younger, more diverse working-age population caring for a predominantly white non-Hispanic aging population and will there be any issues associated there. With programs like Social Security you’re going to be relying more and more on an immigrant population to support payments for predominantly white people collecting from the program. So there are potentials for tension there and of course political ramifications and all sorts of factors.”

Gouveia, a sociology professor, reminds that “Latinos are going to imitate some trends of the larger population the more urban and educated they become,” adding. “The more women are able to work outside the home fertility rates will drop and the population will begin to age. It’s the life cycle.”

As minorities grow they become a larger sector of the tax and voting base that elected officials and prospective candidates must recognize.

Drozd says communities must adapt, whether offering English-as-a-Second Language programs or multicultural competency classes, in order to best serve minorities and their particular needs.

As more minorities graduate high school educators and employers hope that many of these college-bound grads and working-age young adults will attend school and find jobs in-state.

“As people have become upwardly mobile in Neb.’s past that has led to outmigration out of the state,” says Drozd. “It’s going to be a very policy relevant factor because people born in the early ’90s are now hitting age 18. Even if they choose a Neb. college where are they going to go to work? Will there be jobs and associated positions for them here in the state or will they go out of state?”

Just as preparing students to succeed in school is critical, so is preparing a workforce for today’s service and skilled jobs.

“Let’s make no mistake about this, without immigration Nebraskans may have to rethink how they are going to have a viable economy that produces not only jobs but payrolls that produce taxes from which an aging population will benefit greatly,” says Gouveia. “Without this population there won’t be services this Boomer population and this aspiring mini-global city of Omaha depends on. These are increasingly service economies and that means it’s very important for the economy to increasingly be based on higher pay jobs likely to grow, such as information technology or biotechnology.

“That also means educational institutions need to be able to truly know how to train this generation of children of immigrants. The children may not be immigrants themselves but a large number have immigrant parents who endured very poor, disadvantageous conditions that tend to disadvantage the educational achievement of their children. We have to have multidimensional. multidisciplinary perspectives to understand who this population is. And that goes to our research also.”

She believes minorities will succeed to the extent opportunities allow.

“We haven’t addressed the serious barriers to education that would guarantee that new face of America and of Neb. becomes a face with equal opportunities to participate in the prosperity all of us will want to share.” She says if barriers to upward mobility aren’t removed “it may prevent Neb. from truly harnessing what we call this demographic bonus that’s been gifted to this state. A state that was losing population were it not for minority growth and international migration would be in serious trouble today to have a viable economy and future.”

Daniel J. Shipp, UNO associate vice chancellor for student affairs, says schools must find ways to support minority students.

“When combined with the typical struggles of new college students the demographics of race-ethnicity will create even more difficult challenges in both access to and success in college. Not only must we continue to open our doors wider to traditionally under-served student populations but once on campus it is critical for all of us to see their success as a top institutional and community priority.”

UNO Associate Vice Chancellor for Academic and Student Affairs Pelema Morrice urges educators and employers to appreciate diversity’s many forms.

“We always focus on racial-ethnic diversity but I think intellectual diversity, geographic diversity, cultural diversity, all those different forms of diversity, really add a lot of value to everyone’s experience. There’s plenty of evidence that the more diverse environment we’re in the more we all have opportunities to learn from each other.

“So I think it’s incredibly important for an institution to be a welcoming and diverse environment where folks can learn from each other at a higher level. I think that adds to the educational experience and it provides students with really good training to go out and be productive citizens and to be successful in the workplace.”

Diversity is also the way of this flatter, interconnected world.

Reed from UNO’s Academic and Student Affairs office, says “Our students will grow up in a much more global environment requiring exposure to difference cultures and different experiences.”

Where diversity often must be programmed, Gouveia is heartened by students’ inherent embrace of it. “About this new Neb. mosaic, one thing I’m particularly hopeful about is the younger generation. I love our new students. From any background they are so much more prepared and so much more ahead of where we are as professors or department chairs or deans in terms of knowing how to do diversity. We are the ones who are often behind them.”

As Neb. becomes more multi-hued, UNO’s Morrice says representative stakeholders should discuss what diversity holds for the state.

“With these new demographics coming forward it means our student base will obviously be more diverse than it is now and that means the outcomes will be more diverse and so we’ll see more diverse workplaces and communities within the state. We’re just a piece of that puzzle but I think it’s a good collective conversation for everyone to have as the state continues to grow and it becomes clear that there will be different faces at the table.”

 

 

 

 

UNO’s Changing Face

©by Leo Adam Biga

 

The same demographic trends on pace to make the United States a minority majority population by 2050 and making Neb. a more racially-ethnically diverse place in the second decade of the new millennium, are increasingly being expressed at the University of Nebraska at Omaha.

Roughly a quarter of UNO’s 2013-2014 freshman class is minority and just under 20 percent of the school’s entire undergraduate enrollment is minority. Both are record marks for the school. In 2000, for example, UNO’s minority enrollment stood at 9 percent. The minority numbers are even greater among graduate students.

The 11 percent rise in UNO minority enrollment from 2000 until now reflects in large measure the Latino-Hispanic boom that happened in-state from 1980 to 2010, when that segment increased from about 37,000 to 167,000. The Latino-Hispanic population is expected to add another 370,000 residents by 2050, according to UNO’s Center for Public Affairs Research.

As a public institution with a state-wide reach, UNO’s a model for the changing face of Neb. Drawing principally from the Omaha metropolitan area, which as the state’s largest urban center has always been Neb.’s most racially-ethnically diverse spot, UNO is, as expected, one of the most diverse campuses in the University of Nebraska system.

At the University of Nebraska-Kearney minority undergraduate enrollment has nearly doubled since 1995. Today, nearly a quarter of its students are non-white or non-resident alien. Meanwhile, the University of Nebraska-Lincoln reports the most diverse student body in its history. UNL’s  2,328 minority undergrads are about 12 percent of the undergraduate total, a 9 percent increase just from last year. Just as at UNO, the largest minority gains at each school are in the Latino-Hispanic and international students categories,

 

 

 

 

As minorities comprise a growing segment of the state’s mainstream and of its public schools’ enrollment, institutions are tasked with incorporating these populations and responding to their needs.

“The good news for Omaha is that UNO has a proud tradition of supporting minority students through various educational equity and learning community investments such as Goodrich, Project Achieve and the newer Thompson Learning Community,” says UNO Associate Vice Chancellor for Student Affairs Daniel J. Shipp. “These programs provide student participants with a network of caring and concerned faculty, staff and peer mentors that help students to succeed and thrive in college. Moving forward, I expect we will continue to build on our national reputation for attracting and supporting the growing numbers of minority students and their families in the Omaha area and beyond.”

“Minority students are an important population but they are only one of an increasing mosaic of diversity at UNO, whether they are military, first generation, students of color or adult learners or transfer students,” says UNO Senior Vice Chancellor for Academic and Student Affairs B.J. Reed. “We are working every day to ensure that these students feel welcome at UNO and have the type of support services and environment that will make them want to be want to be here and to be successful. We do this for all our special populations of students. We have programs and learning communities as well as staff specifically directed at helping ease their transition to UNO and success in their academic goals.”

Reed says hiring faculty and staff who reflect the changing face of UNO “is a top priority,” adding, “We have made important strides in diversifying our staff but we lag behind where we want to be here and also with recruiting and retaining a more diverse faculty. We are working on reviewing existing policies and procedures and looking at incentives and support efforts to increase the diversity of faculty and staff to reflect the changing demographics of our student body.”

There’s wide agreement that diversity is a net sum experience for all involved.

“The benefits are substantial,” Reed says. “The workplace is becoming increasingly diverse and employers need and want an increasingly diverse group of employees. We cannot underestimate the shift occurring here. We need to provide a strong educational workforce for employers and UNO must be positioned to do that effectively.”

Office of Latino and Latin American Studies Director and Sociology Professor Lourdes Gouveia agrees that educators at UNO and elsewhere must increasingly consider diversity and its impact.

“We have to educate our professionals and student populations in ways that allow them to be skilled about global issues and diversity and to have multicultural competencies as the world is very connected,” she says. “But also we need to address structural barriers that may prevent Neb. from truly harnessing what we call this demographic bonus that has been gifted to this state. A state that was losing population if not for minority growth and international migration would be in serious trouble today to have a viable economy and a future.”

Omahans put spin on Stephen King’s “The Shining’ – Jason Levering leads stage adaptation of horror classic to benefit Benson Theatre Project

March 17, 2014 2 comments

Jason Levering and a group of fellow Omahans has proven just cheeky enough to adapt Stephen King’s The Shining to the stage.  The world premiere of their efforts is March 21 and 22 at the Sokol Auditorium in three performances to benefit the Benson Theatre Project, a nonprofit is primed to purchase and restore a vintage vaudeville and movie house in Omaha’s Benson business district.  Business Theatre Project executive director Amy Ryan says, “My confidence in Jason Levering and his ability to put on a quality production influenced my decision to sign off, along with the other project leaders.” I asked her if she has any trepidation in hanging a fundraiser on a premiere, never-before-staged work, even if it is adapted from a mega popular novel whose title everyone knows and whose author is a brand unto himself. “It’s a tall order, no doubt.  Certainly there were many factors and risks to be considered, but in the end we decided that it was a unique and viable way to raise funds and showcase Omaha’s local talent.”  Levering is also artistic director of the Benson Theatre Project.  What follows is my upcoming story in The Reader (www.thereader.com) about the adaptation, which st least based on the legendary status of the source material and its author has given this production a very high curiosity factor.  For my article I interviewed Levering about various aspects of the project.

 

Omahans put spin on Stephen King’s “The Shining”

Jason Levering leads stage adaptation of horror classic to benefit Benson Theatre Project

©by Leo Adam Biga

Appeared in The Reader (www.thereader.com)

 

Credit Omaha writer-director Jason Levering for possessing the temerity to not only consider adapting Stephen King’s meta horror novel The Shining to the stage but to follow through and actually get the master’s approval. Now he’s only hours away from seeing the adaptation he and Aaron Sailors wrote make its world premiere.

The Shining, A Play, has a three-show run March 21 and 22 at Sokol Auditorium, 2234 South 13th St., the old-line South Omaha space known for live music concerts, not full-blown dramatic theatricals. Make no mistake, this will be a big, effects-laden production commensurate with the sprawling, supernatural-laced source material.

The show’s a fundraiser for the Benson Theatre Project. Levering is artistic director of the nonprofit, which needs $250,000 to purchase the former Benson vaudeville and movie house at 6054 Maple St. before renovation work can begin. It’s adjacent to the Pizza Shoppe and PS Collective, whose owner, Amy Ryan, is the project’s executive director. Ryan, a community advocate and arts supporter, goes way back with Levering, who’s also co-founder of the Omaha Film Festival.

An Aurora, Neb., native, Levering’s worked on short films. He and Sailors are collaborating on a feature film adaptation of short stories from author Dan Chaon’s Stay Awake collection. That project’s on hold while Chaon works on the Starz series Most Wanted. Levering’s s stage credits include acting in the Blue Barn Theatre’s Round Midnight series and adapting Oscar Wilde fairy tales at The Rose theater.

What made him think of reworking what many consider a horror masterpiece? It starts with him being “a huge Stephen King fan.” Then there’s the fact the claustrophobic story largely unfolds in one location, the Overlook Hotel, which lends itself well to stage presentation. Finally, there’s The Shining franchise of the popular novel as well as successful film and television treatments, not to mention the built-in brand that the title and King’s own name bring to any adaptation.

“The genesis started during the 2013 Omaha Gives campaign that raised some money for the theater,” Levering says. “Afterwards we talked about doing our own production as a fundraiser and how while we don’t have our own theater troupe we know enough people that we could try and put something together.

“We didn’t want it to be something that had already been done here. We wanted it to be something special, that is our own. But we also wanted it to be something recognizable. I suggested doing a stage adaptation of a popular book that hasn’t been adapted yet. I naturally fixed on The Shining. We all thought it was a great idea.”

That left the not so small matter of getting the famous author to bestow his blessing on the endeavor.

“You have to get permission from Mr. King for something like that,” says Levering, who made the overture to the agency, Paradigm, that represents the legend.

The go-ahead came easier and quicker than Levering imagined.

“Mr. King read our proposal and he was very interested in what we were doing with the Benson Theatre project and he gave us a limited option to adapt The Shining to stage.”

King also retained the right of approval over the script, the director (Levering) and the cast.

 

 

Jason Levering
Levering next dived deep into the book and into the lore surrounding its inception and he discovered a reason why his instinct to adapt it as a play may have resonated with King.

“In my research I found out Mr. King originally conceived it as a five-act play and then he eventually turned it into a novel.”

Levering’s careful study of the book reintroduced him to the story’s great set-up. Jack and Wendy Torrance and their boy Danny become stranded in a haunted mountain hotel in a winter storm. Danny’s extrasensory gift makes him the target of evil spirits who prey on him through his weak father, intent on forever imprisoning the family there.

“It kind of has everything. The other thing it has going for it is these fantastic characters, Jack especially. He’s written as a good man, a recovered alcoholic with some anger issues but doing his damnedest to pull his family back together. To go from that point where there’s all this hope when they first move into the Overlook to the end where he’s literally trying to kill his family it’s such an incredible journey.”

Distilling the heart of the story took Levering and Sailors some time.

“We went through the book together. Aaron broke it down into an outline so we could figure out the main beats of each scene – what we really needed to capture that was essential. We worked from that outline as we were writing the script. He took Act III, I took Act I, and we started working forward.”

They finished the remaining acts together.

“As we wrote we sent pages back and forth, editing and polishing  each other’s work. We sent pages to another writer friend, Krissy Hamm, an associate producer on the show, and she gave us notes. It really helped to have that third person looking at it.”

Levering says he and Sailors abided by one operating principle.

“We both wanted to be very faithful to the book. A lot of the dialogue is pulled straight from the book. There’s only a few points where the dialogue was changed or something was added so that the scene would play well on stage. For the most part though the dialogue is pretty much Mr. King’s words.”

Other things are being done to make certain story elements live on stage. For example, newspaper accounts Jack reads silently to himself in the novel are projected on a screen. Flashbacks play out on the side while the main action occurs stage center. Creative ways were found to bring the Overlook’s topiary animals to life. Levering is intent on making the physical experience as visceral as possible for the audience and thus, William Castle-style, action and sound will happen throughout the auditorium, including the balcony.

Lighting and sound effects will cast a dark, malevolent mood.

 

 

 

 

Levering consulted Omaha theater veteran Kevin Lawler and brought in veteran scenic designer Kit Gough to help realize the horror.

“I want it to be immersive. I want to give the audience the feeling they really may not go home. I want them to feel they’re sitting in the middle of the Overlook Hotel as it comes to life. From the time you walk in the door it’ll be like you’ve entered the Overlook.”

Levering had his own scary encounter with the work.

“My hardest challenge was the moment the hotel takes over Jack. I was excited to write it but I was also terrified of it because that scene is where his character shifts and becomes the monster. He’s in the Colorado Room and basically the hotel has come to life. Lloyd the bartender manifests and pours him a martini. That scene was difficult for me to write because it’s at that point he turns on his family and I honest to God had nightmares of wanting to hurt my wife and kids, even though I never would.

“The idea someone could turn like that is frightening. It was actually the last scene I wrote. It was the worst for me. I’m also an actor and so method-style I poured myself a martini and drank it while writing. I wanted to feel what he was going through.”

Levering feels “honored” and “thankful” King approved “the direction we’re taking.” The cast is headed by Marc Erickson as Jack, Levering’s son Christopher as Danny and Christina Rohling as Wendy.

An invitation’s been extended King, so don’t be surprised if you spot the king of horror among the throng.

Performances are 7 p.m. Friday and 2 and 7 p.m. on Saturday.

For tickets, visit theshiningomaha.com. For more about the restoration project, visit bensontheatre.org.

 

Sisters of song: Kathy Tyree connects with Ella Fitzgerald; Omaha singer feels kinship to her stage alter ego

March 12, 2014 4 comments

 

 

Sisters of song: Kathy Tyree connects with Ella Fitzgerald

Omaha singer feels kinship to her stage alter ego

©by Leo Adam Biga

 

Now appearing in The Reader (www.thereader.com)

Ella, the dramatic musical revue of the life of American songbook diva Ella Fitzgerald at the Omaha Community Playhouse, reveals the anguish behind the legendary performer’s sweet voice and carefree persona.

Call it kismet or karma, but the woman portraying her is veteran Omaha chanteuse Kathy Tyree, whose ebullient, easy-going public face has similarly disguised her own torment.

The high points surely outweigh the low points in their respective lives but Tyree’s experienced, much as Ella did, her share of failed relationships, including two divorces, and myriad financial struggles.

“I’m in a much better place now,” Tyree says.

Known for her bright spirit and giving heart, Tyree’s usually worked a regular job to support her and her son. Currently, she’s program manager at Omaha Healthy Start. A few years ago she used all her savings and 401K to launch her own production company and after a rousing start one bad show broke the business.

The enigmatic Fitzgerald died in 1996 at age 79 with few outside her inner circle knowing her private travails because her handlers sanitized her regal image as the First Lady of Song.

As Tyree researched Fitzgerald’s life for the role, which director Susie Baer Collins offered without an audition, she identified with what Ella did to separate, if not always reconcile, her private and public sides.

“She was very weak and very strong at the same time,” Tyree says of Ella. “She had all these secrets and these hurts, all this internal pain, but she always held it together. She was at the top, she was international, she was the goddess of scat.”

Fitzgerald was respected for her dignified demeanor, the purity of her well-modulated voice and her perfect elocution, though some criticized her for being too precise, too pristine, too white. All of it helped to popularize jazz.

Tyree says the adoration that flowed Ella’s way was due to her talent but also to “how she carried herself as a black woman,” adding, “She wasn’t Lady Day (Billie Holiday), she wasn’t drinking and popping pills and going through all these changes publicly. That takes a lot.”

Before getting the role Tyree was lukewarm about the singer. Her favorite female artists were Diana Ross, Patti Labelle and Cher. After months listening to the Ella canon, Tyree says ,”I have a completely different appreciation for her. Now I am a fan. This woman was a walking instrument. She could do just amazing things with her voice.”

 

 

 

 

Because the script peels back the layers of myth around Fitzgerald’s antiseptic image, Tyree now feels connected to the real woman behind the silky voice and prim and proper mask

“There’s so much more to her than was allowed to be shared with the world. She definitely has a story, she definitely was singing from a place of pain. In rehearsals I began seeing a lot of the parallels between us.”

Both grew up fatherless and both lost a sister. By their mid-teens both were mixed up in the wrong crowd. Just as performing saved Fitzgerald, it gave the “rebellious” Tyree a purpose and discipline she’d lacked. She began singing in church, at Morningstar Baptist, where she still attends today, and at Omaha Technical High School. Outside of her faith, performing is Tyree’s spiritual sanctuary.

“For me theater and music are my therapy but from everything I’ve learned about Ella it was more like her drug. For me it takes me to another place and it gives me a peace and a calm. I leave everything outside. It’s like this is a whole other world.”

Just as performing helped Tyree cope with insecurities, she guesses it did so for Ella, whose character in the show says, “I’m always OK when I’m on the stage. When I’m not working, I turn off, I get lost.”

Tyree’s usual reticence about her own turmoil isn’t to protect a well-manufactured facade, but a personal credo she inherited.

“I shared with Susie (Baer Collins) in a read-through that in my family we have a rule – you never look like what you’re going through. Though I’ve been through a lot, I’ve had a lot of heartbreak and heartache, I never look like what I’m going through, and that was Ella.

“It’s a pride thing. I was raised by strong black women. These women had to work hard. Nobody had time for that crying and whining stuff.

It was, ‘Straighten your face up, get yourself together, keep it moving.'”

She says what she doesn’t like about Ella is “the very same thing I don’t like in myself,” adding, “Ella didn’t have enough respect for herself to know what she deserved. She didn’t have those examples, she didn’t have a father. People always say little boys need their fathers, well little girls need their fathers. too. They need somebody to tell them they’re beautiful. They deserve somebody in their life that isn’t going to abuse them. When you don’t have that you find yourself hittin’ and missin’, trying to figure it out, searching for that acceptance and that love. That’s very much our shared story.”

That potent back story infuses Tyree’s deeply felt interpretations of  Fitzgerald standards. Tyree’s singing doesn’t really sound anything like her stage alter ego but she does capture her heart and soul.

 

 

 

 

Tyree, a natural wailer, has found crooning ballad and scat-styles to conjure the spirit of Ella. Tyree makes up for no formal training and the inability to read music with perfect pitch and a highly adaptable voice.

“My voice is very versatile and my range is off the charts,” Tyree says matter-of-factly. “I can sing pretty much anything you put in front of me because it’s all in my ear. I’ve been blessed because they (music directors) can play it one time and I get it.”

She considers herself a singer first and an actress second, but in Ella she does both. She overcame initial doubts about the thick book she had to learn for the part.

“It’s a lot of lines and a lot of acting and a lot of transitions because I’m narrating her life from 15 years-old to 50.

But after months of rehearsal Tyree’s doing what she feels anointed to do in a space where she’s most at home.

“This is where I get to be lost and do what I do best, this is where I don’t miss. I think it’s because it’s coming from a sincere place. My number one goal is that everybody in the audience leaves blessed. I want to pour something out of me into them. I want ’em to leave on a high. It’s not about me when I’m on stage. This is God-given and there’s a lot of responsibility that comes with it to deliver.”

This popular performer with a deep list of musical theater credits (Ain’t Misbehavin’, Beehive) feels she’s inhabiting the role of a lifetime and one that may finally motivate her to stretch herself outside Omaha.

“I’m still like blown away they asked me to come do this show. I still have goals and dreams and things I want to do. As you go through your journey in life there’s things that hinder those goals and dreams and they cause you to second guess and doubt yourself – that maybe I don’t have what it takes. I’m hoping this will instill in me the courage to just go for it and start knocking on some of those doors.”

Ella continues through March 30. For times and tickets, visit http://www.omahacommunity playhouse.com.

Omaha author Timothy Schaffert delivers again with his new novel, “The Swan Gondola”

March 7, 2014 1 comment

Looking for a good read?  Omaha-based novelist Timothy Schaffert’s new book, The Swan Gondola is a sweeping work of romantic intrigue and against-all-odds perseverance set against the backdrop of the 1898 Trans-Mississippi & International Exposition.  My profile of Schaffert for Edge Magazine (www.edgemagazine.com) follows.  I’ve been writing about Schaffert and his work for many years and you can find those previous stories on this blog.  Additionally, you can find my stories about the Omaha Lit Fest he is the founder and director of.

Omaha author Timothy Schaffert delivers again with his new novel, “The Swan Gondola”

©by Leo Adam Biga

Originally appeared in Edge Magazine (www.edgemagazine.com)

 

Nebraska has produced many literary heavyweights: Willa Cather, Mari Sandoz, Wright Morris, John Neihardt, Tillie Olsen, Loren Eiseley, Ron Hansen, Richard Dooling, Terese Svoboda, Kurt Andersen, Ted Kooser.

Add the name Timothy Schaffert to this roster of gifted homegrown wordsmiths.

Unlike most of that company, Schaffert has remained in state to write his acclaimed novels and short stories. The Aurora, Neb. native grew up on the Hamilton County farm that’s been in his German-American family for generations. He writes these days in the southwest Omaha home he shares with his life partner. It’s where Schaffert penned his latest novel, The Swan Gondola, (Riverhead Books, a division of Penguin). The historical work of fiction has received strong notices and celebrated a Feb. 6 release.

This is Schaffert’s fifth novel following his previous The Phantom Limbs of the Rollow SistersThe Singing and Dancing Daughters of GodDevils in the Sugar Shop and The Coffins of Little Hope. Like the others, Gondola displays his wicked, yet sweet wit and penchant for depicting surreal events amid ordinary surroundings.

The tragic romance at the heart of Gondola unfolds around the 1898 Trans-Mississippi & International Exposition, a grand event that marked Omaha’s most ambitious attempt to garner world attention.

The protagonist-narrator is ventriloquist Ferret Skerritt, a character inspired by L. Frank Baum’s iconic The Wizard of Oz. Schaffert concocted a kind of prequel to the Oz myth that imagines what propelled this humbug artist to leave Omaha in a hot air balloon – Baum’s wizard commandeers a balloon emblazoned with Omaha State Fair – for the hinterland he comes to rule. Schaffert has Skerritt find true love in the ethereal Cecily, a fetching actress and single mother, until circumstances conspire to separate the lovers.

In a story replete with class distinctions, Skerritt comes up against the city’s most powerful man, William Wakefield, and his witch of a sister, who live in a forbidding castle, and the formidable Mrs. Margaret.

Skerritt cobbles together a supportive family that includes: August, a Native American dandy; Rosie, a good-natured anarchist; and mercurial Pearl, whose eerie intuition turns possession.

Then there’s Emmaline and Hester, the sisters who nurse him back to health after the balloon that carried him crashes into their farmhouse.

In addition to Skerritt being based on the wizard, several other characters have their parallels in Baum’s Oz, including stand-ins for the good and bad witches, the Tin Man, the Scarecrow, the Cowardly Lion.

 

 

 

 

 

 

As the man who fell from the sky and lived to tell about it, Skerritt is held up as a supernatural diviner. Schaffert says the fact crops and livestock can be lost to capricious nature makes some farmers susceptible to rainmakers and fortune tellers.

“It’s a part of the world where prophets are needed.”

Skerritt and Emmaline construct the Emerald Cathedral, a pillar of totems from neighbors and townsfolk desperate for deliverance.

The Omaha World’s Fair setting is the impetus for a new exhibition of photographs and artifacts from the expo. The novel’s launch and exhibit’s opening both happened Feb. 7 at the W. Dale Clark Library. Schaffert signed copies of his book.

The author is no stranger to the library, which hosts his annual (downtown) Omaha Lit Fest. The ninth edition last fall featured the usual eclectic lineup of guest authors. He’s now organizing the event’s 10th anniversary whose focus on historical fiction is apt given Gondola’s immersion in late 19th century Americana.

The choice of the fair as the milieu for his new novel is a function of his long-held fascination with both The Wizard of Oz and the Trans-Mississippi Expo. As a child reading the Baum story and watching the MGM movie, he was “taken” by the Kansas farm setting and the wizard’s Omaha origins. Later, while researching the expo, he found it a rich metaphorical landscape whose by-turns enchanted and crass goings-on made a perfect backdrop for a doomed love story.

 

 

 

 

 

 

The Wizard of Oz was published in 1900. The Exposition was held in 1898. There was an interesting link there that had not yet been exploited but I was sort of daunted by the research I would have to do about 1898,” says Schaffert, who teaches English at his alma mater, the University of Nebraska–Lincoln. “When you’re writing about the past you have the added responsibility of learning about the past, and not just learning about it but communicating it to readers. You don’t want it to seem like an antique.”

To understand the “cultural consciousness” of the Victorian-era he steeped himself in the Omaha Bee and Omaha World-Herald archives. He discovered a society of haves and have-nots “leaning forward into the 20th century.” He adds, “Everything changed in the 20th century. The role of women. New kinds of entertainment. Sources for wealth. Opportunities for the middle class. Medical invention. Psychological development. Fashion. I mean, everything became modern. It’s like in the 1890s people almost made that happen by nature of anticipating that with the 20th century would come the future.”

Being a woman, racial minority or working stiff meant living on the margins, never far from the poor house. The gleaming fair rose up to offer hope but its temporary construction ended in ruins, symbolizing the tenuous nature of life and love.

Delving into the past for his fiction is nothing new for Schaffert, though untilGondola it’d been some time since he’d gone there.

“When I was much younger everything I wrote was set in the past, so strangely for me the books I’d written previously have not been set in the past. So I feel I’m finally writing what I intended to write all along.”

He’s swimming in the past again with an in-progress novel set in the 1920s.

Besides its historical roots, Gondola represents another departure for Schaffert.

“It’s definitely more sweeping than the other books I’ve written that focus on kind of small moments in characters’ lives and perhaps quiet, emotional developments and transitions. Whereas the characters of this book are entertainers and their lives are motivated by melodrama and they’re pushed to the point where there are extremely difficult, even life and death situations. So it’s a larger canvas than I’ve worked on before and I’d like to do more of that.”

As with some of his earlier novels, Schaffert draws on his rural background. Enamored by the allure of New York sophistication in movies, he didn’t always appreciate growing up on a farm.

“I remember regretting we didn’t live in a city and not only did I regret we didn’t live in a city, I regretted we didn’t live in New York City. I wanted to live in the Manhattan of Fred Astaire and Woody Allen. So I didn’t feel like I was necessarily in the right place when I was growing up. Since then I recognize what a rich experience it was and I love to return to the farm. I’m struck by its beauty and I feel fortunate to have had the experience I have.”

“And it is surprising how much I can keep drawing from it. You kind of feel perhaps the well has run dry but then you embark on some new book and some new characters and you find yourself discovering new things about your own past.”

 

 

Timothy Schaffert is seeking materials from the 1898 Trans-Mississippi Exposition for an online archive.

Timothy Schaffert created an online archive for the 1898 Trans-Mississippi Exposition

 

 

 

For Gondola he says he tried to find new ways to describe the countryside. “The farm Ferret Skerritt ends up on, as is with every farm I’ve written about, is taken from the community I grew up in. Some of it’s the physical landscape and some of it’s the culture and how in this book this extraordinary thing happens – this man falls from the balloon in the sky and he’s purported to have kind of soothsaying qualities. My understanding of how the community would react to that is based on my own sense of the rural Midwest.”

Schaffert, who once edited and wrote for Omaha alternative newspapers, says early on his parents expressed concern about his making-a-go-of-it as a writer but have remained in his corner. “I don’t think they always understood what I was doing but I never really felt they were discouraging at all. I always felt they were very respectful of this mysterious thing I was pursuing. I don’t know that they thought anything would come of it necessarily but they were supportive and they remain supportive.”

Identified as he is with Omaha’s urban creative center, Schaffert might be expected to reside downtown rather than in suburbia. But he feels at home in wide open spaces.

“I grew up in the country and the house I live in today has a huge        backyard. We’re literally half a block from the Chalco Hills Recreation Area. We can walk right there to Wehrspann Lake and be among deer and the woods. We walk there all the time. It’s quiet. I definitely like it.”

“I think you get more space, more bang for your buck basically the further west you go. We entertain, we have people stay over, we have family events. We do value being able to stretch out.”

He wrote his first three novels at his previous home in Millard. Coffins and Gondolawere written in his present space.

“I have a little library with a writing desk but most of the time I write in the kitchen, with my laptop on the kitchen counter, and I pace around, fix tea, attend to the dog.”

With his new book adding to his already stellar reputation, Schaffert feels his life and career are in a good place.

“I feel very fortunate I’ve had the opportunity to write what I want to write and to have the support I’ve got for it. My publisher (Riverhead) is bringing my new novel out in a big way. That’s completely unexpected.”

He’s especially glad Riverhead, an imprint of publishing giant Penguin, is behind him.

“Riverhead is very much committed to recognizing those they think of as underappreciated writers and getting behind their careers and committing long-term to the writer’s success.”

The editor who signed him to the Penguin family was taken by Janet Maslin’s enthusiastic New York Times review of his Coffins of Little Hope. Schaffert is humble and grateful about the kudos.

“A writer doesn’t always feel like there’s a ladder of success. You’re just kind of moving from one project to the next, uncertain what’s going to happen with it or what kind of support there’ll be for it. You feel you’re scrambling or scrapping or patching together this living. So, yeah, to have the opportunities I’ve had has been extremely rewarding.”

Follow Schaffert at http://www.timothyschaffert.com.

Omaha Film Festival turns nine

March 6, 2014 1 comment

Omaha’s film culture is radically improved over even a decade ago.  One of the reasons for that is the Omaha Film Festival, an annual film orgy now in its ninth year.  It’s the city’s single largest and most intense concentration of film and even though the actual festival only happens once a year the organization sponsors special screenings and events throughout the year to keep the cinema embers burning.  Taken together with the metro’s lone full-fledged art cinema, Film Streams, which operates year-round, locals and visitors alike have a huge selection of films and film events to choose from.  Less than an hour away another great art cinema, the Mary Riepma Ross Media Arts Center, operates in Lincoln, Neb.   The state also boasts a robust film community made up industry professionals who reside here, including three Oscar winners (writer-director Alexander Payne, editor Mike  Hill, and cinematographer Mauro Fiore) and several others who’ve distinguished themselves in film (Sandy Venziano, John Beasley, Nik Fackler, Lew Hunter, Mark Hoeger, Dana Altman, Richard Dooling).  A recent addition to that community is Timothy Christian, whose Night Fox Entertainment is a film financing and producing company.  Payne brings a steady diet of Hollywood with him courtesy of the features he makes here, most recently Nebraska, and the film figures he invites here (Laura Dern, Debra Winger, Steven Soderberg, Jane Fonda, Bruce Dern, Will Forte, June Squibb).

The 2014 Omaha Film Festival is underway as I write this.  It runs March 5-9 at the Marcus Village Pointe Cinema.  On this same blog see my companion feature story on Omaha native James Marshall Crotty, who has two documentaries in the fest, Master Debaters and Crotty’s Kids.

 

 

 

 

Omaha Film Festival turns nine

by Leo Adam Biga

The March 5-9 Omaha Film Festival has gone all digital with its move from Regal Omaha Stadium 16 to Marcus Village Pointe Cinema at 304 No. 174th Street.

Besides the sharper projection offered, OFF Program director Marc Longbrake says the new site is near a higher density population area and the cineplex gets more traffic than the Regal. This marks the fourth venue change in the nine-year history of the little little festival that could, whose growth has been steady if not spectacular.

Ninety-two films from around the nation and the world (20 countries), including several from Neb. and surrounding states, will be screened.

Among the narrative features with a trail of buzz behind them are the opening night selection Obvious Child with its cast of bright newcomers and veteran character actors, the Friday night special Enemy starring Jake Gyllenhaal and the closing night entry Fading Gigolo with Sofia Vergara, Woody Allen, Sharon Stone, Live Schreiber and John Turturro, who wrote-directed it.

Documentary filmmakers from here who have work represented in the fest include James Marshall Crotty (Master Debaters and Crotty’s Kids), Dan Susman and Andrew Monbouquette (Growing Cities) and Elizabeth Bohart (Watchers of the Sky). Theo Love, whose family is from Neb., directed Little Hope was Arson.

 

 

 

 

The live-action shorts include one, Afronauts, co-starring Omaha native Yolonda Ross, who’s drawing raves for her work in the new John Sayles film Go for Sisters (March 25 at Film Streams).

Longbrake says the five-day event is not only an opportunity for filmgoers to see loads of new work but for filmmakers to get their blood, sweat and tears seen by a live audience.

“As a filmmaker you work so hard to get your film made, then you sit in an editing room for a year to finish it, and it’s one thing to send it out to have people review it but it’s another thing to sit in a room with 200 people and have them react to the film and then do a Q&A afterwards.”

For the second year Writer’s Theatre, under the direction of Aaron Zavitz, will showcase live readings of the 16 finalist scripts in the OFF screenplay competition. Several of the scripts are by locals.

The fest’s annual conference will as usual feature guests with serious industry chops. This year’s lineup includes screenwriters Leslie Dixon (Mrs. Doubtfire) and Steve Faber (Wedding Crashers).

For schedule and ticket info, visit http://www.omahafilmfestival.org.

Ex-Gonzo journalist-turned-filmmaker James Marshall Crotty resolved to celebrate debate in new films “Crotty’s Kids” and “Master Debaters”

March 6, 2014 1 comment

The longer I do this the more I happen upon folks from Neb. doing really interesting things.  The subject of the following story, James Marshall Crotty, is a good example. He created a career and brand for himself out of whole cloth when he co-conceived and executed a magazine and lifestyle, Monk, and authored city guides predicated on the freedom of the open road and the exploration of all things alternative, fringe, off-the-beaten path, iconoclastic, and, idiosyncratic.  After this gonzo period in his life he’s “gone straight” to report on education for Forbes and to weigh in on the cultural stream for the Huffington Post.  More recently he’s turned filmmaker by producing-directing two documentaries, Master Debaters and Crotty’s Kids, that marry his subculture leanings with his love for speech and debate, which he excelled in at Omaha Creighton Prep and coached at New York City high schools.  His experiences observing and coaching debate in inner city environments are captured in his films, both of which are playing the Omaha Film Festival.    See my companion story about the festival on this blog.

 

Ex-Gonzo journalist-turned-filmmaker James Marshall Crotty resolved to celebrate debate in new films “Crotty’s Kids” and “Master Debaters”

©by Leo Adam Biga

Originally appeared in The Reader (www.thereader.com)

 

Omaha ex-pat James Marshall Crotty, co-creator of the underground Monk magazine and author of alternative city guides, gained a cult following for his irreverent dashboard reporting about America’s fringes. His arch leanings are on display in two documentaries he’s produced-directed showing at the March 5-9 Omaha Film Festival.

Both films focus on a subculture subject close to his heart, competitive debate. This once itinerant gonzo journalist now based in Los Angeles was a champion debater at Omaha Creighton Prep in the mid 1970s. This self-described “evangelist for debate” passionately portrays the hyper intense activity’s transformational power in his own life and in the lives of South Bronx kids of color.

Master Debaters shows March 6 in the 8:30-10:15 p.m. block of Neb. short docs. Crotty’s Kids shows March 8 at 12:30 p.m. in the feature-length doc block. He’ll do a Q&A after each.

He’s hoping his films inspire funding for an urban debate league he wants to start here as a way to motivate kids to excel in school.

Those familiar with Crotty may find his new gigs as Forbes.com education reporter and crusading debate advocate a departure. It’s actually a catharsis after tiring of the vagabond Kerouac thing, dealing with a protracted lawsuit and losing his intellectual guru and most influential debate mentor – his mother.

He says, Monk, “the National Geographic for freaks,” was as much a rebellion against his Catholic Republican upbringing as anything.

“I was Mr. Alternative hipster subculture guy with Monk and I had this nagging sense the whole time I was interviewing people like the founder of the school for boys who want to be girls to Kurt Cobain to just any kind of an eccentric person or place across the fruited plain that I did not grasp the dominant culture conversation.

“I just felt deep inside I was an uneducated man even though I’d gone to Northwestern. I felt like i was a fraud even though I was really good at spinning this alternative universe.”

He could no longer square his “out there” image with the Jesuit call to be a man for others instilled in him at Prep. He resolved to improve himself and to use debate – “the most profound education experience of my life” – as a means to serve kids from disadvantaged straits.

He felt the discipline of debate helped him and his Prep teammates, among them Alexander Payne (who appears in Crotty’s Kids), find success and he saw no reason it couldn’t do the same for others.

“We were this tribe of academic athletes that learned through debate the ability to speak on our feet, to persuade others about the rightness of our cause. It gives you incredible confidence to tackle any subject. When you’re at the top of your game you’re spending four to five hours a day on it in addition to your schoolwork. And you’re not just reading secondary sources you’re looking up primary sources, you’re going to law libraries, you’re reading studies, you’re really digging deep and you’re able to sort fact from fiction.

“When you have a finely-tuned debate brain the most innocuous statement can be broken apart and you’re able to see through poppycock almost instantly and it’s something really missing in the culture. People are easily bamboozled by false prophets who just because they have such a strong opinion people think they’re telling the truth. That is dangerous for Democracy.”

He says the research skills he learned have served him well.

“I’m able to look beneath the surface to find the truth. Doing Monk I was able to find these people and places that even locals didn’t know existed. That’s because debate trains you to be a geek researcher.”

 

 

 

Crotty'sKids-DVD

 

The sudden death of his mother in 2002 set him on a “sea change” that led him to become a high school debate coach.

“I really felt the calling to help inner city kids.”

But first he needed to immerse himself in education.

“For years I really wanted to study the classics, the great books of civilization. I finally got the chance after we sued Tony Shalhoub and the producers of the Monk TV show in the late ’90s for stealing our brand. It took two years. In 2000 I decided to give up the Monk (mag) hat and go back to school and study the great books at a great little school called St. Johns College Santa Fe (N.M.).

“You sit around a table seminar-style and the tutors ask really good questions to help you dig deeper into the text. I really became a disciple of their method.”

He emerged from his mid-life crisis with a teaching certificate that allowed him to teach the classics and to coach debate. He began at two elite New York City schools to freshen his chops.

“I had been so long out of the game and I knew it had changed a lot. It’s like coming back to play any sport 25-30 years later. It had gotten so much faster.”

He says coaching proved emotional for him because “it gave me a way to give back during a difficult time in my life – I was mourning my mother through coaching these kids.”

After joining the newly formed Eagle Academy in the mid-2000s he made his experience there the basis for Crotty’s Kids.

 

 

 

 

He says the difference between a product of white privilege like himself and “a kid who grows up in the South Bronx is not as great as people might think,” adding, “The one thing that was really obvious to me is that a young man in the South Bronx does not just walk into a whole bunch of cultural capital just by osmosis.”

He says his growing up in a home filled with books and dinner-time conversations about current events is a far cry from what the kids he worked with experienced.

“These kids don’t have that by and large. As a result their vocabulary and basic reasoning powers are not being developed. So my job as a coach was to fill in that gap – the cultural capital piece – and the way I did that was to have adult, intellectual, fact-based conversations with them about whatever interested them. I also had my kids read the classics.”

He says the process of competitive speech and debate develops critical thinking skills in youths that have “an incredible trickle down effect that enables them to excel in school at a much higher level than their peers.” He adds, “It sort of feeds on itself. Young men and women at-risk are looking to compete and win. You get them to see it as a sport and they do whatever it takes. It becomes infectious.”

Sure enough, his kids became champions. One earned a full-ride.

Yet the central focus of Crotty’s Kids is Crotty, not the kids. He comes off as charismatic, quirky, caring, driven. He didn’t intend being the “star” but the footage or lack thereof dictated it.

“It’s not the Hoop Dreams of debate I wanted to make, it’s some other film,” he says.

He’s still in touch with some of his old students, several of whom are doing well in college.

“I’m a kind of surrogate father figure but I don’t push it. I had my chance to really impart as much as I could while I was with them but they need to figure things out on their own. They always know I’m there for them if they ever get in a jam.”

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