Leo Adam Biga's My Inside Stories

I do not write about theater a lot, but often enough to keep me in the game and I’m always eager to do it because there is nothing else like good live theater, and Omaha has more than its share of solid stage offerings. The Blue Barn Theater is one I’ve written about only from time to time. It is especially fulfilling to write about this well regarded institution again on the occasion of its soon to open new facility. Here is my new piece about the Blue Barn for Metro Magazine  (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/). It looks backwards and forwards. As fate has it, I will soon be writing more on the Blue Barn.

Ironically, I recently did another theater piece for the same magazine a few months ago, only that time on the Omaha Community Playhouse and its 90th anniversary. My opus on the Omaha Community Playhouse is at:

https://leoadambiga.com/2015/05/03/omaha-community-playhouse-takes-seriously-its-community-theater-mission/

NEW BLUE: Blue Barn Theatre putting down new roots

©by Leo Adam Biga

In the August-September-October issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

Edgy material and intimate work have always defined “the Blue Barn way” and now this once nomadic theater finally gets a home of its own but remains committed to staying true to its rebel image.

When the Blue Barn Theatre celebrated 25 years in 2014, it joined the select ranks of Omaha’s longest-lived playmaking companies.

Now BB is putting down serious roots by moving into a new home at 10th and Pacific. A $7 million capital campaign is underwriting the newly constructed building ($5 million) with the imprint of a renowned theater consultant on it. Unusual for a theater this size, funding is to cover a $1 million operating endowment and a $1 million endowment.

Upon opening the 2015-2016 season there, BB will have in place what’s needed for another enduring run.

Stronger through the struggle
The cutting-edge theater’s founders never imagined this. They were fresh out of college diehards from New York City when they launched BB with little more than enthusiasm. Its first two decades saw consistently high quality theater tinged by crisis. The low points included a fire gutting one space, losing the lease on another, a homeless period, serious debt issues and a revolving door of leaders.

Kevin Lawler, now Great Plains Theatre Conference director, began the migration from the State University of New York in Purchase. He recalls building BB’s former Old Market space “on personal credit cards…then watching from across the street as it was destroyed by a giant fire before the first season there was completed.”

BB artistic director Susan Clement-Toberer, who’s led the theater longer than anyone else, feels it’s stronger for the struggles.

“These times when we were in financial stress and maybe made not such smart business decisions really I think strengthened the drive to create Blue Barn-style theater in this town and became a catalyst for needed growth within us. We wouldn’t be where we are now if we hadn’t gone through those tough times.”

Shared approach and consistent mission
BB’s found a niche doing provocative work. Its small but loyal following has stayed true through all the reversals of fortune.

A theater doesn’t survive on passion alone. Clement-Toberer says the BB’s made it by sticking to principles and finally growing up.

“Our mission statement from the beginning has been to produce theater that provokes thought, emotion, action and change. I think the reason we’re in the position we are now of putting down permanent roots is because we have always stayed true to our mission.”

From the start, BB set itself apart as a tight-knit cohort sharing the same ethos. Soon after Lawler’s arrival, SUNY-Purchase classmates Hughston Walkinshaw and Nils Haaland came. Mary Therese Green of Neb. joined this merry band of founders. Clement-Toberer followed.

“The voice of the Blue Barn was born through our training, individual talents, perspectives and passion for our art form,” Clement-Toberer says. “Our coming to Omaha really couldn’t be stopped whether we had one audience member or a hundred. We were kids and we were fired up, and still are, to tell stories.

“I think the play choices in the beginning were very unique and those voices were not being heard in Omaha at the time.”

“The whole endeavor was born of our deep longing to share exceptionally vibrant and surprising stories and to explore life together that way,” Lawler recalls. “When we began we had nothing more than that dream. That passion, free from any other agendas, is a big part of what makes the work at the Blue Barn so special.”

Omaha theater stalwart Jill Anderson is among several local stage artists who found something new there worth following, first as a fan, then as an actress and jill-of-all-trades. She describes how the “singular magic” of the work and “the unfettered, unconventional creativity” transfixed her and still does. “The things that set the Blue Barn apart are the consistent interest in pushing limits, exploring challenging subject matter, aiming really high in terms of talent and production values but keeping things at an intimate level so the audience feels they are a part of the story.”

For most of its history BB thrived aesthetically but lagged when it came to management.

“Artistically we’ve always been strong and we finally built our business side to kind of keep up with our artistic side,” Clement-Toberer says. “We’ve always run the Blue Barn on a shoestring budget. We’ve gone through a lot of different challenges. We’ve been through the ringer.

“But we’ve built from the very beginning the mentality of you don’t have to spend more to do great art and that’s still how the business is run.”

Resources or not, she says, BB’s always been “artistically driven.”

“It’s very unusual in its structure where the board does have say but the artistic director and the work we do is what drives our growth. It’s a very big gift that we’ve been able to retain the core values we began with 26 years ago.”

Along the way, she says, “our voice has matured in a wonderful way,” adding, “It’s still speaking the same language and feeling, just a little more fluently. Sometimes now we do a show more ‘commercially’-based, like 33 Variations. But our process remains intimate and story-driven.” The same with BB’s Our Town production to close last season.

Seeing things through
Relatively few local theater companies have enjoyed its longevity. There were periods when it wasn’t assured of making it another season, much less reaching the quarter-century mark.

“Hughston (Walkinshaw) and I took it over in 2001. Some programming choices that were big and bold ended up not getting underwritten. Then Hughston ended up leaving. I took over leadership fully.”

Looming debt threatened to dim the lights for good.

“I thought, what the hell, the worst thing I can do is close the doors. But I didn’t want the Blue Barn to close on my watch. I was like, ‘Uh-uh, not going to happen.’ It was a grow or go mentality,” Clement-Toberer says. “I think it was my time to run it. I surrounded myself with people i trusted and knew, like Shannon Walenta, my managing director. From 2008 on we started to build it. A fundraiser got us out of debt. From that point on with Shannon as my right-hand woman and the business aesthetic I learned from my father we have steered the Blue Barn to a great artistic and business balance that is fairly equal for the first time.

“I’ve learned to trust my instincts over what anybody else says. Not that I don’t take input but I’ve learned having my own voice is crucial to succeeding and growing. The same with hiring the right people.”

Production manager Amy Reiner and associate artistic director Randall Stevens are other members of her team.

Philanthropist Nancy Mammel says long before joining the BB board “I saw tremendous potential and ongoing growth for the company.” She champions its “dynamic vision” and “track record of excellence” and she feels its repaid “the generous community” support shown it.

Jill Anderson speaks for many in saluting Clement-Toberer.

“Susan has been a great steward of the theater. I think the power of her positive thinking has brought about great things for the Blue Barn. She keeps a strong and steadfast ‘can do’ attitude about the very difficult task of helming the theater. Her persistence is inspiring to me.”

Right place at the right time
There’s wide agreement, too, the theater should prosper at its new site, where it will neighbor with the Durham Museum, House of Loom, the restored Burlington Station, the booming Little Italy district and the coming Omaha Market.

“It’ll be a destination place. I love the area. It’s the perfect place for our home. I couldn’t see it anywhere else,” Clement-Toberer says.

Board member Ariel Roblin, president-general manager of KETV, which occupies the Burlington catty-corner from the new theater, says, “The Blue Barn is the perfect addition to the revitalization of South 10th Street.” She admires BB for “filling the space with great art born from a process that starts and ends with integrity and heart. This wonderful building is just a reflection of the art you will find going on inside the building.”

With the theater’s west wall opening onto green space, BB has an alfresco presence it’s never had before.

“Our indoor-outdoor convertible space is just outrageous and rife for great parties and great theater,” Clement-Toberer says. “It’s a unique set up that I believe will be limitless for opportunities to create our art.”

She says the expanded new digs and deeper resources will help BB to “stretch our wings and go to Chicago and and New York to bring in professional actors,” adding, “Our goal from the beginning has been to make the Blue Barn a regional theater.” BB also has a residence to house out-of-town actors and other artists.

She says the new theater space will retain the BB mystique.

“We’ve realized we are Blue Barn no matter where we are. Many people thought we should build a 250-seat black box and I said, ‘That’s not who we are, that’s not who we’ve ever been.’ We knew we wanted to keep the intimate quality between our audience and the stage.”

Noted project consultant Joshua Dachas suggested the new auditorium repeat the pillars that wrap around the old site’s seating area to create that same “nest-like feeling.” The pillars at the new site are fashioned from fallen trees. Area artists used reclaimed materials to fabricate various architectural features in the theater.

“All these are handmade and very Blue Barn in that nature,” Clement-Toberer says.

Reflections and appreciations
Kevin Lawler, who admires the “beautiful” new space, says, “I feel immense gratitude for having been able to be a part of the Blue Barn.”

“When we started the Blue Barn we just wanted to do theater that thrilled us. No knowledge of how to attract an audience. Just hoped they would show up,” Walkinshaw recalls. “In one of the early years we did a performance for one person. Now Blue Barn is part of Omaha’s cultural landscape and the new building totally seals that deal. To start a theater with only a dream and know it is set up now to thrive for years to come, well, being part of that legacy is profoundly gratifying.”

Clement-Toberer, too, is grateful to be there for its blooming.

“It’s an amazing adventure and opportunity for us to actually be putting down permanent roots in our own space and to do it really the Blue Barn way. It still sometimes doesn’t feel like it’s really real. But I do see an incredible stage light at the end of the tunnel as we create something that will be here long after we’re gone.”

For season details. visit http://www.bluebarn.org.