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Once more, with feeling: Omaha South High Magnet School and SNAP reteam for new musical “Once On this Island”
This weekend Omaha South High Magnet School and SNAP Productions are re-teaming for another musical co-production after the success of last summer’s “In the Heights” collaboration.
“Once On this Island” is the attraction this time around.
Remaining performances are Friday, June 29 through Sunday July 1.
Check out my El Perico story below to learn more about the show and the cast.
For show times and tickets, visit http://www.eventbrite.com/e/once-on-this-island-tickets or call 531-299-7685.
©by Leo Adam Biga
Appearing in El Perico (el-perico.com)
A year ago, Omaha South High Magnet School and SNAP Productions set the local theater scene abuzz with their joint staging of the Tony Award-winning In the Heights. The all-star production of current and former South students, school performing arts staff and community theater veterans filled seats and won raves.
South and SNAP are again co-producing an acclaimed musical, Once On this Island, which happens to be enjoying a Broadway revival, The June 28-July 1 run at South once more teams community and school artists in a show about love conquering differences.
All tickets are $20. Proceeds benefit SNAP and South.
Urban-themed Heights was set in New York City’s Dominican subculture. Island is set in the Antilles archipelago, where love-sick orphan Ti Moune breeches the divide between dark-skilled peasants and light-skinned aristocrats with help from the gods. The Romeo and Juliet-inspired story is nearly all sung-through.
South and SNAP share a message through theater.
“I feel our mission of inclusion and acceptance dovetails beautifully with South’s amazingly diverse student body and nurturing environment,” said SNAP Artistic Director Michal Simpson, who directs the show.
“We believe theater should inspire and educate, unite and connect. We want it to reflect our world today – to share stories that reflect the gifts all cultures and ethnicities bring to the table. Above all, we believe theater can change people and, perhaps by seeing shows like these, our community becomes more open and affirming, welcoming and respectful of all people,” Island producer and South Magnet Coordinator Rebecca Noble said.
“The fact we are able to do multicultural and ethnically correct casting is something SNAP has been striving for,” Simpson said.
Regina Palmer, who plays Ti Moune, said, “It’s exciting that this story about island people of color is being told by a demographically correct cast.”
Show stage manager Esmeralda Moreno Villanueva, a South High grad, said, “This show is a great opportunity for people of color to demonstrate we’re out here and we’re as talented as anybody else. I think that’s what a lot of the theater community is looking for right now.”
Noble said Simpson’s assembled “an amazing cast.”
The play features three Omaha theater stars who’ve shared the stage before in Palmer, Echelle Childers and Zhomontee Watson. They earned great notices in Caroline or Change at the Omaha Community Playhouse.
“That OCP connection brings us back full circle,” said Watson. “We work really well together. Our voices meld. And we genuinely enjoy each other’s time and company, so it’s nice to be reunited in another show that is so powerful and packs a lot meaning into it.”
Then there’s the synergy of different ages collaborating.
“It gives students a great opportunity to work with some talented people in the community,” Moreno Villanueva said. “It’s important for adults to connect with young people because they are the future of theater.”
“Everyone gets connected in this way. I think it’s a beautiful thing,” said Watson, who plays Asaka.
Simpson said it’s a great training ground.
“With the staff and adult talent they’re working with, the kids can get a true read of what it’s like to participate in the community. They are exposed to new methods of direction, staging and choreography as well as new friendships and mentors. It’s a win-win for all involved.”
South senior-to-be Juan Valdovinos, who was in Heights, loves working with high-caliber talent.
“This collaboration gives me a chance to experience a new level of theater and dedication. I’ve grown a lot as a singer, a dancer and actor, It’s pushed me to do better at what I do. It’s an amazing opportunity. I would never have dreamed of performing with adults like this.
“We set a very high standard last year, but this cast is very passionate and I know we are up to the challenge.”
He appears in Island’s ensemble.
Noble looks to expand collaborations “with other organizations because our kids learn with every new person they work with and we feel really strongly that as an arts magnet we need to help them grow and have as many opportunities as possible.”
Though Zhomontee Watson did not attend South, she is an Omaha Public Schools grad (Benson) and she appreciates this opportunity for new collaborations.
“I had never worked with SNAP before, so I wanted to be able to gain those connections and work with a new director. I love working with new people.”
The productions also serve as reunions.
“One of the ensemble girls, Isabel (Gott), actually played my daughter when we did Les Miserable for the OPS summer musical at South,” Palmer said.
South High alum Kate Myers Madsen, who plays Andrea, is back again after performing in Heights. This new show reconnects her with old friends.
“My good friend Justin Blackson did Once On this Island with me in high school. I worked with the choreographer (Roxanne Nielsen) throughout high school.”
Things have come full circle for Myers Madsen, whose first Omaha community theater gig was with SNAP.
She said these plays showcase what South offers.
“When I was at South it was never given the credit it was due but there’s always been a phenomenal, talented student base. It’s finally got the platform to show why it’s the arts magnet.”
Island’s take on shades of color equating to class status is timely given today’s rhetoric around race and immigration.
“Colorism is one of the main conflicts in the play,” Palmer said, “and in real life it’s not something talked about often. Usually it’s just straight racism. Colorism is more nuanced because it exists within black communities in which lighter-skinned people, even though still black, are looked upon more favorably than dark-skinned people. This is still a very relevant, problematic issue.
“I remember when I was younger staying in summers because I didn’t want my skin to get darker.”
Zhomontee Watson said in addition to the play’s heart-filled music and dance numbers, its powerful human themes about identity will make audiences think.
“It’s something that makes you sit down and process how you fit into the story and what you look like in the story.”
For dates, times and tickets, visit http://www.eventbrite.com/e/once-on-this-island-tickets or call 531-299-7685.
Read more of Leo Adam Biga’s work at leoadambiga.com.
MusicFest Omaha presents Jazz and R&B Festival – Saturday, August 18
MusicFest Omaha presents
Jazz and R&B Festival
Saturday, August 18
12:30 p.m. – 10 p.m.
Levi Carter Park Pavilion
4415 Carter Lake Drive W. Omaha, NE
Featuring national guest artists:
Walter Beasley
Brian Simpson
Jazz in Pink
Laurnae Wilkerson
Daniel D and Angelina Sherie
The Coleman-Hughes Project
Different Perspective
and
Omaha’s own Ed Archibald and Friends
Gates open at 11 a.m.
Full lineup of food, refreshment, craft vendors
Tickets now on sale
General admission $40, VIP $65
Tickets available at:
Homer’s Music Old Market, Jesse’s Place, LeFlore’s New Fashions and Styles of Evolution
https://http://www.facebook.com/events/617896815222199
Life Itself VII: 25-plus years of Omaha theater stories
New plays are discovered at Omaha’s own Great Plains Theatre Conference
https://leoadambiga.com/2018/06/06/new-plays-are-di…eatre-conference/
Kevin Lawler, ©photo by Debra S. Kaplan
Kevyn Morrow
John Guare
Brian O’Bryne and Swoosie Kurtz in Frozen
Life Itself V: Jewish-themed and related stories from 1998-2018
New plays are discovered at Omaha’s own Great Plains Theatre Conference
New plays are discovered at Omaha’s own Great Plains Theatre Conference
©by Leo Adam Biga
Originally published in the June 2018 issue of The Reader (www.thereader.com)
The Great Plains Theatre Conference is more than a collaborative around craft. It’s also a source of plays for theaters, whose productions give GPTC playwrights a platform for their words to take shape.
The May 27-June 2 2018 GPTC included a Blue Barn Theatre mounting of Matthew Capodicasa’s In the City, In the City, In the City. Artistic director Susan C. Toberer booked it after a 2017 PlayLab reading. The piece opened a regular run May 17, Then came a PlayFest performance. The show continues through June 17 to cap Blue Barn’s 29th season.
Toberer said the conference is “a good source” for new material, adding, “I wouldn’t have been aware of City if not for GPTC and it became perhaps the show we most looked forward to this season.”
Susan C. Toberer, ©photo by Debra S. Kaplan
Staging new works from the conference expands the relationship between theaters and playwrights.
“The incredible openness of the process is one of the many joys of working with a script and a playwright with such generosity of spirit. Not only were we able to bring Matthew into the process early and often to offer guidance and support,” she said, “but he invited the artists involved to imagine almost infinite possibilities. We are thrilled to bring his play to life for the first time.”
GPTC producing artistic director Kevin Lawler couldn’t be more pleased.
“This is part of my dream. It’s not really a dream anymore, it’s reality, that local theaters can garner and grab productions, including premiere productions of plays from the scripts that come here to Great Plains. City is a great example of that,” he said.
“Another example is UNO now designating the third slot in their season to fully produce a Great Plains Theatre Conference PlayLab from the previous year.”
“The GPTC-UNO connection goes way back,” said University of Nebraska at Omaha theater professor Cindy Phaneuf. She’s developed alliances with conference guests, even bringing some back to produce their work or to give workshops.
Since conference founder and former Metropolitan Community College president Jo Ann McDowell shared her vision with community and academia theater professionals in 2006, It’s been a cooperative venture, Theater pros serve as directors, stage managers, actors, dramaturges and respondents. Students attend free and fill various roles onstage and off.
The Young Dramatists Fellowship Program is a guided experiential ed immersion for high school students during the conference. It affords opportunities to interact with theater pros.
“The participation of our local theater artists and students is a key sustaining factor of the conference,” Lawler said. “Our national and international guest artists are won over by the talent, generosity and insight of our local theater community and that helps the conference rise to a higher level of engagement and creativity.”
Besides honing craft at the MCC-based conference, programming extends to mainstage and PlayFest works produced around town. Then there are those GPTC plays local theaters incorporate into their seasons.
“We’ve always done plays touched by Great Plains.” Phaneuf said. “Now it’s taking another step up where we’re committing sight unseen to do one of the plays selected for play reading in our season next year. That happens to be a season of all women, so we’re reading the plays by women to decide what fits into our season.”
It will happen as part of UNO’s new Connections series.
“The idea is that UNO will connect with another organization to do work that matters to both of us. This coming year that connection is with the Great Plains.”
Phaneuf added, “We’re also doing The Wolves by Sarah DeLappe. It also started at Great Plains and has gotten wonderful national exposure.”
Additional GPTC works account for some graduate student studio productions in the spring.
This fall Creighton University is producing the world premiere of Handled by CU alum Shayne Kennedy, who’s had previous works read at GPTC.
Elizabeth Thompson, ©photo by Debra S. Kaplan
The Shelterbelt’ Theater has produced a dozen GPTC-sourced plays since 2006, including three since 2014: Mickey and Sage by Sara Farrington, The Singularity by Crystal Jackson and The Feast by Celine Song. It will present another in 2018-2019.
As artistic director since 2014, Elizabeth Thompson said she’s nurtured “a stronger bond with Great Plains, especially since GPTC associate artistic director Scott Working is one of our founders – it’s a no-brainer.”
Omaha playwright Ellen Struve has seen several of her works find productions, including three at Shelterbelt, thanks to Great Plains exposure and networking.
“Some of the greatest advocates of my work have been other writers at GPTC. I’ve helped get GPTC writers productions and they’ve helped me get productions. We are always fighting on behalf of each other’s work,” Struve said. “My first play Mrs Jennings’ Sitter was selected as a mainstage reading in 2008. (Director) Marshall Mason asked me to send the play to companies he worked with on the east coast. Frequent GPTC playwright Kenley Smith helped secure a production in his home theater in West Virginia.
“When my play Mountain Lion was selected (in 2009), Shelterbelt offered to produce the plays together in a summer festival. Then in 2010, (playwright) Kari Mote remembered Mrs. Jennings’ Sitter and asked if she could produce it in New York City.”
In 2011, Struve’s Recommended Reading for Girls was championed to go to the Omaha Community Playhouse, where Amy Lane directed it.
“This kind of peer promotion-support happens every year at Great Plains,” Struve said. “It has been a transformative partner for me.”
Kevin Lawler confirms “a strong history” of “artists supporting each other’s work well beyond the conference.”
Plays come to theaters’ attention in various ways.
“A lot of directors will send me the piece they’re working on at Great Plains and say, ‘I see this at the Shelterbelt and I would love to stay involved if possible.’ That’s definitely something we look at,” Thompson said. “The writer already has a relationship with them and that can make the process a little easier.
“Actors involved in a reading of a script we produce often want to come audition for it. They’re excited about seeing something they were involved with in a small way get fully realized.”
Capodicasa’s City was brought to Blue Barn by actress Kim Gambino, who was in its GPTC reading. She studied theater in New York with Toberer.
Capodicasa is glad “the script made its way to the folks at Blue Barn,” adding, “I’m so honored the Blue Barn is doing the play.” He’s enjoyed collaborating with the team for his play’s first full production and is happy “to “share it with the Omaha community.”
“When I served on the Shelterbelt’s reading committee, I was charged with helping find scripts that could possibly fill a gap in the season,” said playwright-director Noah Diaz. “I remembered The Feast – its humor and beauty and terror – and suggested it. Frankly, I didn’t think it would win anyone over. To my surprise, Beth Thompson decided to program it — something I still consider to be deeply courageous. An even bigger surprise came when Beth suggested I direct it.
“The GPTC is providing an opportunity for the community at large to develop relationships with new plays from the ground up. My hope is by having direct connection to these writers, Omaha-based companies will begin shepherding new works onto their stages.”
“Because we’re a theater that only produces new work,” Thompson said, “these plays have a much better chance of being produced with us than they do with anyone else in Omaha.”
Doing new work is risky business since its unfamiliar to audiences, but Thompson said an advantage to GPTC scripts is that some Shelterbelt patrons “already know about them a little bit because they’re developed with Omaha actors and directors – that helps.”
Twenty plays are selected for GPTC from a blind draw of 1,000 submissions. Thus, local theaters have a rich list of finely curated works to draw from.
“These playwrights are going places,” UNO’s Phaneuf said. “You can be in the room with some of the best playwrights in the country and beyond and you can get to know those writers and their work. It’s wonderful to see them when they’re just ready to be discovered by a lot of people and to feel a part of what they’re doing.”
Whether plays are scouted by GPTC insiders or submitted by playwrights themselves, it means more quality options.
“It just opens up our gate as to what we consider local, and while we have amazing writers that are local, they’re not writing all the time, so it gives us a bigger pool to pick from,” Thompson said.
When theaters elect to produce the work of GPTC playwrights, a collaboration ensues. “They’re definitely involved,” Thompson said. The GPTC playwrights she’s produced at Shelterbelt all reside outside Nebraska.
“Their input is just as valuable as if they were living here and able to come to every rehearsal. We Face-time, Skype, text, email because they do have the opportunity to make some changes throughout the process.”
For Lawler, it’s about growing the theater culture.
“I love that our local theaters are being able to take different scripts from the conference and throw them into their seasons – many times giving a premiere for the play. A lot of productions and relationships are born at the conference.”
Ellen Struve has been a beneficiary of both.
“GPTC has given me access to some of the greatest playwrights alive. It’s a community. Local, national and international. It has invigorated the Omaha writing scene. Every year we get to see what’s possible and imagine what we’ll do next.”
Visit http://www.gptcplays.com.
Read more of Leo Adam Biga’s work at https://leoadambiga.com.
Niche theater for classics still going strong in 25th year
Niche theater for classics still going strong in 25th year
Cathy Kurz and her Brigit Saint Brigit Theatre Company
©by Leo Adam Biga
Originally appeared in April 2018 issue of The Reader (www.thereader.com)
A quarter century since Cathy Kurz was told, “No one wants to see this stuff,”‘ her Brigit Saint Brigit (BSB) Theatre company still draws paying audiences to productions of the classical canon.
Works by Shakespeare, Shaw, Chekov, Ibsen, Miller, O’Neill, Williams, Albee, Stoppard and other playwright legends grace its stage. Since leaving College of Saint Mary eight years ago, the theater’s moved around and now alternates its site-specific work between Joslyn Castle, First Central Congregational Church and other venues.
This 25th anniversary season concludes with Uncle Vanya, April 5-20, at the Castle and The Shakespeare Revue, May 3-24, at First Central, on select dates. All shows are 7:30 p.m.
Low overhead helps keep expenses down, but what’s truly made BSB sustainable without a fixed home is an unwavering commitment to mission.
“Going to rehearsals and working with actors and reading all these plays and thinking about them – that work is everything. That produces the endorphins that make everything else happen,” said Kurz, BSB artistic director and co-founder. “I know the medium, I know the story, and when I read it, I can imagine the story in the medium, and that makes all the difference.”
It helps she’s yoked to a fellow believer in her husband, Scott Kurz, BSB managing director and frequent actor.
Her own fascination began in her hometown of Wichita, Kansas. First, watching television productions, then film adaptations and, finally, live theater.
“I just remember being gob-smacked. I would still be sitting there when they were sweeping up. I was entranced by the smell of the greasepaint, the whole thing, I knew nothing about how it worked. I just knew I liked being there.”
The theater became her home through studies at Friends University (Wichita) and the University of Nebraska at Omaha.
“Trying to translate these plays to the stage and working with actors to find the extra dimension that occurs in the theater has been the greatest love of my life. I’ve had so many incredible learning experiences.”
She feels classic theater can touch all of us deeply.
“Story is the oldest form in the world. Humans love to be told stories, The reason why these scripts have lasted is they’re so good. People don’t get an opportunity to see them. When they do, they realize today’s dramas pale in comparison, and then you combine that with the fact it’s live, it’s right there, and it’s really spellbinding. “There is no spectacle that even remotely can do what theater does. It’s that visceral encounter with talented live actors working right in front of you in a play that’s well-paced and interpreted. There’s just nothing like it. It’s spectacle. You can’t pause it, you can’t start eating and drinking or get distracted. It’s right there and it amazes people.”
When she moved to Omaha in 1980, the Norton Theatre was the city’s only regular classics showcase, Kurz directed several seasons there. When it closed, she felt adrift. Stage manager Cathy Murphy-Barron and actor John Jackson agreed they should stop simply lamenting its loss and, thus, they formed the nonprofit BSB.
“I didn’t know if people would come. I was discouraged from doing it by others,” Kurz said.
She persisted anyway, buoyed by her fellow travelers.
“If, as a director, you have talented, disciplined, dedicated actors and you can match them, then you’re going to do it. I’ve never believed you have to have a fancy backdrop or electronics or big screens. That’s not how we are. If you believe in the power of theater and this material, you’re going to do it wherever you can.”
BSB found an instant following and developed a company of players.
But, she acknowledged, if the Norton hadn’t closed, “i don’t know if I would have started the theater.”
BSB produced its earliest shows at Joslyn Art Museum, then Bellevue University, before taking residence at College of Saint Mary in 1997. BSB stayed 11 years.
“College of Saint Mary was just pivotal. They were so supportive of us. We had storage space, dressing rooms, offices. We rehearsed and constructed sets there. People liked the location. We really did build a lot of audience over that time.”
But when CSM experienced an enrollment boom, it reclaimed the space.
“We were really sorry to leave.”
That was 2008. Then came a twinning experiment with the Blue Barn, followed by a stint in the Capitol District before settling at the Castle and First Central. One-offs happened at Mastercraft and 40th Street Theatre.
The Castle’s 19th century architectural splendor lends itself to period pieces without having to build sets and First Central’s flex space allows great freedom.
Kurz wasn’t sure audiences would follow BSB from venue to venue, but they have. Now she wants the uninitiated to know that instead of treating Chekov’s Uncle Vanya as some dry academic-historical exercise to sit reverently through, it’s okay to laugh.
“It’s not dour. There’s a lot of humor. It’s just life.”
The greatest affirmation she receives is seeing patrons after a show “affected” the same way she was when first captivated by theater.
“There isn’t a greater gift.”
She’s grateful a new generation of theater lovers is being cultivated by BSB public after-school programs conducted by actress-educator Patty Driscoll.
By Kurz remaining true to her vision, BSB remains vital.
“This 25 years has has a lot of ups and downs, tension, drama and worry. The thing that’s kept it going is the belief in it and the love for it.”
Visit http://www.bsbtheatre.com. Read more of Leo Adam Biga’s work at leoadambiga.com.
Finding home: David Catalan finds community service niche in adopted hometown of Omaha
Finding home: David Catalan finds community service niche in adopted hometown of Omaha
©by Leo Adam Biga
Soon appearing in El Perico
David Catalan long searched for a place to call home before finding it in Omaha four decades ago.
Born in San Diego, Calif. and raised in Arizona, the former business executive turned consultant has served on many nonprofit boards. It’s hard to imagine this sophisticate who is so adroit in corporate and art circles once labored in the migrant fields with his Mexican immigrant parents. It’s surprising, too, someone so involved in community affairs once lived a rootless life.
“My whole life had been like a gypsy. I was a vagabond because traveling from place to place and never really having a fixed home – until I came to Omaha with Union Pacific in 1980.. I chose to stay even after I left U.P. because I really felt at home here and still do after all those years wandering around.”
Vagabundo, a book of his own free-style verse, describes his coming-of-age.
Catalan, 76, grew up in a Tucson barrio immediately after World War II. His father worked in the copper mines. When Catalan was about 13, his family began making the migrant worker circuit, leaving each spring-summer for Calif, to pick tomatoes, figs, peaches and grapes and then returning home for the fall-winter.
“I didn’t really feel I wanted to get stuck in that kind of a destiny,” he said. “Maybe escape is too rough a word, but I had to get away from that environment if I was going to do anything differently, and so I left and went to live with a sister in the Merced (Calif.) area.”
He finished high school there and received a scholarship to UCLA,
“I was the only one in the family that actually completed high school, let alone college.”
He’d long before fallen in love with books.
“That led me to realize there was more I could accomplish.”
While at UCLA, a U.S. Army recruiter sensed his wanderlust and got him to enlist. He served in Germany and France. He stayed-on two years in Paris, where an American couple introduced him to the arts.
“It was a big awakening for me,” he said.
Back in the U.S., he settled in Salt Lake City, where he was briefly married. Then he joined U.P., which paid for his MBA studies at Pepperdine University. Then U.P. transferred him from Los Angeles to Omaha.
“I never had a sense of knowing my neighbors, having some continuity in terms of schools and experiences, so I felt like I had missed out by not having had that identity with place and community. When I came to Omaha, I loved it, and U.P. really promoted employees getting involved in community service.
“Doing community service, being on nonprofit boards became an identity for myself.”
Upon taking early retirement, he worked at Metropolitan Community College, in the cabinet of Mayor Hal Daub and as executive director of the Omaha Press Club and the Nonprofit Association of the Midlands.
“I threw myself into the nonprofit world.”
He’s served on the Opera Omaha, Omaha Symphony and Nebraska Arts Council boards.
He cofounded SNAP! Productions, a small but mighty theater company originally formed to support the Nebraska AIDS Project.
“Omaha was the first place I saw a couple friends die of AIDS and that was a real revelation for me. That got me working to do some fundraising.”
SNAP! emerged from that work.
“I was the producer for almost every production the first few seasons. The audience base for SNAP! is a very accepting part of the community. It was gratifying. It’s been very successful.”
His interests led him to South Omaha, where he helped found El Museo Latino. More recently, he helped get the South Omaha Museum started. He also served as president of the South Omaha Business Association.
“I got involved with a lot of economic development.”
He wrote and published Rule of Thumb: A Guide to Small Business Marketing.
He’s “very proud” both SNAP! and El Museo Latino, whose vision of Magdalena Garcia he caught, “are still going strong and still serving the community.”
Each time he gets involved, he said, “it isn’t planned – the need arises and I’m there willing to help work to make it happen.”
“Doing all this work helps me feel I am a part of a dynamic community. That’s what really drives me, motivates me and makes me feel very positive.”
He’s involved in a new project that dreams of building a 300-foot tall Nebraska landmark destination to be called “Tower of Courage” at the intersection of 13th and I-80 across from the Henry Doorly Zoo.
“We’re in the process of trying to acquire the land. It’ll be a place for culture-history exhibits all focused on the rich cultural and historical history of Neb. and the region.”
Meanwhile Catalan has his own consulting company helping nonprofit and small business clients with strategic planning and grant-writing.
He’s also active in the Optimist Club.
“I’ve lived a full life. I’ve met so many wonderful people. I can navigate around many communities because of the the work I’ve done and the people I’ve met.”
He’s doing research for what may be his third book: weaving the story of a pioneering Jesuit priest from the same Sonora. Mexico hometown Catalan’s mother was born in and near where his father was from, with the history of area Indian tribes and his own family.
He’s traveling this winter to Sonora – not to escape his roots but to discover more about them.
He’s written about his family in Vagabundo and in poems published in the literary journal, Fine Lines.
“I think I’m creating a David Catalan space of my own I never had growing up.”
TODAY: A Gospel Concert in the Park – “We will worship our Lord in the Open Spaces”
North Omaha Summer Arts presents A Gospel Concert in the Park
Our 7th summer of North Omaha Summer Arts (NOSA) is just around the corner and we cannot wait to serve you all.
First up is our annual Gospel Concert in the Park (held in Miller Park). This year’s concert is Saturday, June 17th from 5:00 to 7:30 p.m.
All events are free and open to the entire community.
See details by clicking the poster below.
North Omaha Summer Arts – Women’s Writing 7
Our 7th summer of North Omaha Summer Arts (NOSA) is just around the corner and we cannot wait to serve you all.
Our first class is Women’s Writing 7 – “A further journey into Being Published”
Held weekly on Wednesdays, beginning June 7th and running through July 26th.
All events are free and open to the entire community.
See details by clicking the poster below.
Leo Adam Biga's My Inside Stories 