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Roni Shelley Perez staking her claim as Nebraska’s next ‘Broadway baby’

February 1, 2018 Leave a comment

Roni Shelley Perez staking her claim as Nebraska’s next ‘Broadway baby’

©by Leo Adam Biga

Soon appearing in El Perico

 

Nebraska is far from the theater capital of the world, yet many natives have trod the Broadway boards – from Henry Fonda to Sandy Dennis to Andrew Rannells. Actress-singer Roni Shelley Perez, 21, hopes to join their ranks. The Omaha Marian and University of Nebraska at Omaha graduate has graced several area stages and is now pursuing her dream in New York City during winter audition season.

This daughter of native Filipino parents has prepared for this all her life.

“I’ve been singing since I was very young. I sang-along to Barney songs ay 3. I started playing guitar at 8,” said Perez.

She also plays the ukelele.

She began performing for family functions and Filipino community gatherings at 11.

“I used to play guitar and sing Filipino covers.”

It earned her spending money.

But performing is, first and foremost, “a healing art” for Perez. “Stories told in songs can be relatable. People going through that same situation need to hear these stories. It’s hard for people to be vulnerable, so to see someone else vulnerable helps them to know it’s okay to feel.,” she said. “Performing arts can be very impactful. It’s a shareable, very much a collective experience.”

In SNAP Productions’ mounting of In the Heights at Omaha South High last spring, Perez’s character Nina mirrored her own life as the eldest child of aspirational immigrant parents in a tight ethnic community.

“Like Nina, there was all this pressure on me growing up to ‘Go, you can do this.’ That role answered a lot of questions for myself.”

She found support as a UNO Goodrich Scholarship Program recipient.

“Goodrich was like a family and definitely one of the best things I took from my undergrad. They believed in me and took a chance on me.”

Her parents were initially dubious when she majored in vocal performance and musical theater.

“Every immigrant parent is hoping for the American dream and I’m going into a field where financial stability is not really a thing. They were scared for me to go into music. But then as soon as opportunities started happening (scholarships, prizes, accolades), they realized, ‘Hey, you can do this.’ I feel like I’ve been doing it for so long and it’s been such a huge part of my life that I can make it into a career.”

The mainstream success Filipina performers enjoy, ala singer-actress Lea Salonga, gives added hope.

“She’s a big influence. She represents the Filipino community in musical theater.”

Filipino actresses have made waves in Hamilton in New York and London. “All these people are just very inspiring.” Then there’s singer-actress Sarah Geronimo. “Growing up, my mom would always play her music and I always looked up to her. She has a beautiful voice. I wanted to sing like her. I wanted to be like her.”

Perez dreams of Broadway but for now her goal is to “just perform professionally” as a working artist. “If it;s there, then I want to turn it into something bigger. I don’t even know what I’m capable of yet.”

It’s doubtful any performer from Neb. has been more prepared at such a young age. She boasts years of high-level training and performing. At 18, she won the part of Mary Magdalene in an Omaha Community Playhouse production of Jesus Christ Superstar. She’s worked with New York stage professionals at the Open Jar Institute, NYU Steinhardt’s Summer Study in Musical Theatre and Shetler Studios’ workshop of Zanna Redux.

“I’ve been going to New York every year now to see where I am ability-wise. I’ve been making connections.”

In Omaha, she got scholarships to Broadway Dreams Foundation Summer Intensive Workshops in 2013 and 2014, studying under and performing with Tony Award nominees and winners. It grew her confidence.

“It showed me what I need to continue working on but also it was like, ‘Hey, if I’m able to perform with them right now, I’ll be able to stand my ground and eventually get to their level too.’ It’s been very encouraging and definitely humbling. Like, I’m clearly not the best, but I can work at it and come to that level.”

She’s participated in master classes through Omaha Performing Arts. The 2016 National Student Auditions competition winner has been recognized by the Playhouse, Theatre Arts Guild and Omaha Entertainment and Arts Awards. Last year, she and a classmate won first place in the Musical Theatre Division of the National Opera Association’s Collegiate Opera Scenes Competition.

She attributes her drive to her hard-working parents, who own their own business.

“I want to give back and work just as hard. I can’t even fathom coming from a third-world country to the United States with poor English and trying to start a family and career. It’s very inspiring and always on my mind as I take on new roles and shows.”

At 20, Perez earned the lead in Heathers at Omaha’s Blue Barn Theatre. Her character sings the entire show, so she trained to build vocal stability and stamina. It was both her first lead and first paid acting gig.

“That role came very close to my heart,” she said. “I’m grateful the Blue Barn took a chance on me.”

She returned there this past summer as the title character in Priscilla.

Her most “demanding and rewarding role” came last fall in UNO’s production of Spring Awakening.

“This one really tested my vulnerability and sacrifice. I had to let everything go. That was very hard to do.

Everything I’m doing is giving me a better version of     myself or helping me be my best. There’s always something to learn – always. I love a good challenge.”

Blue Barn artistic director Susan Clement-Toberer, who’s twice directed Perez. is convinced she has what it takes to make it.

“I expect it and I’m exhilarated for the moment when that happens,” Clement-Toberer said. “She was born to do this. She’s got the vision of what she wants to do, and if there are nos along the way, it’s not going to stop her.”

Perez herself said she’s going after it now “because I think I do have what it takes to succeed.”

Follow her at www/ronishelleyperez.com.

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Divas By Design: Camille Metoyer Moten & Kathy Tyree

October 5, 2016 Leave a comment

Cover Photo

 

MUST SEE ENTERTAINMENT!
Divas By Design –
Let timeless musical theater performers Camille Metoyer Moten and Kathy Tyree take you on a flashback nostalgic journey of their most celebrated signature songs over the last 30 years.

Part of the Blue Barn’s Out of the Blue Special Event Series.

Enjoy tunes from Hairspray, Funny Girl, Marvelous Wonderettes, The Wiz, Evita, Ain’t Misbehavin’, Leader of the Pack, Ragtime and other memorable musical theater shows these divas starred in.

Together, Camiille and Kathy, form a musical revue duo for the ages.

Blue Barn Theater
1106 South 10th Street,
Thursday, October 20th and Friday, October 21st
7:30 p.m. both nights

$35 in advance
$40 at the door
$120 reserved tables of four

Purchase tables or single tickets at–
http://www.kathytyreeproductions.com
or 402-575-1971
or 402-345-1576

Visit the FB event page at–
https://www.facebook.com/events/1782743872006881/

FINDING HOME: With its own home, the Blue Barn completes a long road to creating edgy theater

September 1, 2015 Leave a comment

Omaha has institutional-type theaters and grassroots-type theaters.  For most of its life the Blue Barn Theatre has been of the grassroots variety but now that a major capital campaign has allowed it to build its first permanent home, the Blue Barn is suddenly in a far more secure position than ever before.  Of course, that “suddenly” only came after decades of passion, struggle, invention and equity in building community capital.  And once the theater called in its chips and started rasing funds for the project, great pains were taken to retain its edgy, independent, homemade spirit in the beautiful new digs.  On a personal note, fate decreed that I write three stories about the Blue Barn’s momentous move into this new space, and for three separate publications no less, and all this after years of not writing about Blue Barn.  This is the second of those pieces and it appears in the September 2015 issue of The Reader (www.thereader.com).

The Reader September 2015

FINDING HOME: With its own home, the Blue Barn completes a long road to creating edgy theater

Past, present, future converge in new space

Appearing in the September 2015 issue of The Reader (www.thereader.com)

Until now the Blue Barn Theatre has been like Omaha’s many other small stage companies by operating on a shoestring in makeshift spaces. This grassroots passion project was born of a band of New York drama school transplants afire with the idea of starting their own troupe. Relying more on creativity, charity, thriftiness and ingenuity than real budgets, they mounted plays in rented and borrowed spaces.

Suddenly, Blue Barn’s done the unthinkable for such a by-the-seat-of-your-pants endeavor by parlaying years of scommunity equity and creative capital to build its own space. It’s Omaha’s first purpose-build independent theater to go up in decades. The arresting new digs at 10th and Pacific are the result of Blue Barn staying the course, remaining true to itself and letting philanthropists catch up to the edgy aesthetic that’s gained it a loyal following.

The theater occupied several improvised spaces from its start in 1988, never really securing a place to call its own. It did find stability at the 11th and Jackson Old Market warehouse site where it was housed the last several years. Though hamstrung by cramped quarters not really suited for theater and lacking amenities, Blue Barn made the intimate environment – exposed vents and all – work. Blue Barn personalized it with help from artists designing original posters and custom fixtures.

The new theater – part of a mixed used site with residential units, a restaurant and a public garden – features enlarged, upgraded facilities and a flex indoor-outdoor space opening onto the garden. As an ode to its name, the exterior evokes a hand-raised barn via weathered steel walls framed by rebar poles and the roof’s pitched gables. The interior captures the old Blue Barn in hand-crafted floor and wall elements. The theater seats are from the former site. The way the audience enters the auditorium follows the flow of the old space. Splashes of blue recur throughout.

The new theater is the culmination of a vision shared by original Blue Barners’ Kevin Lawler, Hughston Walkinshaw, Nils Haaland and Mary Theresa Green. Some took turns at the helm. Each moved on, though never breaking ties. All but Green attended the SUNY-Purchase theater school. Her then-marriage to Lawler brought her into the fold. As the legend goes, Lawler was visiting Omaha when Old Market denizens embraced his theater dream and offered space to realize it in. He got Walkinshaw and Haaland to come join him. Clement-Toberer arrived a year later. She’s now led Blue Barn longer than anyone.

Kevin Lawler

The group’s deep, familiar kinship was evident one August morning at the new space. Emotions ran high during a tour and roundtable discussion. All agree the site fulfills what they once only dared imagine.

“Yes, it is the embodiment of a dream,” Lawler said.. “It’s just glorious to see. When we were in school in New York we’d go to these small off-Broadway places and see incredible theater and I grew up in Minneapolis where there are a lot of small incredible theaters just like this. So that was always a dream and to see Susan be able to make that happen for the Blue Barn in Omaha is amazing.”

“Every dream we’ve had in our entire existence is embodied in this building and we can keep dreaming,” Walkinshaw said.

Realizing that dream has been replete with challenges, including one space that burned down and people who burned-out.

“It’s been a road,” Clement-Toberer said.

Keeping it going meant digging into personal finances.

“A lot of sacrifices, big life sacrifices,” Lawler said. “There’s blood, sweat and tears in here. Nobody at this table has a retirement account. Nobody at this table probably has a savings account. We’ve all given our adult lives into making this art. The rewards have been with each other and the people we’ve been able to share stories with, and you couldn’t ask for more than that. So, yeah, there’s a lot invested.”

Susan Clement-Toberer

Susan Clement-Toberer

They say it’s all been worth it, given how far Blue Barn’s come.

“There were times we were homeless and there were times where there was a real chance the theater wasn’t even going to survive.,” Walkinshaw said. “Now it has, and I’ll tell you what, I breathe a lot easier, I don’t have to worry about the Blue Barn sustaining. I feel relieved now – like the Blue Barn way will continue now permanentlyand all the sacrifices we made and the passion we gave now will live.

“We survived long enough that the town made this happen. It made Film Streams happen, it made Saddle Creek (Records) happen. It found those art forms a little bit earlier. Now it’s made this happen.”

For Clement-Toberer it means, “now we know we have a home that we can create in where we can dream big, we can dream in ways and forms of storytelling we were never able to do before.”

Walkinshaw said the new building is “the final stage” of Blue Barn’s evolution “in terms of having a permanent place to live, but this permanent place to live also has endless possibilities for what the Blue Barn can do in terms of storytelling and play production.”

“To have your own space is pretty phenomenal,” said Haaland, who acts there. “There’s a long list of people that have definitely helped us out. I can’t help but have tremendous respect for all those who have sort of paved the way. Mary and Kevin saved it a number of times out of their own pocket. Hughston stood up and was the leader for a long time. Kevin led for a very long time. And then I’m truly just humbled by what Susan has done. It does take one person to lead and she has done just an exemplary job. I mean, we are very fortunate to have her.”

Hughston Walkinshaw

Green said, “I’m very moved just by the generosity of everybody coming together to put this together. It’s breathtaking, really, the scope of how beautiful it is. It’s gorgeous. It’s a testament to the community’s support for the theater all of these years.”

The Blue Barn’s long been a darling of Omaha tastemakers, with the likes of Alexander Payne among its fan-support base. But it only recently got corporate sponsors such as Omaha Steaks and donors such as developer-philanthropist Nancy Mammel to buy in.

Despite many lean years the theater gained enough credibility to launch a capital campaign to fund construction of the new site as well as raise funds for an operating budget and endowment.

Clement-Toberer said that in the process of Blue Barn gaining its first permanent home her main concern was maintaining the theater’s funky, grassroots identity and intimate relationship with patrons.

“The biggest struggle for this building in creating our home has been to keep the Blue Barn voice clear and pure to who we are and to how we create theater. Everybody thinks they know what a theater should be and how we should produce theater. Even with this major transition of moving into our own space there have been times where people say, ‘But that’s not how you do that in theater, you need to do it this way.’ Well, we don’t have to do it that way.

“If we want to change something after we’ve opened, we change it because it’s not instinctually, organically right for the story.”

 

 

omahayp-news-bluebarn

 

Mary Theresa Green said the Blue Barn way is a process born of freedom, exploration and seizing inspiration where you find it, whether repurposing materials or calling in favors for props and set pieces.

“To me, it means producing something very organically and from a place of love and hope,” Green said. “Like the found objects and somebody who just happens to know somebody who has free things we can use and put together. Because everyone is so creative and imaginative and free and almost very childlike in creating the pieces, they become these deeply beautiful shows that really affect and touch people, way beyond just basic entertainment.

“I mean, a Blue Barn show to me is something where each audience member will take their own personal journey inside of themselves and connect with it on a really deep level personally.”

“A lot of times we are still scrapping, getting what we can to put up last minute stuff,” Haaland said. “But I think it’s really evolved now in that it’s much more methodical. With age there’s so much more experience, wisdom and maturity.”

 

Picture of Nils Haaland
Nils Haaland

 

Lawler, now Great Plains Theatre Conference producing artistic director, described Blue Barn’s guiding ethos.

“There’s a certain type of show I think we all just loved when we saw it and if I had to put it into words, it’s like what any great work of art will do when you see it or partake in it, you walk away from it being cracked open as a person and looking at and feeling the world differently. Even if it’s an incremental amount of growth, it happens, and it’s very distinct. You can ask all of us and we all knew then this is what we wanted to facilitate with every show we put up.

“It’s like, we don’t have any money, all we have is ourselves, but somehow we’re going to get to the heart of this story so deeply it will facilitate this experience of opening up a compassion, and the people who come and share in the story will have that experience. That to me has been the seed of the whole thing from the beginning.

“And then all this has happened around it,” Lawler said.

Clement-Toberer, who with managing director Shannon Walenta built the theater’s business side to balance the artistic side, believes she knows why the community’s repeatedly come through with support.

“I think it’s pretty simple – it’s our mission. What we do on stage has not changed over the years. Matured a little bit, which I think is good. But I think it’s the stories we tell and the way we produce theater. And the way we built this theater is the way we also produce theater – the Blue Barn way, which is found objects that become magnificent and sets we build at cost but create a great vessel to tell a story. Our budget’s a little higher but I’m still digging through dumpsters.

“I think this building is a great manifestation of the history all of our work over the ears and of our training at Purchase. It’s been the common thread and people have connected to that. We know how to tell a great story and how to produce a show without forgetting the heart of the piece.”

She found the right interpreters to articulate these things in the building in Joshua Dachs from New York-based international theater space planning and consulting firm Fisher Dachs and in architect Jeff Day of the Omaha and San Francisco-based architectural firm MinDay.

 

Jeff Day

 

“I think she sensed I would understand where she was coming from, which I did,” Dachs said. “When I visited the Blue Barn it was clear it’s a kind of artisanal handmade theater company. The old space had amazing show posters designed by artist friends – beautiful woodcuts and lino-prints – as well as handmade ceramics by Susan’s husband (Dan Toberer) and a hand-carved wood counter by an artist friend.

“The whole place had this wonderful, very specific spirit. And the biggest fear she had and that I wanted to help her avoid is that in moving to a new building it would somehow get sterilized and become generic and no longer reflect the spirit of the company and the character of the place it’s built up over many years.”

The very things bound up in Blue Barn drew Dachs to the project.

“What captured my imagination was the special quality and character of the Blue Barn,” he said. “It’s incredibly unique. The sort of mythology of how it was born and all of the artists that have played a role in making it what it is. The idea that this kind of artisanal theater company was going to make itself a home and fight the urge to become grand and formal and all of the things that happen a lot.”

 

 

Blue Barn Theatre - Omaha, NE, United States

 

Dachs admires the uncompromising stand Clement-Toberer’s taken to stay true to Blue Barn and not go for the slick or the inflated, like the 300-seat theater some pressured her to pursue. The new theater accommodates about the same number of patrons, 96, as before.

“It takes a really strong leader to fight that inclination and to stay within your means and to build something that’s right-sized, so that it can endure and sustain itself into the future. That’s really hard to do. But she’s really smart.”

Architect Jeff Day said, “There was a very strict sense of budget, so we knew from the very beginning how much they could spend on the building, and Susan was really on top of things to make sure this was achievable. We had to cut things out here and there. She was willing to make sacrifices on things they don’t really need.

“It’s not a showy building in the sense of being super-refined. It’s really a place for improvisation. We’re trying to leave a certain amount of open-endedness to it. The intention is that the building will allow them to grow into it and modify it over time. It’s really an evolving space. We thought of it as a framework for them.”

 

Mary Theresa Green

 

Just as Dachs did, Day found the project appealing because of how the theater does things.

“Blue Barn likes to think of itself as experimental and challenging,” Day said. “They’re not afraid of doing edgier things that might shock people or cause people to think. Obviously for an architect that’s exciting because it sort of gives us justification to do things that are unfamiliar as well, which we love to do.

“From a planning standpoint probably the most unique feature is that the back of the stage can open up to the covered outdoor space – we call it a porch yard. Then that opens up to the garden, so you really get continuity from theater to city. They can close the doors and have an acoustically-sealed space that will work like a black box or studio theater or they can open it up and have these events with really unique stagings.”

Many ways were found to give the new site the handmade qualities that distinguished the previous venue.

“There’s a lot of character in that theater which draws directly from the Blue Barn’s old space,” Day said. “It was really an attempt to break away from the neutrality of the black box theater type. For example, the old Blue Barn had this warehouse column structure and without replicating we brought some large timbers into the space to help create a framed area around the seating.”

Clement-Toberer calls it “the nest.”

 

Blue Barn Theatre

The lobby of the new Blue Barn Theatre features thousands of pieces of recycled wood and its floor was reclaimed from a demolished building.

MEGAN FARMER/THE WORLD-HERALD

 

 

“It brings the scale down to just slightly bigger than the old Blue Barn,” Day said. “It gives the sense of intimacy they’ve had while creating a sense of texture and character.”

Since collaboration is a hallmark of the company, the theater commissioned artists in different media to contribute their talents. The heavy timbers used in the new theater’s eight columns were salvaged and milled by Dan Toberer, a ceramist who collects felled trees and sawmill scraps he variously repurposes or uses in his wood-fired kiln.

“We identified different elements that could be turned over to artists and they weren’t working necessarily under our direction,” Day said.

Toberer also created original ceramic pieces and built the sinks in the bathrooms. He also sourced scrap wood that contractors used to clad the theater box in.

Omaha artist Michael Morgan did a piece of the lobby and vestibule in dark grey bricks with blue glazing.

Kris Kemp from the Hot Shops fabricated the enormous rear door that opens onto the green space.

Jim Woodhill of Kansas City, Mo. did lighting elements and furniture.

For Day, everything works together to create a mystique.

“I think of it as it almost being a character in a play. You can’t escape the fact this is the Blue Barn Theatre when you’re in there.”

 

Joshua Dachs

 

He said the theater’s been designed with the eclectic character of its delightfully messy residential-commercial surroundings in mind.

“It does replicate sort of in a way some of the forms you might find in this neighborhood, which is really mixed up. So the idea was to make this complex of buildings feel like it’s part of that.”

Much thought was put into the theater’s setting since it’s now part of a robust South 10th Corridor with the Old Market, the Durham Museum, the House of Loom, KETV, Little Italy, Cascio’s. No More Empty Cups and the Bancroft Street Market. Vic Gutman’s coming Omaha Market will be just to the south of the Blue Barn-Boxcar complex.

“It’s a site in the city that’s very prominent,” Day said. “It could be a demonstration for other ways Omaha could think about development. The fact that we essentially have three projects on one site all working together is quite unique. We’re thinking of this as a microcosm of the city that has public space, nonprofit cultural space and private space. We sought to design this as kind of an urban arts hub.”

Even with the new theater, Clement-Toberer’s wish list is not quite complete where the Blue Barn’s concerned. She said the family-like dynamic she and the founders used to fire their work together is something she’d like to recapture there.

“It makes me wish for an underwriter to underwrite something here like the Humana Festival in Louisville, Ky, where we all could be under this roof daily, creating. I’m waiting for the corporation in Omaha progressive enough to realize their connection with art will make whatever it is they do grow as well. I’m waiting – they’re out there.”

Blue Barn opens its 27th season on Sept. 24 with The Grown-Up. For details and tickets, visit http://www.bluebarn.org.

 

NEW BLUE: Blue Barn Theatre Putting Down New Roots

August 4, 2015 1 comment

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/

Cover Photo

Blue Barn Theatre Omaha

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.

Arts Patron and Philanthropist Anne Thorne Weaver Gives Where Her Heart is


This is the second time I’ve profiled Omaha arts patron and philanthropist Anne Thorne Weaver, who makes a habit of giving to things she enjoys.  This piece for Omaha Magazine (omahamagazine.com) tries to convey in very few words her lifetime of giving back to what feeds her heart and soul. After my first profile of her appeared she sent me a beautiful card with a hand-written note expressing her appreciation for what I had written. I certainly don’t expect another card, though I would love one, but I mention what she did as an example of how caring and generous she is.

 

 

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Anne Thorne Weaver

Arts Patron and Philanthropist Anne Thorne Weaver Gives Where Her Heart is

©Photography by Bill Sitzmann
Originally appeared in the January/February issue of Omaha Magazine

 

National Society of Colonial Dames diva Anne Thorne Weaver is at an age when she says and does what she wants. Fortunately for Omaha, this patron puts her MONEY where her mouth is in supporting the arts.

When the new Blue Barn Theater opens this spring, the box office will be named in her honor for a major gift she made to the company. She admires the Blue Barn’s edgy work.

“I’m just very impressed with what they do,” says Weaver. “There’s something about the intimacy of the smaller theater. I think they’ve done some wonderful productions. I think their new facility will be wonderful, and there won’t be any bats,” she adds in referring to a past production when an winged intruder darted overhead.

“I thought, that’s an interesting prop,” she quips, “and then realized it was a bat.Suddenly there was this thundering of shoes coming down in a mass exodus.”

Weaver likes that the theater’s new site on South 10th Street will be more visible than its Old Market digs. “I think it’s an exciting move and one of the things that’s really going to add to the Omaha scene.”

Her gift to Omaha Performing Arts made possible the Orpheum Theater’s Anne Thorne Weaver Lounge. The dedicated private space is a chic oasis for post-show receptions.

“I think it really puts a little wow into Omaha,” says its namesake, “and really adds a lot to any attraction you’re doing in the Orpheum.”

Outside the metro, her generosity’s recognized in the gift shop named after her at the Museum of Nebraska Art (MONA) in Kearney and the lobby gallery named for her at the Lake Art Center in Okoboji, Iowa. She also donated the center’s stained glass ceiling created by Bogenrief Studios.

She not only gives money but time to venues she believes in, serving on boards for Opera Omaha, the Omaha Symphony, the Omaha Community Playhouse, and MONA. She served on the Western Heritage Museum (now Durham Museum) board and was active in the Joslyn Women’s Association.

Weaver, whose civic volunteering includes the Nebraska Humane Society and the Junior League of Omaha, only gives to things she enjoys. “Life is too short, so why fuss around with something I don’t enjoy or work with people I don’t like. When you give, everything is given back.”

She traces her aesthetic appreciation to her late artist grandmother, Narcissa Niblack Thorne, renowned for her miniature rooms, dioramas, and shadow boxes. Some of her grandmother’s handiwork is displayed in framed cases hanging on the walls of Weaver’s exquisitely designed home, whose expansive sun room features two Bogenrief WINDOWS.

Surrounding herself with beauty comes naturally to Weaver, who grew up in the historic Terrace Hill home in Des Moines. The restored structure is now the Iowa governor’s mansion.

The well-traveled Weaver considers the vibrant arts scene here a cultural and economic asset that makes the city a more attractive place to live and visit. She takes pleasure helping the arts thrive and sampling all the region’s offerings.

“We all need music and art in our lives,” Weaver says.

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A Theater Twinning


A few years ago two very different Omaha theater companies did a twinning in the same space to help save costs.  The Blue Barn Theatre is known for cutting-edge contemporary work.  The Brigit Saint Brigit Theatre Company specializes in classics.  During this pairing of convenience each organization remained autonomous.  The arrangement and relationship proved satisfactory and in short order the Brigit Saint Brigit found enough support to go its own independent way, producing at a revolving slate of sites with the hope of finding a permanent home.  The Blue Barn meanwhile consolidated its strong niche in the community and is well positioned for the future.  My story for The Reader (www.thereader.com) appeared in the afterglow of the twinning experiment.

 

 

 

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 ©photo by PGornell

 

 

 

 

A Theater Twinning 

©by Leo Adam Biga

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

 

The venues comprising Omaha’s theater scene have their own identities, each as recognizable as any character or setting in a play.

The grand dame of them all is the Omaha Community Playhouse. She’s the well-heeled matriarch and life-of-the-party who throws sumptuous bashes in her plush digs. Her costumes and decorations are to-die-for but that glitter is sometimes more show than substance. Love her or loathe her, you must give the old gal her due. Secretly every ham desires to shine on her stage.

The other extreme is represented by the intimate Shelterbelt, a small, plucky poverty row entree that wears its penchant for arresting new work on its sleeve. This classic overachiever does wonders despite limited resources, consistently garnering top Theatre Arts Guild awards. The John Beasley Theater & Workshop is in a category all its own as Omaha’s only dedicated African American dramatic arts forum. While the shows aren’t always as polished as they could be, no one can question their heart or authenticity.

Then there’s the bohemian Blue Barn Theatre, which enters its 20th season as this burg’s undisputed home for cutting edge contemporary work, and the aristocratic Brigit Saint Brigit Company, now in its 16th season of presenting classics from the American and Irish stage. Although they seemingly focus on incompatible ends of the spectrum both are committed to professional quality theater. They also share a decidedly serious approach to everything from the fringe to celebrated standards of the theater canon.

Despite glowing reputations the Blue Barn and BSB have always just struggled by. That comes with the territory but things are tougher in these hard economic times. As a way to hedge their bets this pair of Omaha theater fixtures has joined forces to secure their present and realize their ambitious vision for the future.

Last summer the Blue Barn was in debt. The Old Market-based theater held an Aug. 25, 2007 fundraiser to help get its financial house in order. Supporters turned out in droves. Contributions poured in. The immediate threat was resolved but Blue Barn artistic director Susan Clement-Toberer, along with her board, sought a long-term alternative to what she called the theater’s “treadmill” existence.

“We’ve dealt with debt before. But after 19 seasons it was time to either grow into something new or to stop,” she said. “I talked to the board and to the founding members. None of them were willing to come back and get back on the treadmill either. So we made the decision that if things did not change, if we did not change our view of what we could be, that we would close.”

Around this same time BSB contemplated losing its home at the College of Saint Mary, which gave the company until mid-2008 to find new quarters. Financially healthy but with no permanent facility lined up for its 16th season, doubt hung in the air. Artistic director Cathy Kurz and executive director Scott Kurz searched for a new home. Wherever the couple looked they found sky high rent. Nothing fit.

That’s when Clement-Toberer called with a solution to both theaters’ dilemmas. She proposed partnering by sharing residence in the Blue Barn space at 614 South 11th Street. The principals were already friends and colleagues who shared a similar forward-thinking, dream-big mindset. All parties concerned viewed it as a good fit aesthetically, philosophically and financially.

Teaming up, as Scott Kurz noted, only made sense. “It’s a win-win. Everybody comes out ahead,” he said. “I think it’s not just smart in a business sense but as an opportunity to present the entire gamut of theater in one place and to see both companies flourish in a way that supports the people who are creating the art.”

 

 

 

 

This marriage between two of Omaha’s most respected theaters got a dry run during a combined production of Arthur Miller’s The Crucible at the Playhouse this past spring. BSB’s Scott Kurz and Amy Kunz starred and the Blue Barn’s Clement-Toberer directed.

With the 2008-09 theater season kicking off this month, the two organizations will soon find out how their partnership is received in a space that, until now, has been associated with the Blue Barn. In recognition of the bookend theaters operating out of the same location the shared collaborative site is now called The Downtown Space, lending it a fresh, neutral name in what is a new beginning for each organization. A new sign out front announces the change.

With the two companies under the same roof, using the same stage, will this union dilute the audience base for one or both or will it rejuvenate things and grow audiences? No one knows.

Such questions are important in light of a long term goal the two theaters have of founding a combined professional repertory company in a new space. It was a goal each theater was independently desiring already. Now that they’re partners it’s only natural they pursue this vision together.

“The vision came out of a place of stagnation,” Clement-Toberer said. “We were no longer willing to produce theater in the treadmill way.”

BSB artistic director Cathy Kurz said, “We’re wanting to establish a repertory company where actors and other artists are paid an honorable wage.”

It’s rare, BSB executive director Scott Kurz said, that theater artists can make a living in Omaha practicing their art. “And that’s what we’ve both been working towards as companies since the very beginning. It’s the reason we started doing it because it’s our career, it’s not just a hobby.”

 

Susan Clement-Toberer
Cathy Kurz
Scott Kurz

 

 

 

Despite the theaters being in the same physical space it doesn’t mean they’ve merged. The artists describe their union as “a partnership,” which has to do with cooperation and sharing resources. The theaters are not morphing into some hybrid that negates or obscures their signature brands. They remain artistically and administratively autonomous but in a mutually supportive environment.

Each theater is keeping its own identity, maintaining its own budget and retaining its own board and membership base while alternating shows in their respective schedules and collaborating on select other shows.

They have their own separate contacts for both individual show tickets and season subscriptions. They have their own distinct web sites.

The theaters share administrative, storage, technical space and pool some resources to effect cost savings. To accommodate BSB’s office-costuming needs some physical changes have been made to the site’s back stage area.

Along the way, it’s meant “figuring out the new rhythms” of two theaters working side by side.

Clement-Toberer said the new model brought about by the relationship offers a best of both worlds scenario. “We stay separate entities creating theater under the same roof and creating a vision to grow towards a true repertory company.”

For Scott Kurz, it’s all about freedom and possibility. Each theater, he said, retains “the flexibility to do the things we do best. The cool thing about where we are right now is the future is ours. It’s a blank piece of paper and we can incorporate any way we see fit. The benefits to the community we provide in terms of art and theater are only enhanced by our independence. That independence will be used as a selling point because you’re getting two for the price of one.”

“The whole is greater than the sum of its parts,” Cathy Kurz said.

Combining the seasons of two companies has meant some adjustments — the end result being more theater opportunities for audiences. The BSB is now running each of its productions four weekends instead of three and adding Thursday shows to its usual Friday-Saturday-Sunday mix.

Programmatically, the theaters’ alternating productions offer a diverse lineup of old and new classics.

BSB presents: Orpheus Descending by Tennessee Williams, Sept. 4-27; The Seafarer by Conor McPherson, Feb. 5-28; and The Little Foxes by Lillian Hellman, April 23-May 30. The Blue Barn presents: The Goat or Who is Sylvia? by Edward Albee, Oct. 16-Nov. 8; Wit by Margaret Edson, Mar. 19-April 11; and Reefer Madness: The Musical, book by Kevin Murphy and Dan Studney, June 18-July 11.

A collaborative holiday production by the two theaters presents Neil Simon’s The Odd Couple Nov. 28-Dec. 20. The schedules do reflect a broad sampling of theater.

Clement-Toberer said the partnership is already paying dividends in the overwhelming response being felt from the theaters’ patrons. “It’s a very smart business deal,” said Clement-Toberer, who reports “increased” individual and corporate support. The theaters are exploring joint venture grants.

For the first time in either theater’s history, endowments are being started to provide the kind of long term security they’ve never known before.

As Clement-Toberer said, ticket sales alone “do not keep your doors open. In order to grow and to be able to continue to produce theater you have to have donors.”

People are jumping on the bandwagon, the artists say, because they see two established theater companies taking steps to assure their sustainability.

“If one thing has staved both theater companies to the longevity we’ve had it’s been the reputation for the work we do,” Scott Kurz said. “I think we’re finding more doors are open to us because we’re together. The idea of an artistic venue being smart and responsible enough to pool their resources and move forward is a good indicator to corporations and larger foundations that we’re serious about what we say.”

“There are so many true philanthropists that are behind both theaters and they’ve very excited,” said Cathy Kurz, adding that each company brings “credibility” to the table.

It’s a fact of life that small theaters struggle. But none of these artists was willing to settle anymore for what Clement-Toberer described as a “hand-to-mouth” scramble to just get by. Being on that treadmill was exhausting.

“Money never leaves your mind. It’s like a vacuum and it’s sucking out your creativity,” Cathy Kurz said. “So then the thing that is your vocation becomes less fulfilling.”

“The vision had to change to get us out of that rut and that’s what happened,” Clement-Toberer said. “The vision became broader and more direct into what we wanted to do and become.”

Money is being raised. A new space is being sought. Chances are it will be an existing site that’s renovated for reuse. Whatever happens though, the two theaters will continue moving ahead together towards their vision.

‘Experience has shown that it’s always about moving forward,” Scott Kurz said.

“There’s a unique energy that’s coming together. It’s a renewal. It’s like a rebirth,” Cathy Kurz said. “We’re actively looking at our own future,” Scott Kurz added, and that future, Clement-Toberer said, “is bright.”

“We’re going to produce great theater here this season — both companies — and I think possibly some shows better than we’ve done before because we’ll be collaborating,” Clement-Toberer said. “We are going to grow into the premier regional professional company in the Midwest. I see that happening.”

Actor Kelcey Watson Fills Role of a Lifetime on Short Notice in Blue Barn Production of ‘Six Degrees of Separation’

July 9, 2012 1 comment

What actor Kelcey Watson did a few years ago in taking on the lead role in a play only eight days before the curtain went up doesn’t quite rise to the 42nd Street legend of a chorus girl replacing the leading lady on opening night.  But considering the part and the script were demanding and the world famous playwright would be in attendance Watson pulled off a minor miracle in not only learning his lines but giving a performance that made it appear as if he’d been rehearsing for weeks or months, not days.  He performed his feat in service of a Blue Barn Theatre (Omaha, Neb.) production of Six Degrees of Separation and its author John Guare witnessed the actor’s spot-on work and praised him for it.  Director Susan Clement-Toberer found herself in the uneviable position of replacing the actor originally cast as Paul slightly more than a week before opening night.  And as my story explains she was about to bring in someone from out of town when Watson, who had shined in a Blue Barn staging of Minstrel Show (by Max Sparber) called offering his services.  It all worked out better than anyone could have imagined and my story puts the pieces together of how this conspiracy of hearts made it happen with so short a lead time.  Watson from time to time does work at the John Beasley Theater & Workshop in Omaha.  This blog contains numerous stories I’ve written about the theater and its namesake, actor John Beasley.

 

 

 

 

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Kelcey Watson, ©photo by Max Sparber

 

 

 

Actor Kelcey Watson Fills Role of a Lifetime on Short Notice in Blue Barn Production of ‘Six Degrees of Separation’

©by Leo Adam Biga

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

 

On April 11 Omaha actor Kelcey Watson got wind a lead part was coming available with only eight days before the Blue Barn Theatre opened John Guare’s Six Degrees of Separation. Director Susan Clement-Toberer replaced the actor originally cast as Paul — the axis around which the farce revolves. She was about to bring in someone from out-of-town when Watson called. She took it as fate.

The two met the 11th. She knew Watson, a veteran actor who won strong notices for his role in Minstrel Show at the Blue Barn last year. He’s a member of the Omaha Magic Theatre troupe.

Watson had never seen Six Degrees on stage or on screen, much less read the script.  He only knew the story’s premise of how a young, homeless black man (Paul) insinuates himself into the lives of white Fifth Avenuers.

Watson got the pivotal part after assuring Clement-Toberer he was cool having to kiss a man on stage and learning a role full of intricate dialog in a week. Oh, by the way, she added, John Guare will be here opening weekend. Gulp. Serious pressure.

She began working with Watson that same day. It was a crash course of blocking and intentions and memorizing and running lines. Lots of notes and discussion. When it would all get to be too much, they’d cat nap on the set’s pair of red vinyl sofas. Then he joined the cast for a 6 to 10 p.m. rehearsal. They did a full run-through the very first night. He followed that same schedule for a week.

Before he knew it, preview night arrived on the 18th. “It was like, whoosh, and I was there…a whirlwind of nicotine and caffeine and play reading,” Watson said. His motivation was “not failing the cast. These people had worked hard for weeks and I just happened to join in. They were really welcoming toward me. They made it kind of easy to fall into the work.” He used whatever nerves he felt to inform his part. He said, “The stakes were so high. I infused that anxiety into the character. The hardest part was getting it word perfect. It was a lot of complex verbiage to kind of eat and take in and digest.” For him “the mountain” was mastering “the thesis speech” in which he delivers a manifesto about schizophrenia, imagination, the human need to connect and Catcher in the Rye. “I knew I had the part down cold if I could do this speech.”

 

 

Susan Clement-Toberer

Susan Clement Toberer

 

 

 

He’s nailed it enough to earn accolades. He couldn’t have done it, he said, without Clement-Toberer, whom he calls “a very gifted and giving director.” Of their rapport, he said, “We really did have this link that was very earnest and very sensual in some ways.” As she puts it, “We became fast and furious buddies in those eight days. I knew pretty quickly I had made the right decision. He was able to memorize his lines so rapidly and to inhabit the character and fill him out.” She said the way he brings Paul to life is “beautifully done.”

She’s never had an actor have to learn so much so fast. “It’s a helluva role and to have to jump into it in an eight day rehearsal period was a pretty intense process,  but also exhilarating. I think Kelcey worked really well under those circumstances. He really rose to the occasion.”

Why did he want the part badly enough to put himself through all that, not to mention risk being unprepared with the play’s author looking on?

“I really, really wanted to do this,” the 29-year-old said. “It really was a rare opportunity that something like this comes up.”

On a deeper level, he identified with Paul. Watson calls Paul “a lost soul” and he said the character’s desperate search for acceptance paralleled his own a few years ago. In 2001 the Omaha native, Benson High grad and former ska band lead singer left to follow his acting dream in New York. He studied at the American Academy of Dramatic Art. Things didn’t go his way. A bad attitude didn’t help.

“One of the reasons I left New York is because it really did a number on me. It kicked my ass,” he said. “I got kicked out of the Academy. I couldn’t work with people. I was such an asshole. I was trying really to find myself. I didn’t really know who I was.”

It’s why, Watson said, “I connected with Paul immediately, because he’s a loner. He’s trying to find a home.” Like Paul in the play, Watson didn’t have a place of his own in New York. He scrounged to get by, reinventing himself as needed. He said, “I’ve been down. I’ve been out. I’ve had to stay at people’s houses a few weeks here and there.”

The lure of “doing black theater” with John Beasley brought him back to Omaha. He did Two Trains Running and The Piano Lesson at the Beasley Theatre. But he ultimately came back because “Omaha’s my home. It’s a place I feel safe at.”

 

 

 

Kelcey Watson and Carl Brooks in Minstrel Show 

 

 

His rediscovery of his love of acting continued at the famed Steppenwolf Theatre Company in Chicago, where he did an intensive three-month workshop in 2004. “Going through Steppenwolf I learned ensemble acting,” he said. “This time I was so receptive. I learned how to trust people…to let myself go.” He brought his nuanced approach with him back home.

Omaha is where he’s come of age as an artist and as a man. Besides the comfort of  his hometown, there’s the home he’s found, too, in local theater. In his search to connect with people and ideas and emotions, he’s looking “to find that space where you can really express yourself and your feelings and be vulnerable.” The Blue Barn may be that space. “They bring the stakes up higher,” he said.

The stakes couldn’t have been higher in Six Degrees. The fact things turned out so well confirms he’s doing what he’s supposed to. “It’s amazing to me the cast said things like, ‘You’re our hero’ and ‘Thanks for saving us.’ This is what I love to do,” he said. “I went to school for this stuff. I’m still in debt because of it.”

Clement-Toberer said when told what Watson had to do to ready himself for the part that Guare, who attended the April 20 show, complimented the actor, saying, “It was as if he was inventing it right on the spot.” Watson said that before Guare left the theater, the playwright turned to him and said, admiringly, “Eight days, huh?.” Watson could only smile.

She said Guare explained how he “thinks of characters in colors” but often finds oranges miscast as purples. “He felt with this production the cast of colors was appropriate across the board. He said, ‘Of course, if you can’t find the right color, then you cast Kelcey.’” It’s the kind of comment theater legends are born of.

 

 

 

John Guare
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