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Camille Metoyer Moten: With a song in her heart

December 26, 2016 4 comments

Omaha has a corps of performing artists who command a level of admiration and respect that rises above the norm. These special entertainers have earned this status by the high craft and integrity they exhibit. When it comes to musical theater and singing, Camille Metoyer Moten is pretty much at the head of this class. She’s been captivating audiences for some four decades. She’s won all kinds of accolades and awards for her artistry. Not one to rest on her laurels, she’s as busy today as ever and she may just be in her prime now in her 60s. She’s as smooth and unruffled on stage as one can be, but don’t mistake her carefree manner for being untouched by trouble or pain. She’s seen plenty of both. Her from-the-gut performances draw on a lifetime of experiences, some of them tragic and traumatic, others joyous and blessed, and always informed by her deep faith, unflagging spirit and unflappable demeanor.

My New Horizons cover story on Camille appears in the January 2017 issue hitting stands and arriving in mailboxes the last week of 2016. My blog leoadambiga.com also features earlier stories I’ve done on Camille and other Omaha songstresses. Link to some of these stories at –

https://leoadambiga.com/2016/02/15/omahas-black-sirens-of-song-and-spoken-word/

And here are links to yet more stories I’ve done on popular Omaha singers:

Mary Carrick

https://leoadambiga.com/?s=mary+carrick

Anne-Marie Kenny

https://leoadambiga.com/2011/05/28/life-is-a-cabaret-the-anne-marie-kenny-story-from-omaha-to-paris-to-prague-and-back-to-omaha-

Karrin Allyson

https://leoadambiga.com/?s=allyson

Quiana Smith

https://leoadambiga.com/2011/01/23/quiana-smiths-dream-time-2/

 

 

Camille Metoyer Moten: With a song in her heart

©by Leo Adam Biga

Appearing in the January 2017 issue of the New Horizons

 

Lady sings the blues

Classy, sassy Camille Metoyer Moten has entertained with her cabaret singing and musical theater performances since the late 1970s. Besides being much beloved, she’s considered a real pro. Her much sought-after stagecraft has earned critical acclaim as well as Omaha Community Playhouse and Theatre Arts Guild awards.

The free, easy way she handles a song and wins over an audience belies the family tragedies and personal struggles she’s endured. Listen and look close enough and you’ll detect the wistful blue notes of the jazz vocalists she grew up listening to. Like them. she knows about pain. Her late parents were at the forefront of Omaha civil rights work before their lives were cruelly cut short. Her mother Lois died of brain cancer at age 43. Seven years later her father Ray was shot to death at the family barbecue joint at age 52.

Bigotry and bias have confronted her. Illness has attacked her.

A strong faith, a sure sense of self and a rock solid marriage to husband Michael Moten have helped Camille cope with loss and setbacks and thus avoid the pitfalls many of her idols suffered.

Music was all around her as a girl. She and her sister Lanette, also an award-winning musical theater artist, inherited their singing chops from their mom. Lois would harmonize, scat and sway to records she played in the family’s northeast Omaha home.

“She was a wonderful singer,” Camille recalled. “We grew up listening to lots of jazz albums. Dinah Washington. Billie Holiday. Sarah Vaughan. Nancy Wilson. That was her thing. She was so into it.”

Her mom oft-told the story how she auditioned for and was asked to tour either with the great Count Basie or Duke Ellington but turned the opportunity down. Though flattered by the offer, Lois was engaged to her future husband, Ray Metoyer, a serious Creighton University student not about to let his fiancee go on the road.

Camille began showing off her own pipes as a toddler.

“I wanted to sing but I didn’t know a song, so I would sing about the furniture and anything that came into my view.”

Encouraged by her mother, Camille learned lyrics to standards but was timid to have an audience around.

“She loved that I would sing but I was really shy to sing, so I would be like in the basement singing and if I’d hear somebody coming. I’d stop. I would always pretend there was a microphone.”

Her first time on stage came in the first grade at Sacred Heart School when she, Lanette and their brother Raymond sang “Do Re Mi.”

“I just remember being so scared but I wanted to do it so bad.

Everybody was like, ‘Oh, my gosh, this little girl with this big voice.’ I think my desire to perform really got reinforced then because people made a big deal of the fact my voice was fuller. The more I sang for school programs the more compliments and confidence I got.”

 

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A wide music repertoire

Even early on she drew on diverse musical influences.

“There were so many things I liked. I loved the jazz. I also loved the musical theater. And I also loved classical music.”

The same holds true today.

“It’s a mishmash of several things. A lot of it’s Barbra Streisand. I always liked the way Nancy Wilson presented herself. Lena Horne, too.

Just very classy. So I always want to at least appear classy on stage because I’m really kind of an awkward person. But when I’m on stage I feel like I have a little more finesse.”

She holds Barbra in special regard.

“I think her voice is amazing. I just got to see her in concert for the first time in August in Chicago. My children bought me a $500 ticket. It was so awesome to listen to her. She’s 74-years old but she can still soar up to those high notes.”

No wonder then Camillle’s stoked about a March 31 tribute concert she’s doing in honor of her idol. The “Bubbly with Barbra” show at the Playhouse is a fundraiser for the theater’s operations.

“I’m so excited about it because I’ve been worshiping her since I was 11-years-old,” Camille said.

Kathy Tyree, Dave Wingert and Jim Boggess will join her on select numbers.

 

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Race

The role of Fanny Brice in Funny Girl that Streisand made famous on stage and in film resonated strongly with Camille, who made playing the part a life-time ambition she realized in 1994.

“I related to that character so much. She’s this odd little duck that has talent that nobody could appreciate because of her package,” said Camille, whose light-complexion, blonde-hair and green-eyes made her conscious of her nontraditional African-American appearance.

“I got a lot of comments about my look.”

The many shades of black were inescapable, she said, because “my family’s all different colors and it’s something that really sticks out.” She added, “My father was very fair, my mother was pretty brown, so all of us came out different. I came out with all the recessive traits.”

Descendants on her father’s side are of mixed race Creole heritage. Both her paternal and maternal family trees owned property in the South. There’s quite a story behind her father’s family line in Louisiana. The first Metoyer there built a plantation and his son Claude Thomas Pierre Metoyer befriended a family that owned a slave, Marie Coincoin, with whom he became infatuated. He built a plantation for her and she lived in the house with him and they had children together. Threatened with excommunication by the Catholic Church, he built her a separate house in back. When he decided to have white heirs, he gave her her freedom and let her keep their children. She became a leading entrepreneur in the state, even building her own plantation. The black branch of the Metoyers lived as aristocrats.

Lanette and Camille dream of making a musical out of the story.

Their mother grew up in Mississippi and though their father was born in Omaha, thier grandfather Victor came from Louisiana. Victor worked as a railroad dining car waiter for Union Pacific. He and a fellow waiter opened a BBQ eatery. They alternated operating it based on their UP runs. When Victor was on his Omaha to California run, his partner manned the joint, and when his partner was on his Omaha to New York run, Victor handled things. Grandpa Victor also co-founded the adjacent Key Club. Eventually the Metoyer family owned the restaurant outright. Three generations ultimately ran it.

Camille’s father dropped out of Creighton just short of earning a degree in order to support his family. He worked many years as a Boys Town counselor. Camille and her siblings got to know some of the boys. One escorted Lanette to a homecoming dance. Raymond vacationed at Lake Okoboji with students his father brought to camp.

At night Ray Metoyer helped his father Victor run the family barbecue place. Ray’s eldest son Raymond, who became a television news reporter, partnered with his father and grandfather in the business.

Camille knew her dad caught flak the way she did.  “We looked alike, so he was very sensitive to making us understand that it doesn’t having anything to do with anything.”

Both parents made sure their kids knew that light or dark needn’t define them.

“They always impressed upon us that that didn’t make a difference,” Camille said. “That was their main thing with us – it doesn’t matter what you look like. Your blackness has nothing to do with your physical appearance.”

Civil rights

Camille’s parents were both active in local civil rights efforts. Her father was part of the social action group the De Porres Club whose boycotts in the late 1940s and early 1950s forced businesses to hire and serve blacks. He also headed the Urban League of Nebraska when it hosted Malcolm X and Jesse Jackson in separate events. Camille met both leaders and recalls Malcolm X as a very tall and tender man who mentioned that she reminded him of his daughter.

Her folks also participated in demonstrations by the 4CL or Citizens Coordinating Committee for Civil Liberties in the ’60s. The Metoyer kids got dragged along to organizing meetings at Zion Baptist Church.

“It seems like it was always in the summer. It was so hot and packed in, everybody sweatin’ on each other,” recalled Camille.

She and her siblings were young when the civil rights marches and speeches filled the airwaves.

“I don’t think we understood the whole significance nationally. I understood there needed to be change and it was going to make the world the way it should be. Our parents sort of instilled in us this is what it’s going to be, this is what we’re working for, this is where we’re going to get to. They were dedicated to lifting black people to the place that we deserve to be. That was their focus. That, and impressing upon us that you’re just as good as anybody, so there’s no reason feeling like you’re falling short.

“It was very important to them. Sadly, we’re not there all these years later. As I reflect back on it, I appreciate more or understand better the sacrifices they made to do the things they did.”

Social justice was discussed in the Metoyer home.

“We were the family that all sat down to dinner together and all the conversation was about what was going on.”

Once, Camille was with her folks and others at a protest when they were all arrested.

“We were protesting for open housing down at the City Council chambers. I was in the fourth grade and my parents decided it was important I participate. The police came and we all sat down. I sat on my dad’s lap and when the police picked us up they had to pick us up together. He was going to make this as difficult as he could for them.”

A press photographer snapped a pic that went national of cute little Camille in braids, tortoise shell frame eyeglasses and dress carried by her indignant but dignified father like a precious bundle.

“This picture of my dad carrying me out went out on the Associated Press all around the country.”

“I remember being excited because there was so much energy. I knew what we were doing was something very important about fighting for our rights as black people. I remember being just a little bit scared by the police but my dad was there so I felt very safe with him.”

The poignant photo got new life five decades later when Camille and Lanette appeared in Having Our Say, a play about the real-life Delany sisters living through generations of racism. The themes echoed things the Metoyers experienced themselves.

Doing the play brought Camille and Lanette, who’ve always been close, even closer together. The project also gave them a chance to honor figures like their parents who had the courage of their convictions to stand up and be counted.

“It’s like finally they’re having their say,” Camille said.

 

Camille and her sister Lanette in Having Our Say
Strong stock

Hardly a day goes by Camille doesn’t think of her parents.

“My dad was the epitome of a professional, educated man, although he could be very crazy as well. But I never heard him swear. But my mother on the other hand would come out with a few things if she got irritated enough. His thing was always about professional appearance and how you present yourself. My mom was concerned about that, too, but she was more of a gregarious, outgoing, earthy person. She was maybe a combination of what Lanette and I are now,”

Her parents’ fight for equal rights got personal when her family integrated all-white Maple Village in 1966.

Camille said, “My father wanted to have a closer commute to Boys Town and he felt the education we were getting in North Omaha schools was not equivalent to what west Omaha schools offered.”

Even aspirational couples with the desire and means to live outside segregated areas had to take special measures to get around red lining practices and restrictive housing covenants. The Metoyers had black realtor George Thomas secretly negotiate with NP Dodge to arrange for the family to purchase their new house.

“We had to go through the backdoor to get that house,” Camille said.

‘We surprised the neighborhood because they didn’t know a black family was coming.”

Lanette recalled, “It eventually was known blacks had purchased the house and therefore our dad, grandfather and several white male employees that worked for my dad would spend nights at the house until we moved in.”

Camille said, “We had a lot of backlash. It was crazy.”

A petition circulated to try and prevent them from moving in.

The family moved in late at night to avoid a scene but some neighbors gathered outside to glare.

For several nights. Camille’s father and grandfather stood armed guard inside. It reminded her mother of what she thought she’d left behind in Mississippi.

“We knew it was something kind of groundbreaking but we were prepared because all of our lives we’d been taught to be on the front-line,” said Lanette.

The siblings remember threatening phone calls, nails scattered in the driveway, strange cars pulling up at night to train headlights in the windows, tense looks, awkward exchanges. Once, the house got egged and shamed neighbors hosed off the mess.

At their various schools the kids encountered racism.

“If things happened at school we’d come home and talk about it. We always just knew how to handle it. Before we moved there, our parents anticipated there would be issues. They warned us. But they added we have every right to be where we want to be and don’t let anybody tell you anything different.”

Camille said her parents admonished she and her siblings to  “always address discrimination from an educational standpoint,” adding, “They were like, ‘Don’t get mad, just be enlightened.'”

Whatever the sitaution, like the family being refused service at King Fong’s downtown, it became a teachable moment.

“My mom explained how it was their loss and we would encounter people that would not like us without ever knowing us. I guess they always gave the impression there was something wrong with those people – there was nothing wrong with us. They told us when you come across people who are ignorant you educate them, you don’t argue or get angry, because they need help. To this day, if I have the opportunity to enlighten somebody, I will, as opposed to getting angry. That works with my whole Christian faith.”

Finding a foundation for her music and faith

The Metoyers found acceptance if not fairness. Auditioning for a role in Guys and Dolls at Burke High School, Camille said the music director opposed her being cast on account of her race. Camille had an ally in her drama teacher, who swore “she’d never let that happen again.”

Despite resistance, her passion for performing wouldn’st be denied. She planned going to California to pursue a singing-acting career but then her mother became ill. Losing her mother, she said, “really took me off my path.” She wasn’t sure what to do next when a friend of her father’s who ran the music department at Xavier University in New Orleans convinced her to give it a try.

“It sounded just great to get away. I went and auditioned and got a       scholarship. That’s how I ended up there. The great thing about Xavier is that I got classical training but I also sang with the jazz band,

so now I’m able to do all of that – which makes me marketable.”

Still bereft by her mother’s death and far away from home, she searched for answers and came of age as a young woman.

“I was really angry and I became kind of agnostic. I thought how could God take such an amazing person. I lived like that for awhile. I hooked up with Michael and we were into the fast scene.”

Getting high became her lifestyle. Then one day Michael had a born again experience.

“He was completely changed after that day. I was still getting high and just out there and suddenly we were incompatible because he didn’t want to do the things I wanted to do anymore. My own born again experience took a while. I refused to go to church with him and continued to party while in my heart and mind knowing I wanted what he had. I just didn’t want to give up me.

“Finally one evening he was going to church and he begged me to come with him and I said no. He was literally in tears. I found out later he was thinking that if I didn’t come this was to be the end of our relationship. After he left for church I felt bad, so I drove to the church. When they had the altar call he took me down but I didn’t want to go – I was not ready.”

Her willfulness wilted in the following days.

“God made Himself more and more real to me until finally one day I agreed to pray with Michael and some of his new friends from church.  That night as I prayed God took over my tongue and I spoke in a heavenly language which the Bible explains is God’s spirit dwelling in us. And by that spirit being in us we can now be saved.

“From that moment my life changed – no more getting high, no profanity. My view of mankind changed and my purpose changed. It was no longer about me but about Him.”

A new beginning from a terrible end

Her faith was soon put to a severe test when her father was murdered at the family restaurant on a late summer evening in 1979.

“A year before there was a woman that got hired at the restaurant. He caught her taking money and also soliciting the male clients and so he fired her and she didn’t like that. She would call the house and tell people she was her man. She harassed him for a year and it was getting more and more severe: a window broken out in the house;  showing up at his job and security escorting her off campus.”

On September 17 the woman went to the restaurant and confronted Metoyer with a small caliber gun. She fired it once and the bullet struck him in the neck and he bled out on the scene.

Not long before, Camille and Michael, who were by then married and raising their first child, interviewed to be family teachers at Boys Town and they were hired. They moved to Omaha to start their new life and career in the shadow of Ray Metoyer’s senseless death.

“The thing that was so difficult about it at the start was that it was two weeks after my father was murdered, so I was coming to the place where he worked. i heard over and over again how much they admired and respected him and what a loss it was, so I was constantly reminded of him.”

It was the most challenging period of her life until a bout with cancer 30-plus years later.

“I moved across country, I lost a loved one and I had a 2-year-old. I had all of those stressors. Today, Michael looks back and says, ‘How did you get through that?’ Through a lot of prayer and believing this is where God wanted us to be.”

The decision to be a family teacher continued her parents’ legacy.

“That’s how we were raised. It’s always about giving back, contributing, making a difference, helping however you can. Besides, once Michael and I  gave our lives over to Christ it seemed like a natural thing to do..

“We had the very first girls program. Boys Town had just started the family teaching model. We had an off-campus home at 35th and Davenport. Our girls were all local, so we were able to work with and counsel parents. Then we moved to campus, where we had a transitional living home for boys to learn to live independently.”

It took some adjusting for Camille and Michael, too.

“Initially, the greatest challenge if you have children is being able to divide your time in a way that everybody has a significant amount of you without sacrificing one for the other. A lot of family teacher couples are not successful with that. My kids became very close with a lot of those Boys Town kids.”

She said an important lesson she learned is “don’t take things personally and understand what’s happening.” She added, “There were some kids that can really get under your skin but you can’t let them get under your skin. I would always think, If only I could have had you as a baby. I would have loved to have given them what they should have had early in life. That always made me soften my anger.”

Feeling burned out after 16 years, Camille left Boys Town for a job at the YWCA coordinating programs that introduced girls to nontraditional careers. Then she applied her behavioral management skills to the former Western Electric plant then recently renamed Lucent Technologies, where her sister worked.

 

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A performing life

Meanwhile. Michael, an ordained minister, felt the call to form a church, One Way Ministry, in 1994, that he still pastors today. For years, Camille served as music director and only recently stepped down so that she can sing in the choir.

All the time she worked regular day jobs she rehearsed and performed musicals and concerts evenings and weekends. Her music career took off when she joined a cabaret troupe formed by old friend Becky Noble. They’ve long paired as Nebraska Arts Council touring artists. Camille’s performed with the Omaha Symphonic and Opera Omaha chorus and she’s toured with the Nelson Riddle Orchestra. She sang with Soli Dep Gloria Cantorum on a concert tour to Barcelona, Spain.

She’s enjoyed a long collaboration with Chuck Penington and his band. She also headlines her own band. Her keyboardist, David Murphy, offered his take on what makes Camille such an enduring favorite.

“The reason the community loves her is she’s authentic. She’s the real deal. She walks the walk and sings her heart out. It all comes from her soul. She intuitively manages to find the heart of any song,” including ones he’s penned. “It’s about the music and not about her. She consistently respects and enhances the material she tackles and still makes it her own. I absolutely believe she could’ve gone to either coast and had a brilliant career as a performer. Omaha is lucky to have her.”

When Camille’s two kids were small she dragged them to rehearsals. Even today, with her kids grown and out of the home, she’s busy booking, preparing and doing shows. Though her schedule can be draining, she said performing “fills you back up.”

Even though art should be color-blind, race can be an issue, as when she broke color barriers as Fanny Brice in Funny Girl and Eva Peron in Evita, and when her voice and repertoire aren’t what people expect.

“I don’t have a gospel voice. People expect that because I’m black. I was raised Catholic, so I didn’t have that whole gospel thing. Jazz and musical theater are my influences.”

She’s also a rather subdued performer.

“It’s the purity that I’m into and not all that other stuff and I think people eventually appreciate it.”

At the invitation of friend and sometime collaborator Kathy Tyree she sang at Salem Baptist Church last summer for a gospel program.

“I don’t have gospel arrangements, so I sang ‘Somewhere Over the Rainbow’ because I find that song very spiritual and they loved it. It was the most talked about song of the evening amidst all these amazing gospel songs. It was the purity of that that people related to.”

Her muted voice blended with Tyree’s big sound for a Divas By Design show they did at the Blue Barn Theatre last fall. The two go way back.

“Camille and I did our first show together 26 years ago: Sophisticated Ladies at the Playhouse,” said Tyree, “What I admired most about Camille back then is what I admire most about her now and that is her peaceful spirit and how beautifully and easily she shares her gifts. She’s not only an amazing artist but a beautiful person as well. Her unshakable faith in God keeps me in awe and her love for people is one of the many reasons I love her so much.”

Not long after Camille’s spiritual awakening in New Orleans and her resettling in Omaha, she landed the role of Mary Magdalene in a production of Jesus Christ Superstar at the Orpheum Theater. She went in to audition for a spot in the chorus but got the plum female part. Her performance won raves and established her as a bright new talent. But she was wary before the opening night curtain rose.

“I had never done anything other than high school-college shows. It was a big leap. I remember standing backstage looking out at that full house and my heart going ker-thump, ker-thump, ker-thump. I started saying a prayer and I heard God say, ‘What is wrong with you, this is your dream, I’m giving you one of the desires of your heart – would you please enjoy it.’ He made me think how trivial this really is compared to homelessness and sickness and that I should just go out and do what I do and entertain the audience.

“I don’t think I’ve gotten nervous-nervous like that again. It just calmed me right down.”

Whether doing a play or a concert, her approach is “very consistent.”

“Doing musical theater, whatever that character is, that’s who I am. Doing cabaret, each song is like its own little vignette, so every song is its own character. When I perform my purpose is to take whatever the composer and lyricist wrote and try to interpret it with whatever he or she had in mind and bring the audience into it. I want to be true to that.

“Somebody told me a long time ago it’s not only about a pretty voice. and it really isn’t it. If you think about all the successful entertainers it really in’t about their singing … but it’s what they do with a song, it’s the passion they bring out of a song. Once you know the song and once you understand what’s behind the song then that’s what happens.”

Her sister Lanette’s seen her on stage perhaps more than anyone and she marvels at Camille’s “persistence to step outside her comfort zone and create any character she tackles and make it believable.”

 587447Surviving health crisis and moving on

Everything was coming up roses for Camille personally and professionally when she got diagnosed with breast cancer in 2012. As a woman of faith, she sought healing through prayer. Heeding her Higher Power, she canceled a surgery and found a new doctor.

“She confirmed I still had the cancer. I told her my story and she revealed she is a woman of faith, too, Most doctors don’t talk about it.

She said, ‘First of all, I understand where you’re coming from spiritually and secondly you’ve had this cancer for a really long time – it is a slow growing cancer and if you’re not ready to have surgery then we don’t do the surgery because then you won’t heal.’ She had total respect for my belief. I knew God provided me her. He got me to the right team.”

Camille underwent radiation chemo treatments, hormone blocker regimens but in the end she required a mastectomy. She continued performing during most of the journey, even proudly displaying her bald head. She had reconstructive surgery in 2014 and 2015.

Not one to dwell on anything, she’s moved forward from the experience.

“The mindset I had at the time is my mindset and it goes along with my philosophy – that’s over, it was a little side step.”

She chose to share her cancer odyssey with the public via Facebook posts. She and her “prayer warriors” exchanged messages of hope about the challenges, indignities and joys of the journey. Her observations ranged from silly to sweet to sublime. Thousands followed her progress, including the inevitable ups and downs, and she later compiled her affirmations into a book.

“I just want to be able to make people understand that Jesus is our healer. We use medicine also but it doesn’t always work. He’s the plan and medicine is the backup plan. I think the more people understand that the better the outcome is.”

Camille’s as busy as ever these days. “I just think of it as this continuum that keeps going.” It’s not like she’s slowed down since realizing her dream of playing Fanny Brice. “That was a high, high point for me but then as things developed there’s been so many other high points.”

It always comes back to keeping it real and finding the root.

“Somebody told me not too long ago, ‘When you sing, you sing from here,’ putting her hand on her midsection. I said, ‘Oh, thank you very much,’ and she said, ‘I mean that, not everybody sings from there.’ And I think she meant from my core, from my heart. That’s what I strive for, that’s my intent.”

From her gut, springs all the glory.

Visit www.musicbycamille.com.

Read more of Leo Adam Biga’s work at leoadambiga.com.

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/

Faith, Friends and Facebook: The Healing Journey of Camille Metoyer Moten

December 13, 2014 2 comments

Here’s my Omaha Magazine (http://omahamagazine.com/) piece about how beloved Omaha performing artist Camille Metoyer Moten used social media as a communnication and connection point to share her odyssey with cancer and her reliance on faith for getting through the illness. On my blog you can find other stories I’ve done on Camille, who is an inspiration through her work and her life.

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Faith, Friends and Facebook

The Healing Journey of Camille Metoyer Moten

When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook

January 7, 2015
©Photography by Bill Sitzmann                                                                                                                                                                                                                      Now appearing in Omaha Magazine (http://omahamagazine.com/)

Popular singer-actress Camille Metoyer Moten is a fun-loving, free-spirited soldier of faith.

That faith got tested starting with an April 2012 breast cancer diagnosis. After treatments and surgeries over two years she gratefully proclaims, “I am healed.” Anyone unfamiliar with her spiritual side before discovered it once she began posting positive, faith-filled Facebook messages about her odyssey and ultimate healing, which she attributes to a Higher Power.

Her frequent “Fabulous Cancer-Free Babe” posts gained a loyal following. Many “Facebook Prayer Warriors” commented on her at-once intimate, inspirational, and humorous musings. One follower quipped, “Your posts are like going to church at the Funny Bone.”

Metoyer Moten decided cancer was an experience she couldn’t deny.

“When you perform, your whole thing is pulling people into this artistic moment with you,” she says. “When I got the cancer and started posting about it I thought, ‘Well, this is my song, this is the song I have right now and I want people to feel everything I’m feeling, the good parts and the bad parts.’ And at the end I want them to see the glory of God in it.”

The humor, too. She described the asymmetry of her reconstructed breasts. While losing and regaining hair she called her bald head “Nicki MiNoggin.” Once patches of growth came back it was “Chia Rivera.” She’s since dubbed her swept-back scraggle, “Frederick Douglass.”

“I wrote it as I saw it, Metoyer Moten adds. “If it struck me funny, that’s what it was. I will talk about anything, I just will. I’m just like this open book.”

That extended to shares about weight gain and radiation burns.

Mainly, she was a vehicle for loving affirmations in a communal space.

What support most touched her?

“Probably just the amount of prayer,” says Metoyer Moten, whose husband, Michael Moten, heads One Way Ministry. “Every time I said, ‘Please pray,’ there were people right there, and sometimes they would put their prayer right on the post, which was awesome. Some of the encouraging things they would say were really special. The Facebook people really did help to keep me lifted and encouraged and they said I did the same for them.

“It almost never failed that there were things I read I needed to hear. We had this beautiful circle going of building each other up.”

The sharing didn’t stop at social media exchanges.

“The thing I loved were the personal notes I got from people asking me to write to loved ones going through something, and I wrote to them just to encourage them because that was the whole purpose—to tell people who you go to in time of trouble.”

She’s now writing a book from her Facebook posts.

“My goal is to encourage people and to glorify God and to talk about how social media can be a meaningful thing.”

Camille, being Camille, went beyond virtual sharing to invite Facebook friends, all 2,000-plus of them, to “chemo parties” at Methodist Estabrook Cancer Center. “I usually had about 12 to 15 people. The nurses were very sweet because sometimes we’d get too loud. Other patients sometimes joined the party, which was kind of my point, to liven it up. We just had a ball.”

It wasn’t all frivolity.

“We would pray on the chemo machine that the chemo would affect only the cancer cells and leave the good cells alone. Once, a woman rolled her machine over for us to lay hands on hers as well. It was just a beautiful testimony.”

Cancer didn’t stop Metoyer Moten from cabaret singing or acting

“Even though I had a little harder time every now and again,” she says, “it didn’t stop me from doing anything.”

She even believes she came out of it a better performer.

“I’m not a very emotional person,” she CONTINUES, “but sometimes to connect spiritually you have to have a little more emotion involved. I think now the stuff I’m doing on stage is better because I think I’ve connected to myself better emotionally. I think I had stuffed things down a long time ago. This made me realize it’s okay to have some emotions.”

Fellow performers David Murphy and Jill Anderson walked with her on her journey. Now that they’re battling their own health crises (Murphy’s vision problems and Anderson’s MS), Metoyer Moten is there for them.

She’s glad her saga helps others but doesn’t want cancer to define her.

“A long time ago I decided there’s no one thing that’s the sum total of your entire life,” she says. “I’m happy to talk about what God did for me during this experience, but I’m not going to dwell on the cancer bit forever. I don’t want people to look at me and say, ‘Cancer.’ I want them to look at me and say, ‘Healthy…healed.’”

Omaha songstress Mary Carrick takes flight in new CD

July 14, 2014 2 comments

I don’t know what it is, but I keep winding up doing stories about cabaret singers.  One of the latest I’ve profiled is Mary Carrick, whose new CD Let’s Fly is an interesting collaboration with J. Gawf, a pianist who serves as Opera Omaha resident music director and chorus master.  Carrick got to know Gawf while performing in the Opera Omaha Chorus. Impressed with her versatile voice, he began coaching her on the side.  Impressed with his musical acumen, she asked for advice about who could help her with a new CD she had in mind to do fresh takes on American Songbook standards and other tunes across the music spectrum.  He suggested himself and that’s how he became artistic producer and arranger for her Let’s Fly.  Here is my Omaha Encounter Magazine story on Carrick and her collaboration with Gawf on that CD project.  By the way, on this blog you can find my profiles of other Omaha cabret artists, including Camille Metoyer Moten and Anne Marie Kenny.

 

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Mary Carrick

Omaha songstress takes flight in new CD

©Story by 
©Photography by Bill Sitzmann

 

If the late soul master James Brown was the hardest working man in show business, then singer Mary Carrick is Omaha’s hardest working woman in entertainment.

When the Nebraska Arts Council touring artist isn’t performing her own cabaret act, she’s singing in the Opera Omaha chorus or acting in a musical theater production. She also does special events like the Omaha Press Club Show and Omaha Creative Institute Spring Fling.

In addition to her rehearsals and vocal exercises she attends cabaret workshops. All this comes on top of working a full-time marketing job, being married and raising two small children. Yet she’s made time to create her debut CD, Let’s Fly, with artistic producer and arranger J. Gawf, a pianist whose day job finds him serving as Opera Omaha resident music director and chorus master.

The album, available on iTunes. Amazon.com and CD Baby, showcases Carrick’s big voice, wide range, and eclectic tastes. The 10 tracks about love and desire include the Harold Arlen-Johnny Mercer standard “Come Rain or Come Shine,” Cole Porter’s “So in Love,” the Hank Williams classic “I’m So Lonesome I Could Cry,” Barry Manilow’s bath-houser “Man Wanted,” and the Jon Mitchell hit “Both Sides Now.” There’s even Leonard Cohen’s edgy “Dance Me to the End of Love.”

The project’s an intriguing collaboration between a versatile singer deeply rooted in the Great American Songbook and a multifaceted musician immersed in opera. Carrick, who can sing anything, has a voice with operatic qualities, and Gawf, who can play anything, is well-versed in popular music. He’s also Carrick’s primary vocal coach and the two have developed an aesthetic kinship and personal friendship.

Gawf has worked with world-class singers and is a great admirer of Carrick’s vocal instrument.

“It’s crystalline clear, it’s shiny, it’s got shimmer,” he says. “She has such a range to go from the high register, which I think is a beautiful part of her voice, to the low register.”

Then there’s what Carrick can do with a song.

“Well, she’s a storyteller, number one,” he says. “She comes from a theater background and she can tell a story like nobody’s business.”

Carrick’s found a niche in cabaret performances that often find her teaming with pianist-vocalist Todd Brooks.

“There’s so much artistic freedom in cabaret,” she says. “There’s really no rules. I can program whatever I want. I can do songs that are traditionally sung by men and make them my own. I can infuse myself and my own experiences into the songs. There’s a very intimate connection with the audience that I love very much. I can talk and tell stories throughout my show. I love that audience-to-singer energy that happens in the room. It’s exhilarating.”

She’s been recognized by the Omaha Entertainment and Arts Awards and the Theatre Arts Guild for her cabaret shows as well as productions of her own Broadstreet Theatre Company.

When Carrick broached the concept of her album, Gawf wanted in and says the chance of “doing something I’d never done” appealed to him. “Mary gave me free license.”

The songs on “Let’s Fly” have been covered many times by other artists, but Gawf was intentional in taking a new slant.

“I pride myself on not listening to other artists before I tackle something because I don’t want to get preconceived ideas of how something should be. I like to take the song off the page and then re-imagine it. After we got our arrangements together I listened to what other people did to see where ours fit in, and we’ve got some unique things. Half the fun was coming up with what works for us.”

Carrick feels she’s in good hands with Gawf.

“I put my trust completely in him. It’s just been an awesome match. I think we work in tandem really well. He totally gets me. He can tell when I’m not giving as much as I need to. There was one session where he said, ‘I don’t feel like you’re giving you’re all to me,’ and he was right. I know where he’s at, he knows where I’m at. We can sort of feel where we’re going, where things aren’t working.”

Carrick says she most enjoys “the creative process,” and with the CD she’s pleased to have gone to “a real vulnerable place in being completely true to the material. It’s a scary place to go if you really want to be an honest singer, but I think we achieved that .”

For the album Gawf assembled musicians he’s worked with before, including three Omaha mainstays in percussionist J.B. Ferguson, bass player Mark Haar, and accordion player Kate Williams. Jazz pianist Eric Andries joined the ensemble from his home in Baton Rouge, La.

The CD marked the inaugural project for Dreamtree Recording, a new studio operated by Omaha musician and sound engineer extraordinaire Marty Bierman.

The recording sessions became Gawf’s playground to have the musicians try different rhythms and tempos – adding, subtracting, mixing, matching various sounds.

“It was true experimentation all the way around,” he says. “It was fun to be able to do that, to not take it straight from the page and to work with such great instrumentalists.”

Carrick says the CD was both “a fascinating” and “massive undertaking” that “organically developed.” Don’t be surprised if she and Gawf re-team for a new project.

Follow the singer at marycarrick.com.

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From Omaha to Paris to Omaha, with Love, Anne-Marie Kenny’s Journey in Song and Spirit

June 21, 2012 3 comments

I am drawn to stories of people whose lives are clearly journeys of transformation and discovery and stepping outside comfort zones in pursuit of dreams.  Anne-Marie Kenny’s life story is one such journey.  I tell it here in short form but you can find on this blog a much more extensive profile of her I did.  She’s a cabaret singer and an entrepreneur and a generous soul.

Anne-Marie Kenny

 

 

From Omaha to Paris to Omaha, with Love, Anne-Marie Kenny’s Journey in Song and Spirit

©by Leo Adam Biga

Originally appeared in Omaha Magazine

 

Before becoming a world citizen, Anne-Marie Kenny made a coming of age trip to Paris, alone, at 21.

“I just knew I needed to spread my wings,” said Kenny, a native Omahan who eventually made her second homes in Paris and Prague. where she forged careers as a cabaret singer and entrepreneur. After years away this once expatriate returned to Omaha in 2001. Her hometown’s now the base of her performing, vocal instruction and corporate consulting work.

She became a Francophile studying French at Mercy High. The City of Lights symbolized romantic possibilities. She recalled, “I was on the train from Marseilles to Paris when an elderly woman asked, ‘What will you do in Paris?’ and for some reason I said, ‘I’m a singer, I’m going to sing.’ That’s the first time I admitted that to myself.”

She and her three older sisters had performed locally as a four-part harmony group. They studied piano. Not all was idyllic,. Their attorney-father drowned when they were young, leaving their mother to raise and support them. To help make ends meet the girls took jobs. Anne-Marie worked at St. James Orphanage.

“I think life might have been a little bit harder had we not had music,” said Kenny. “Music was our outlet.”

Once in Paris she found work as an au pair. Her pluck led her to an Argentine guitarist and the two became street performers on the Champs Elysees.

“I was determined,” she said.

The duo was quickly discovered, landing a gig on a popular radio variety show.

Returning to Omaha, she studied voice and honed her chops at M’s Pub and V Mertz. She then met her late husband, Bozell & Jacobs ad man John Bull. All the while she pined for Paris. Bull did, too, and the couple moved there. She studied voice with Janine Reiss and at the Juilliard and Peabody conservatories and Ecole Normale de Musique de Paris. Kenny soon made a name for herself as a cabaret artist at posh spots in Paris and the South of France.

Her repertoire includes American, French and Italian tunes. She’s done some recording. She’s also worked in musical theater and has appeared in three feature films shot on the Riviera. She and John shared an apartment on the Seine’s Ile Saint-Louis. She appreciates France’s “very high regard for artists.”

Life took a turn when a poem-song she wrote for newly elected Czech president Vaclav Havel earned an invitation to perform it at Praugue’s famed Reduta Jazz Club. Caught up in the new free market opportunities there, she put her music career aside to form an employment agency serving international companies. The same engaging presence that works a room wins over clients as well.

Just as business boomed John fell ill and died in 1998. She’s since sold the business and made Omaha home again. She operates her vocal performance studio at her brick ranch dwelling, aka, cultural salon. She said, “I am as passionate about teaching as I am about performing now. It’s so much fun seeing people go from having a good natural voice to being able to technically do things they never thought they could do.” She teaches the Bel Canto method.

Her community work includes leading the Siena Francis House Singers, whose ranks are composed of the homeless and in-treatment residents.

Europe is still her playground. She was back last October. Recent U.S. performing gigs included the Sarasota Yacht Club in Florida and the Omaha Community Playhouse. This summer she’s doing a concert for Alliance Francaise d’Omaha.

On the entrepreneurial side. she’s an intercultural relations consultant. “To put kind of a credential on my experience,” she earned a master’s degree in organizational leadership, with a concentration on cultural studies, from the College of St. Mary. She led the start-up of the college’s Center for Transcultural Leaning.

Whether doing art or business, she said, “I’m being creative in both. “They’re both very risk taking and they’re not marching to the conventional beat.” For her, home is where the heart is. “I am so glad now to be back in Omaha. I’m here because I want to be here. I think Omaha has so much going for it. I feel I can flourish here.”

A queen gets his day in the sun: Music director Jim Boggess let’s it all out in “Jurassic Queen” cabaret

January 4, 2012 2 comments

Covering the Omaha arts-culture scene as I have for some 20 years I’ve met a lot of people doing a lot of fine work.  There are always newcomers to the scene, of course, whom I meet in completing assignments.  But there is a surprising number of veterans on the scene who for one reason or another or for no reason at all I miss connecting with all these years until the fates align and I subsequently meet them for the first time.  Jim Boggess is one of these.  He’s done a bit of everything in music and theater and I finally caught up with him on the eve of his doing a one-man diva show, Jurassic Queen, a couple years ago.  I think you’ll like Jim as much as I did for his warmth and honesty and absolute determination to be himself, no excuses or apologies, thank you.

Jim Boggess making friends with theatergoers, ©photo cornstalker.blogspot.com

 

 

A queen gets his day in the sun: Music director Jim Boggess let’s it all out in “Jurassic Queen” cabaret

©by Leo Adam Biga

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

 

Omaha Community Playhouse Music Director Jim Boggess likes big, brassy numbers. Sundays, he indulges his penchant for belt-it-out show-stoppers directing the Freedom Choir at Sacred Hearth Catholic Church. His dynamic, stand-up-and-shout lead at the piano cues the choir to make raise-the-rafters gospel sounds.

He’s been an “MGM kind of guy” since growing up in Estherville, Iowa, where his flamboyance fed off the movie musicals he watched at the Grand Theatre. He set his sights on show biz after seeing a high school production of Carousel. Being gay in a small, conservative Catholic community spelled trouble. Songs he’s written for his new cabaret at the P.S. Collective, Jurassic Queen: A One Diva Show, touch on those years.

“‘Gotta Go Away’ is about how I felt in that little town. I had to get out of there. It was not a safe place for me to be,” he said. No matter how ugly things got, he found refuge within his big Catholic clan. “My family was always wonderful to me.”

There’s a tribute to Barbra Streisand, long a figure of infatuation and inspiration. The diva’s music transported him beyond narrow-minded townies. “Listening to her when I was a kid got me through a lot of crap,” he said. He pokes fun at his over-the-top exuberance seeing her in concert for the first time last year.

One tune satirizes Catholic school. Two personal songs bracket the show. The opening title number “Jurassic Queen” defines him as “a survivor with a sense of humor who’s not afraid to talk about the amount of hair growing out of my nose.”

The closing ballad “is about never giving up the fight and about friends who are gone who can never die as long as you remember them,” he said. “I’ve lost my parents. I’ve lost friends – some to AIDS, one to suicide. I think about them every day. I miss them every day. There’s a period in you life when you really feel like you’re Typhoid Mary because everybody you know is dying. That’s a damn hard time to get through.”

 

 

The show is a declaration of what it means to be an aging gay man in America. Boggess insists it’s not some self-righteous polemic but a celebration of a rich life.

“I’ve had a helluva time and I’ve got some great stories to tell and some great songs to sing that aren’t just mine,” he said. “And I’ve got some funny stuff, too. There isn’t anything more boring than somebody coming on the stage and going, ‘I am gay and you must respect me.’ You have to have a sense of humor about yourself.”

The show also expresses the defiant attitude Boggess has cultivated. “I really just don’t give a damn what anybody thinks,” he said. “I mean, I care what my friends think but as far as total strangers and large legislative bodies I don’t.”

Omaha singer/actor Seth Fox, whose Royal Bohemian Productions is staging Jurassic Queen, said having the show at the P.S. Collective in Benson rather than a gay venue like The Max, where it previewed, makes a statement.

“It says we’re not afraid to be here and you have no reason to be afraid either,” he said. “This helps us to bring gay cabaret out of the gay bar into the mainstream. Make it less about being a gay-themed show and more about being a human interest show. Granted, some of the humor is going to cater to gay audiences but not all of it. There is something for everyone.”

“It’s not a drag show,” Boggess said. “I don’t wear a dress. I’m just who I am. It’s just me and a piano and a couple of cutouts.”

Besides, Boggess said, being gay is just one aspect of him.

“I’ve never ever defined myself by my preferences,” he said. “I define myself by the kind of person I am. It is certainly a part of me, an intrinsic part of me, but it is by no means all of me. There’s a lot more there.”

For a long time Boggess felt disapproval from the very institution that was supposed to love him unconditionally – the church.

“The exclusion of many different kinds of people made me very bitter towards the church. I never ever thought I would set foot back there again.”

But he did, finding “acceptance and inclusion” at Sacred Heart in north Omaha, where the gospel music he performs speaks to him. “It’s survival,” he said. “Show me any good gospel singer and I’ll show you somebody who’s survived.” The Freedom Choir he directs there is mostly white but they sure know how to get down with gospel.

“I’m as white as they come but I think there must have been some funny business in my family earlier because I feel a big affinity for it,” he said.

Versatility’s kept Boggess working steadily 35 years. He can sing, play, arrange and direct music. He acts. He came to Omaha in 1974, via the Mule Barn Theatre in Tarkio, Mo., to work in the Firehouse Dinner Theatre’s pre-show Brigade. He, along with Jim and Pam Kalal, formed the trio Best of Friends. Their dreams of Las Vegas revue stardom fizzled. He freelanced as music director at the Firehouse and the Upstairs Dinner Theatre. He toured two years with the Nebraska Theatre Caravan, composing two musicals with Cork Ramer. He played the pit at the Playhouse, where he also starred in La Cage Aux Falles. All of it, he said, proved “a great training ground.”

He’s held his present Playhouse gig for 11 years. His devotion to theater is a love affair. “You have to really have a passion for this to survive,” he said. He lives for those rare times when everything comes together.

“There are moments in shows and in music when it goes right, when it truly is an expression of you and the other performers and the chemistry and connection between you and the audience has an undefinable magic. It’s equal parts instant gratification and pride. Those moments don’t happen all the time but, boy, when they hit there ain’t nothing like them.”

He often collaborates on cabarets headlining others, including Fox, Jill Anderson and Camille Metoyer-Moten. He felt the time was ripe for his own one-man turn.

“It’s just another side of me that I thought I’d let out,” he said.

Better do it now, he thought, at age 55. “I mean, how long will I be presentable?”

Home Girl Karrin Allyson Gets Her Jazz Thing On

June 22, 2011 7 comments

Omaha‘s gifted the world with at least two world-class chanteuses. Julie Wilson is a cabaret staple singing standards at posh Manhattan night clubs. More recently, jazz vocalist Karrin Allyson has made connoisseurs in New York City and other swank spots take notice with her live concerts and Grammy nominated recordings, Her new CD, Round Midnight, came out May 2. She describes her 13th release on Concord Records as “a very intimate, personal album” that recreates the vibe of a late night set.

Her February Holland Performing Arts Center concert with the UNO Jazz Ensemble marked a homecoming and reunion in several ways. Omaha is where she grew up. Her father and numerous friends still live here. The University of Nebraska at Omaha is where she earned her music degree (piano and choral). She’s performed with the UNO jazz band before and she usually gets back to gig once a year in her hometown, where she first cut her chops soloing at Ms Pub.

Allyson, who lives in New York, appreciates accolades by critics, fans and peers, but she said “for me it’s making music that’s the paramount thing.” The ever searching artist is always looking to evolve, whether rediscovering old standards or adopting French tunes or performing Brazilian numbers. Lately, she’s played more piano, acting as her own accompanist. On her new CD she did most of the arrangements herself. On stage and in the studio, she calls the shots. “I think from the very beginning I’ve been a bandleader. I’ve never had a music director,” she said, adding she subscribes to what a UNO choir teacher taught her:  “I’m a musician who sings. I’m a part of the process, not standing outside it.”

Noted for her poise, Allyson said, “I want the audience to feel comfortable because I appreciate that as an audience member. I really want to be in the moment and to make it a special thing and to have that ease with the band to just let stuff flow.”

The classically-trained Allyson also led a rock band at one point but it was the improvisation of jazz and its huge repertoire that captured her. As her voice has ripened and she’s lived more of life, she’s grown into the music: “It’s true the older you get or the more experience you get the more you have to say. I want to tell a story — that’s my thing.” Her Omaha gig featured special big band and ballad arrangements. “I’m going to be playing a couple on piano myself — breaking it down as we say. It’s going to be a beautiful, varied evening,” she said in advance of the event.

In addition to Allyson and Wilson, Omaha has more chanteuse-cabaret talents in Anne Marie Kenny and Camille Metoyer Moten. My stories about them can be found on this blog. And if things work out, a story I hope to do about Julie Wilson will be joining the others here soon.

 

 

 

 

Home Girl Karrin Allyson Gets Her Jazz Thing On

©by Leo Adam Biga

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

Even after three Grammy nominations, top festival and club gigs and comparisons to iconic divas, jazz vocalist Karrin Allyson is not resting on her laurels.

Staying hungry’s a survival instinct. Your passion and talent either grow or stagnate.

“There’s always a sense of having the feeling of doing what you need to do and following what you love,” Allyson said by phone from New York City. “It’s essential for any artist to question where they’ve been, where they are and where they’re going. It’s always a journey.”

The Great Bend, Kan. native was six when her parents moved the family to Omaha. Her pretty, pixie, girl-next-door looks belie an old soul. This girl has it. The plaintive, sultry, earthy, smoky, whiskey-wizened voice. The knowing inflection. The emotion, angst, irony, desire. An artist’s expressive range and register. A stylist’s interpretive skills. She works it. She’s real.

“That’s all you can do is to let your music speak for you,” she said. “I come from a very varied background musically and socially. I was brought up with a social conscience, which I think informs one as an artist as you go along. Now, that doesn’t mean I’m a Nina Simone singing freedom songs…but I love to sing about all sorts of different struggles and I love to sing all different styles — jazz, blues, the Great American song book. Different languages interest me.”

Her latest cultural immersion is Imagina, Songs of Brasil, a Best Jazz Vocal Album Grammy-nominated work on the Concord Records label.

 

 

 

 

Coming of age in Omaha she headlined an all-girl funk-rock band, Tomboy. Then she “discovered” jazz, steeping herself in Dinah Washington, Billie Holiday, et all. The University of Nebraska at Omaha classical music major got another kind of education at Kilgore’s and the Howard Street Tavern. “There was a (jazz) scene in Omaha,” she said. She became a fixture among the cats. “They let me sit in on jam sessions.” An M’s Pub gig followed. “I learned a lot. I cut my teeth in a lot of ways.”

She moved to Minneapolis and did “the scene there.” Then on to Kansas City, where she blossomed at uncle Ron Schoonover’s Phoenix club. In K.C. she met many of the musicians she still plays with today. One, guitarist Rod Fleeman, will join her for a 7:30 p.m. concert on Friday, June 19 at Joslyn Art Museum’s Witherspoon Concert Hall. Proceeds benefit Ted E. Bear Hollow and Hospice House — The Josie Harper Residence.

Her appearance is a special Father’s Day gift for her pops, former Augustana Lutheran Church pastor Vic Schoonover. She’s also singing for a Sunday, June 21 celebration at the church marking the 50th anniversary of his ordination. The special circumstances are sure to induce a catch in her voice.

“For me,” she said, “I think the truest, most beautiful thing about this medium is that it’s an expression of the life you lead. Your experiences come out through the music and enhance the music. Improvising in front of people is a pretty personal thing. You’re using your body, your heart, your intellect. If you’re tired you’re going to sing a little differently, if you’re joyful you’re going to sound a certain way, if you’ve had a hard time that will inform it as well.”

Expect a voice tinged with emotion when Allyson performs this weekend in memory of a grandmother who died in hospice and in honor of her father’s ministry.

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