Archive for the ‘Television’ Category

John Knicely: A life in television five decades strong 

February 26, 2018 Leave a comment


John Knicely: A life in television five decades strong 

©Story by Leo Adam Biga

©Photos by Jeff Reinhardt

Appearing in the March 2018 issue of New Horizon

Anchormen are mainstays of the old local network affiliate television tradition that saw men, almost never women, read news on-air. Much has changed in TV in terms of gender equity. Women anchors, reporters and news directors are common now,. But there’s no getting around the fact that for a large portion of the viewing audience age 55 and above, a man delivering the news was the norm. Though men now share newscasting duties with women as part of co-anchor teams, it’s still a male-dominated field behind the camera.

Just as there’s frequent turnover in other industries, people don’t stay put in broadcast journalism very long. In TV, where ratings and focus groups rule job security and on-air personalities look to bigger markets, station hopping comes with the territory. Plus, reporting-anchoring is often a gateway to other careers, such as corporate public affairs. That’s why WOWT co-anchor John Knicely is that rarest of creatures. He’s been the face of the same station for 26 years. It constitutes the longest run by any one anchor in this market since television emerged in the late 1940s-early 1950s.

His presence on local TV extends back even further – all the way to 1974, when the Sidney, Neb. native and University of Nebraska Lincoln graduate first joined WOWT, not as a newsman but on the sports side. He was a popular Omaha TV sports figure from then through 1981, when he made his only career move outside this market to do sports in St. Louis for three years. He returned to Omaha in 1984, still doing sports, only at WOWT’s chief rival, KETV, where he was part of the top-rated local newscast team that also featured Carol Schrader, Michael Scott and Jim Flowers.

Going from sports to news and connecting with viewers

Then, in 1992, he was part of a media shakeup that made headlines when he and Flowers left No. 1 KETV for then doormate WOWT and he simultaneously made the unusual move over from the sports desk to the news desk. WOWT’s ratings climbed and he’s remained in the anchor chair ever since.

“I had heard of another sports guy who made that transition in another market,” Knicely said of the sports to news switch. “As we thought about it, my wife and I, it was a way to advance and not have to move out of town. With five kids at home at the time it was really appealing. It was, I suppose, taking a chance because you’re known for 20 years in sports and then changing over to news. But we had a really good consultant then. He said, ‘Don’t try to be any different just because you’re doing news now – be yourself’ – which was great advice. You don’t have to be something else.

“The biggest thing was meshing with my co-anchor Pat Persuad. It’s not that it had to be hard or anything. it’s just that I was always sports alone. I produced everything myself – went out into the field and did it and it was done. But in this case you’re working with somebody and there’s kind of a rhythm you need to develop and get into – and a trust . And for Pat, she had a sports guy coming in to do this. She’d had a couple previous anchors that she worked with. She was very gracious. My wife Sue and I made a point to go out to lunch with Pat so that she could get to know us better.”

In broadcast journalism, it’s all about connecting enough with viewers to make them feel comfortable having you, so to speak, in their living room or kitchen or bedroom.

“You make a connection if you’re genuine, if you’re real about who you are,” Knicely said. “There’s a comfort level I think that develops. Of course, not everybody’s going to like your style or like something about you, but that’s the business.

“You think back to the first time you were on TV and how foreign that camera lens seemed to you. You’re wondering, ‘What am I talking to?’ There’s nothing talking back to you or anything. But I think pretty early on I was able to get that and be at ease doing it, and if you’re at ease, then I think your viewer’s at ease, too.”

He actually discovered his knack for communicating to others in high school speech class.

“I got in front of the class to give a speech and I just felt comfortable, right at home. I really enjoyed it. There was something about them responding to what I said. I usually did something that I thought was humorous. You got that instant feedback” not unlike a stage performer.

“I was successful at it.”

Just as many successful communicators imagine they’re speaking to one person in the audience, Knicely said, “I think in a way I do that – it’s almost like the camera becomes that individual. It’s the only thing out there. You don’t really think about the number of people you’re being seen and heard by. but it’s definitely that projection right into that camera.”

He’s not always at his best.

“I think some nights you don’t feel like you connected as well. Maybe the copy didn’t get in early enough for you to look at it and make some changes – because it has to be conversational. That’s really critical.”

A good newscast presentation has to do with intangibles like charisma, chemistry and energy but also measurables like pace. Anything can throw the whole works off, whether a flubbed line or a technological glitch or just not feeling yourself.

Knicely’s consistently resonated with enough viewers – two generations of them – that he’s outlasted countless other local on-air talents. Along the way, he’s carved a niche as a participatory journalist. It started with the “I Challenge John” series he did at KETV and it’s continued through the “John at Work” and “Knicely Done” segments he’s become known for at WOWT. He’s also developed a sterling reputation for integrity.

A man of faith

Off the air, he often shares his values and faith at public functions where he’s asked to speak.

He finds congruence between his on-air and off-air self.

“If I didn’t have my faith, it would be a different story because I may then have to be this person on camera but off the camera a different person. But since I’m the same person in both places that really takes that kind of pressure off because it’s nothing I really have to worry about since I’m still being myself.”

His professionalism doesn’t allow his personal views to leak through his work as a journalist.

“In regard to the stories you do, it’s always objective and both sides of the story. I understand there are different views and feelings and it’s not my job to give my views. If I’m speaking at an organization that invites me to come and speak and they ask me to share my faith, I’m certainly able to do that.”



As Omaha’s version of Dick Clark, he’s seemingly defied aging by still looking remarkably like he did when he started all those years ago. The former high school athlete – he played football, basketball and golf – has always made fitness a priority and he still exercises most every day. At the station he gets in a workout between evening newscasts at its subterranean workout room, complete with racquetball court and basketball hoop. When his kids were young and visiting dad at work, they’d shoot hoops there.

He’s gracefully aged into Omaha’s longest-lived TV icon. He’s a grandfather several times over. He’s twice the age of most of his colleagues and has more experience in the business than many of them have lived. All of which makes him the dean of area TV journalists.

Still manning the anchor desk at age 66 means he’s also defied a growing trend toward younger on-air talent. His familiar face and age may actually be a plus for audiences since the demographic that consumes network affiliate programs tends to be older and thus he’s the face of a proven, trusted news organization. That matters in an era with a glut of online news and social media, much of it unreliable or unvetted.

Doing it all

Knicely has not only withstood TV’s ageism, he’s gone against the grain by shooting, editing and writing his own stories in the field – a rare practice among anchors. It flies in the face of the stereotype that anchors are talking air heads who can’t string two words together unless they’re scripted for them on a teleprompter, or in today’s studio world, on an Ipad.

“There aren’t many news anchors that go out and shoot a story, edit it, write it, read it. ‘Knicely Done’ – I do all that myself. They’ve given me a camera to use. I know exactly what I want and I know what makes a good story. I know the natural sound you’ve got to mix in, so I can shoot it and produce it. Some of that goes back to shooting sports – I was familiar with angles and shots.

“But it’s a lot of extra work doing it that way. The typical way – you go do the interview, write the story and then hand it off and that’s all your involvement is. But I don’t do it that way. My way, there is that accomplishment and the creativeness you get to express.”

He’s heard the jokes about anchor people and, he said, “I don’t think it applies to me because I’m involved in every aspect and want to be,” adding, “I want to have a good product I present that has my name on it.”

Filing his own stories for “John at Work” and “Knicely Done” has given him an opportunity to stand apart from the pack by getting his hands dirty and showing his personality. For the latter, he did everything from working on a garbage hauling crew to climbing a 2,000 foot television tower to being a middle school principal to flying with the Blue Angels.

“The one thing about it is that it keeps it fresh and new. You’re presenting something in a different fashion. News doesn’t always have to be serious. It can be informative and give you an idea of what’s going on in the community that you wouldn’t otherwise hear about. There’s really good things about that approach. And it’s not about you, it’s the fact that this is what’s happening behind the scenes with certain jobs or personalities in our community that you get to showcase.”

The segments also counter the frequent criticism leveled at TV news that it reports too much negativity.

“You hear all the time, ‘Why do you guys only give the bad news?’ Well, we don’t. When the good news kind of goes by and you’ve watched it, I don’t know what happens to it. It’s like, ‘Did you forget that we did a good positive story?’ ‘Knicely Done’ is always positive. It’s highlighting good works in our community.

“Maybe because of the emphasis of the lead story at the  top of the newscast, which is usually a serious story about an issue or some crime or disaster, the good news kind of gets lost. It’s kind of sad that’s the case. Also, you’re exposed to news throughout the day with the different mediums out there and you hear a lot of bickering and negative things going on and you kind of lump it all together with news in general. Maybe viewers are not as discriminating in thinking about it.”

He’s convinced that local news broadcasts, whether over the air or streaming, remain relevant.

“The first thing would be breaking news because it’s happening now and we can bring it to you right now, Newspapers have video and online services, so you can get it there, but not in the same capacity, Then there’s the local issues that develop that we cover in real-time. It could be the school board voting that night on the new superintendent and we capture the results and reactions on camera. We can bring you really anything happening in the city – crime and scams going on right now, things you need to be aware of as a viewer.”

On the lighter side, he’s a pretty good sport who doesn’t take himself too seriously. whether working someone else’s job or accepting a competitive challenge.

“Yeah, you have to know how to fail and live with it. It’s always pretty much tongue-in-cheek. We make it fun.”

He no sooner started the “I Challenge John” pieces, he said, then he was “swamped with letters – I couldn’t answer them all and I couldn’t do them all.” Many  challenges he accepted were from kids. “I lost to a bunch of 9 and 10 year olds.” Once, memorably, he played goalie and tried and failed to stop youth ice hockey players from scoring on him. “My self-esteem just sank. But they were fun things.”

He’ll never forget two challenges.

“A guy had me come out to Carter Lake for a water ski challenge. Well, I water ski, so I thought this shouldn’t be tough. We get out in the boat and he says, ‘See that ski jump over there? You’re going to go over that.’ Sure enough, next thing I knew i went over it. He told me beforehand, ‘When you hit that, don’t pull back on the rope.’ There’s this trickle of water always coming down on the board to keep it slippery – so you can slide. Well, I hit that ramp, pulled back on the rope, and my skis started going straight up. I was looking right up into heaven. I  landed smack on my back and went under water and I thought, ‘Okay, the rescue boat is going to be here,’ and it was and the guys were laughing.

“One humiliation after another.

“Another time, I played chess at Brownell-Talbot against their champion. He was a brilliant senior. He played me with a paper sack over his head in front of the whole student body. They would call out my move and in 10 seconds he had the next move, and he checkmated me, I later ran into one of the professors there, and he said, ‘I know chess and I knew he had you checkmated earlier.’ And so I asked the kid, ‘Why didn’t you do it then?’ and he said, ‘Well, I promised the student body  I’d take the whole hour.'”

Some challenges Knicely politely declined out of safety concerns. Para sailing was one. “I thought, ‘I’ve got five kids, I can’t get up in that thing by myself.’ I even declined parachuting. I’ve done it since.”


From the heart

Perhaps the most personal storiy he ever filed was in tribute to the derring-do of his late father, Jack Richard Knicely, an Omaha native who co-piloted B-24s and C-46s in the China-Burma-India Theater. He flew missions over the “Hump” (Himalayan Mountains). The son accompanied the father on an honor flight to Washington D.C. to visit the World War II Memorial.

The trip meant a lot to both of them.

“You won’t find anyone more loving of his country than my dad was. In his late age he would get tearful when he would talk about the men and women who served. There was one very dangerous, almost desperate situation that his co-pilot pulled them out of that he would get tearful about remembering.

“That memorial visit was really fantastic because the plane was full of veterans. When we got to D.C.. there was a gauntlet of people cheering as all these veterans walked through and, boy. it was emotional. Dad actually sat next to a guy who also flew B-24s. Pretty amazing. It was so special to see Dad’s reaction to what a great tribute they put together in their honor. It was humbling. It was just great to experience it with him.”

The Greatest Generation holds great store for Knicely.

“I love that description  When you think that they were 18. 19, 20 years-old and without question enlisted right away to do what they could for our country. Totally selfless. We can’t thank them enough.”

His father’s passing offered another opportunity to pay respect to his service, which included years in the Air Force Reserves before retiring with the rank of colonel.

“At his funeral they had a full military salute. As we drove into the cemetery I looked over at all these young military people standing at attention as the hearse drove by. Then they had the gun salute and folding of the flag and presentation. Wow, did that ever hit hardcore .”

Showing another side of things

Knicely’s entrepreneurial news reporting has its roots in a series he did at WOWT about two decades ago.

“Our news director then was John Clark and I asked him, ‘Can you just give me my own camera because it will free me up to get some things that otherwise I can’t get?’ So, he did. It started that way. He had seen my work at KETV. But my going out and finding stories really evolved from when I came over to WOWT in 1992. We had a little time before I could go on the air and so I proposed that I go live in the projects in North Omaha for three days. John assigned a photographer to me who was kind of street smart and we went in and lived in the Hilltop Housing project for two nights and three days and found just a whole bunch of positive stories that you don’t hear about in that community of young women really working hard to improve, take care of their families and get out.

“The one apartment in the whole complex that allowed the bad guys to come in just tortured everybody. That’s the way it was. The idea for the series kind of caught my news director off guard. He was like, ‘Should we do this or not?” He okayed it and we had three good nights of stories out of it. A lot of good positive stuff. We called it ‘Three Days in The Jets’ because the people living there called the projects The Jets. I edited it and wrote it. I used music. Back then, you could use music more. It makes a big difference in a story.”

A purpose-driven life and career

Hundreds of stories have followed. He’s won recognition from his peers for his work. Yet, this nearly 45-year fixture of Omaha media wasn’t even sure he wanted a career in television as late as his graduation from UNL with a broadcast journalism degree.

“My dad was a lawyer. My brother’s a lawyer. Even right to the end of school I was still kind of thinking that, too.”

There already was a journalist in the family though. His mother Betty wrote a column called “Panhandle Mother” for the Sidney Star-Telegraph that John admired and she encouraged his own reporting interests.

Then fate or divine providence intervened.

“Coming out of college, I had two job offers. One was Sioux City TV. The other was Lincoln radio. I took the one in Lincoln because I had a girlfriend in Lincoln. TV would have been the better choice in hindsight. But then three months later there was a job opening at Channel 6 in Omaha and my old college professor Dr. Larry Walklin said, ‘You should apply for that.’ It was a weekend sports job. So I came down here and interviewed.

“I had long hair back then. I got the job in like a week’s time. The opportunity just came. I really think God opened the door for me at that time. There was a sense about it that this is supposed to happen.”

He’s indebted to his teacher for the job tip.

“He didn’t have to call me and find me. I was out of school. But he was so nice to do that and I’ve thanked him several times since.”

An aphorism from his old prof turned words to live by once Knicely entered the real world of working media.

“Dr. Walklin always told us ‘never assume anything.’ In college you didn’t understand what that meant, but, boy, when you get in the business you do.”

Knicely joined a strong, veteran newscast.

“Gary Kerr was the anchor. Dale Munson did weather, Steve Murphy was news director, Ray Depa was assistant news director. Wally Dean was there, too. They were so professional. True journalists. They were just a tremendous example and it was a real learning experience working around them. Wonderful guys.”

The three broadcast network affiliates had the market to themselves.

“It was such a different era back then with just three TV stations. It was very competitive.”

Knicely was off and running in his career. But something was missing.

“I’d probably worked here six months to a year. I had all these things going for me: a great job, friends, fun activities. You’d think you’d be happy because you’re meeting all these goals. But I just had this shallowness inside me. The depth wasn’t there. I was kind of running from God and couldn’t get away. It was like He was saying, ‘John, I have a real purpose for your life,’ and it just resonated for me.

“Things were happening in my family, too, with deeper walks in faith by my mom and dad and my brother. I  grew up around church but I realized, ‘No, there’s some depth they have that I don’t. Finally, I got down on my knees on Christmas Eve. I was working alone. I just said, ‘Alright, Lord, I give you my life – you use it the way you want to use it, and that’s my commitment to you.’ It was a very personal thing. God really spoke into my life. I started reading the Bible. It was jumping off the pages to me. That was 1975. It’s been a long time.”


Moving past tragedy and trauma

His faith was seriously tested before and after his born again experience. In his teens his mother Betty was diagnosed with a brain tumor.

“She had an operation and never really recovered from that. She was in a coma state. Before she passed away, we all came home and she would acknowledge us. My brother asked her if she’d like to say the Lord’s Prayer and in spite of the fact she was in a coma she came out of it to say that with him. Spiritually, it was pretty dramatic for everybody in the family. With our Christian faith, we’re confident she was with the Lord and we’ll meet again one day.”

His father later remarried a widow, Jan, with two girls of her own and thus Knicely found himself part of a blended family as a young adult.

“I didn’t know what to expect with a new mom introduced to the family, There was an adjustment but we all understood what a blessing it was and it proved to be an absolute godsend for everybody. They were married almost 40 years when he passed away at age 92. Her daughters looked at him as Dad. Jan’s just a very loving, kind person and treated us like her own, especially our kids.”

Decades later, Knicely’s own family experienced a crucible no one should have to endure. His daughter Krista was attending Baylor University in Waco, Texas, where she lived alone off campus, when an intruder broke into her place one night and began assaulting her before help arrived. She called her parents in Omaha, distraught after barely escaping with her life.

“It was traumatic,” Knicely recalled. “We get the phone call that night, ‘Mom and dad, somebody just attacked me.’ We’re here and she’s down in Waco and how do you get through the night until you get down there and hold her. The whole ordeal was a miracle of how she was saved. There wasn’t anybody around. There was no hope when this guy attacked. It was clear he was intent on harming her because she fought with everything she could. The first words she remembered saying when she realized this wasn’t some practical joke or something were, ‘Help me, Jesus.’

“While she was still struggling, being choked, two guys coming to pick her up saw what was going on through the window and one ran to get police officers they’d just pased in the neighborhood. The officers got there and burst in with guns drawn. They told the guy to freeze but he bolted and Krista’s friends ran after him, caught up to him and tackled him, and put a nice welt on the guy for me. He was arrested. It turned out he had done similar things to other women.”

The criminal justice process meant reliving the incident.

“There was the whole ordeal of going through the trial,” Knicely said. “At the sentencing you have the opportunity to speak to the defendant. I wrestled all night with whether I was going to say anything or not. The next day I still hadn’t decided. Then, in the courtroom the next thing I know I’m moving up to the stand and talking.”

He believes what he spoke was inspired from on high.

“I was able to address that guy and tell him ‘what you did is not going to have a hold over our family – we forgive you for what you did, it’s wrong, and you’re going to get the punishment you deserve.’ It just kind of released everything on behalf of my family and Krista my daughter.”

Krista’s moved on with her life but there’s still repercussions.

“She still has to work through that,” Knicely said. “It’s not been the easiest healing. When she was able to forgive her perpetrator it was a transformation and she went on to become Miss Nebraska. Her platform was bringing awareness about violence against women. We couldn’t have known all these positive things were going to happen. We’re still so thankful to this day.”

Stolid, almost never controversial, and still at it

Knicely is in a decidedly young person’s game and he acknowledges, “I’m getting to the end of my career. I’m aware of that.”

His son John surprised him by following him in the business. John junior is now an anchor in Seattle.

“I told him even if he wasn’t my son, I’d watch him. He does a good job.”

Knicely, the “old man,” doesn’t concede anything.

“I feel like I’m just as active as I ever was.”

The work also hasn’t grown stale for him.

“It’s still fresh in many ways and that doesn’t seem possible. But it might be because the content changes every night and there’s a change that happens as you sit down to go on camera and do the news. It’s an opportunity to connect with viewers.

“It’s pretty remarkable that it’s not like, ‘Oh no, not this again.’ But it’s not that way. It’s the people you work with, too, that make a difference. Mallory’s full of life and fun to joke with. Rusty Lord and Ross Jernstrom are fun.”

Knicely’s squeaky clean image has never been tarnished by controversy, He did suffer ribbing for an on-air faux pas when he said crystal meth instead of Crystal Light and the mistake ended up on the butt of a joke on Jimmy Fallon’s late night show.

Years earlier, Knicely was cast as a villain in some circles for jumping ship from KETV to WOWT. Channel 6 was motivated to break up the ratings leader team at Channel 7 and Knicely knew of the strategy thanks to an inside source.

“I was communicating with a person I knew at 6. Then I had a clandestine meeting with the general manager at a very discreet little coffee shop. I realized in talking to him that, yeah, this could happen. WOWT’s concern was a non-compete clause in my contract which said you had to stay off the air for a year in the market. They were content with that. Well, when 6 hired me and Jim Flowers, Channel 7 went right to a judge to make sure non-compete was enforced. But the judge ruled against them, saying Neb. is a right to work state and there was nothing so unique about us that couldn’t be replaced, so we were on the air in three months instead of a year.”

The only time Knicely left for a bigger market was St. Louis. There were other occasions when he eyed a move. When still doing sports at 7, he was the runner-up for the sports director slot at a station in Phoenix.

“But being close to family and being comfortable raising my kids in this community won out and I just didn’t very actively pursue anything. If I was contacted by somebody, I considered it, but …”

Home is where the heart. That’s why he’s here to stay.

Follow John at



Nebraska’s own Lynn Stalmaster gets long overdue Oscar

February 27, 2017 Leave a comment

Nebraska’s own Lynn Stalmaster gets long overdue Oscar

©by Leo Adam Biga

Author of Alexander Payne: His Journey in Film


If you’re like most Nebraskans who watched the Academy Awards last night, you’re probably unaware that one of the receipients of an Honorary Oscar is one of our own – Omaha native Lynn Stalmaster. Stalmaster made history last night as the first casting director so honored by the Academy. That it should have ben Stalmaster is appropriate since, as the attached IndieWire article explains, he basically helped invent the role of the independent casting agent at the very moment the old Hollywood studio system was beginning to dismantle and the rise of independent production companies came to the fore. Casting in old Hollywood was done internally within the studio apparatus or factory system. Stalmaster, who was an actor himself, saw the need and opportunity for a casting expert to help producers and directors identity, audition and assemble casts for their projects. He became the king of casting in Hollywood, for both television and film, from the early 1950s through the 1990s. He discovered many actors who went on to become stars and he cast countless landmark shows and films by legendary directors. Many actors went on to be nominated for Emmys or Oscars, some even winning these awards, for their performances in the roles he cast them in.



From Omaha World-Herald and the Hollywood Reporter:
He was born in Omaha in 1927 to Nebraska District Judge Irvin A. and Estelle Lapidus Stalmaster, and he attended Dundee Elementary School. His father’s made his early career as an assistant state and Douglas County attorney before serving on the Nebraska Supreme Court. The family moved to California in 1938, when Lynn was 12. A self-described “shy child”, he came “out of his shell” during high school and college via acting. He enjoyed a good measure of success as a professional actor, though one day while working as an assistant to a group of producers, including fellow Omahan Phillip Krasne, he was asked to cast some shows. Soon, he was looking for cowboys for the television western, “Gunsmoke.”


Lynn Stalmaster

Lynn Stalmaster


He cast more than 400 productions during almost 50 years in the industry and is credited with identifying the talent and jumpstarting the careers of John Travolta, William Shatner, Jon Voight and Richard Dreyfuss, among many others. He even earned the nickname “Master Caster.”

“Before Lynn, no one really knew who John was,” Travolta’s manager, Bob LeMond said

The rest, as they say, is history. For many, Stalmaster’s career seems glamorous and powerful; being able to create true stars; but he has said he doesn’t see it that way. “I don’t think of what I had as power. Decisions were made jointly with the director and producer. I wanted to help make the best possible film and hire the best possible actors. I had a responsibility not just to my clients, but to the actors as well.” Once asked how it feels to now be the dean of his profession, he laughed it off, “I’ve just been around the longest!”

Link here to a great IndieWire article detailing what made Lynn Stalmaster such a seminal figure in his field–


Interestingly, another local, John Jackson, who’s from Council Bluffs but often works in Omaha, is an actor turned casting director having great success in the business. John is fellow local Alexander Payne’s casting director. Payne, like other directors, wiil tell you that casting is perhaps THE single most important aspect in making a successful film. You have to have a good script, of course, but if you don’t have the right cast it won’t be as good as it could be and it might very well fail.

Cheers to Lynn Stalmaster for showing the way and for John Jackson in following in his footsteps, two of hundreds of locals who have made and continue making significant contributions to the screen world.

“The Graduate”

Courtesy of AMPAS


The following is a selected list of Lynn’s staggering credits from his IMDB. You’ll likely be familiar with dozens of the projects he worked on, but pay particular attention to the features he cast in from the 1960s through the 1980s, as he worked on many of the finest films of those decades:

2006 A Lobster Tale
2000 Battlefield Earth
1996 No Easy Way
1996 To Gillian on Her 37th Birthday
1996 Crime of the Century (TV Movie)
1996 Carpool
1995 Fluke
1994 Squanto: A Warrior’s Tale
1994 Chicago Hope (TV Series)
1994 Blue Sky
1994 There Goes My Baby
1994 Clifford
1994 Intersection
1993 The Program
1993 Guilty as Sin
1992 Double Jeopardy (TV Movie)
1992 Stay Tuned
1992 Folks!
1991 For the Boys
1991 Frankie and Johnny
1991 The Doctor
1991 Teenage Mutant Ninja Turtles II: The Secret of the Ooze
1990 The Bonfire of the Vanities
1990/I Havana
1990 Taking Care of Business
1990 Voices Within: The Lives of Truddi Chase (TV Movie)
1990 Crazy People
1989 Incident at Dark River (TV Movie)
1989 Welcome Home
1989 Casualties of War
1989 A Sinful Life
1989 See No Evil, Hear No Evil
1989 Margaret Bourke-White (TV Movie)
1989 Dead Bang
1989 Get Smart, Again! (TV Movie)
1989 Weekend at Bernie’s
1989 Physical Evidence
1989 Winter People
1988 The Jeweller’s Shop
1988 Split Decisions
1988 Murphy’s Law (TV Series)
1988 Lady in White
1988 Switching Channels
1987 Buck James (TV Series)
1987 Real Men
1987 Big Shots
1987 You Can’t Take It with You (TV Series)
1987 Dragnet
1987 Amazing Grace and Chuck
1987 The Fourth Protocol
1987 American Harvest (TV Movie)
1986 Sword of Gideon (TV Movie)
1986 The Wizard (TV Series)
1986 8 Million Ways to Die
1986 9½ Weeks
1986 The Best of Times
1985 The Eagle and the Bear (TV Movie)
1985 Santa Claus: The Movie
1985 Love, Mary (TV Movie)
1985 Murder: By Reason of Insanity (TV Movie)
1985 Marie
1985 The Other Lover (TV Movie)
1985 Creator
1985 George Burns Comedy Week (TV Series)
1985 Jagged Edge
1985 Joshua Then and Now
1985 Space (TV Mini-Series) 1985 Hollywood Wives (TV Mini-Series)
1985 Robert Kennedy and His Times (TV Mini-Series)
1984 The River
1984 After MASH (TV Series)
1984 The Glitter Dome (TV Movie)
1984 Songwriter
1984 Supergirl
1984 High School U.S.A. (TV Movie)
1984 Ernie Kovacs: Between the Laughter (TV Movie)
1984 Her Life as a Man (TV Movie)
1984 Harry & Son
1984 The Parade (TV Movie)
1984 Unfaithfully Yours
1984 The Lonely Guy
1984 The Master (TV Series)
1984 Something About Amelia (TV Movie)
1983 Uncommon Valor
1983 Princess Daisy (TV Movie)
1983 Rita Hayworth: The Love Goddess (TV Movie)
1983 The Right Stuff
1983 Brainstorm
1983 Hotel (TV Series)
1983 Class
1983 The Thorn Birds (TV Mini-Series)
1983 Deadly Lessons (TV Movie)
1983 Starflight: The Plane That Couldn’t Land (TV Movie)
1983 Love Is Forever (TV Movie)
1983 Invitation to the Wedding
1982 Tootsie
1982 First Blood
1982 Lookin’ to Get Out
1982 Split Image
1982 Mother Lode (uncredited)
1982 The Executioner’s Song (TV Movie)
1982 Young Doctors in Love
1982 Hanky Panky
1979-1982 Hart to Hart (TV Series)
1982 Mae West (TV Movie)
1982 American Playhouse (TV Series)
1982 Some Kind of Hero
1982 T.J. Hooker (TV Series) 1982 Making Love
1982 Prime Suspect (TV Movie)
1982 Marian Rose White (TV Movie)
1981 Modern Problems
1981 Looker
1981 Splendor in the Grass (TV Movie)
1981 Dark Night of the Scarecrow (TV Movie)
1981 Callie & Son (TV Movie)
1981 Mommie Dearest
1981 Blow Out
1981 Second-Hand Hearts
1981 Caveman
1981 Cheaper to Keep Her
1981 On the Right Track
1981 Crisis at Central High (TV Movie)
1981 A Whale for the Killing (TV Movie)
1980 Stir Crazy
1980 Superman II
1980 A Change of Seasons
1980 Enola Gay: The Men, the Mission, the Atomic Bomb (TV Movie)
1980 The Last Song (TV Movie)
1980 Foolin’ Around
1980 The Women’s Room (TV Movie)
1980 Loving Couples
1980 The Shadow Box (TV Movie)
1977-1980 Family (TV Series)
1980 Wholly Moses!
1980 When the Whistle Blows (TV Series)
1980 The Mountain Men
1980 Amber Waves (TV Movie)
1980 The Black Marble
1980 Seizure: The Story of Kathy Morris (TV Movie)
1980 Ike: The War Years (TV Movie)
1979 Being There
1979 Letters from Frank (TV Movie)
1979 The Rose
1979 Promises in the Dark
1979 The Two Worlds of Jennie Logan (TV Movie)
1979 Flesh & Blood (TV Movie)
1979 10
1979 The Last Word
1979 The Onion Field
1979 North Dallas Forty
1979 Nightwing
1979 Goldengirl
1979 Prophecy
1979 The MacKenzies of Paradise Cove (TV Series)
1979 Ashanti
1979 Fast Break
1979 Ike: The War Years (TV Mini-Series)
1979 The French Atlantic Affair (TV Mini-Series)
1978 Ishi: The Last of His Tribe (TV Movie)
1978 Superman
1978 And I Alone Survived (TV Movie)
1978 A Question of Love (TV Movie)
1978 Like Mom, Like Me (TV Movie)
1978 The Users (TV Movie)
1978 Foul Play
1978 Matilda
1978 Go Tell the Spartans
1978 Convoy
1978 Damien: Omen II
1978 Murder at the Mardi Gras (TV Movie)
1978 Stickin’ Together (TV Movie)
1978 Cindy (TV Movie)
1978 Gray Lady Down
1978 The Fury
1978 Ski Lift to Death (TV Movie)
1978 Coming Home
1978 The Betsy
1978 Fantasy Island (TV Series)
1978 The Defection of Simas Kudirka (TV Movie)
1978 How Sweet It Is!
1977 Having Babies II (TV Movie)
1977 The Night They Took Miss Beautiful (TV Movie)
1977 Young Dan’l Boone (TV Series) (
1977 You Light Up My Life
1977 New York, New York
1977 The Other Side of Midnight
1977 Good Against Evil (TV Movie)
1977 Alexander: The Other Side of Dawn (TV Movie)
1977 Nashville 99 (TV Series)
1977 Audrey Rose
1977 Black Sunday
1977 Brothers
1977 Westside Medical (TV Series)
1977 SST: Death Flight (TV Movie)
1977 Secrets (TV Movie)
1977 Fun with Dick and Jane
1977 Roots (TV Mini-Series)
1976 The Secret Life of John Chapman (TV Movie)
1976 Nickelodeon
1976 Victory at Entebbe (TV Movie)
1976 Bound for Glory
1976 Silver Streak
1976 I Want to Keep My Baby! (TV Movie)
1976 21 Hours at Munich (TV Movie)
1976 Having Babies (TV Movie)
1976 Mr. T and Tina (TV Series)
1976 The Big Bus
1976 Harry and Walter Go to New York
1976 Second Wind
1976 Farewell to Manzanar (TV Movie)
1976 James Dean (TV Movie)
1976 The Entertainer (TV Movie)
1976 Three’s Company (TV Series)
1975 The Cop and the Kid (TV Series)
1975 The Legend of Valentino (TV Movie)
1975 Beyond the Bermuda Triangle (TV Movie)
1975 Katherine (TV Movie)
1975 The Master Gunfighter
1975 Welcome Back, Kotter (TV Series)
1975 Rollerball
1975 Cornbread, Earl and Me
1975 Mandingo
1975 The Hiding Place
1975 The Wild Party
1975 Hustling (TV Movie)
1975 A Shadow in the Streets (TV Movie)
1974 Punch and Jody (TV Movie)
1974 All the Kind Strangers (TV Movie)
1974 The Crazy World of Julius Vrooder
1974 The Great Niagara (TV Movie)
1974 Kodiak (TV Series)
1974 Hurricane (TV Movie) (as Lyn Stalmaster)
1974 The Dove
1974 The Apprenticeship of Duddy Kravitz
1974 The Family Kovack (TV Movie)
1974 Conrack
1974 Billy Two Hats
1974 Rhinoceros
1973 Cinderella Liberty
1973 Sleeper
1973 The Last Detail
1973 A Summer Without Boys (TV Movie)
1973 The Iceman Cometh
1973 The Girl Most Likely to… (TV Movie)
1973 Jonathan Livingston Seagull
1973 The Third Girl from the Left (TV Movie)
1973 Isn’t It Shocking? (TV Movie)
1973 Scorpio
1973 Class of ’63 (TV Movie)
1973 Lolly-Madonna XXX
1973 Firehouse (TV Movie)
1972 The Life and Times of Judge Roy Bean
1972 The Mechanic
1972 Footsteps (TV Movie)
1972 Hickey & Boggs
1972 The New Centurions
1972 Junior Bonner
1972 The Magnificent Seven Ride!
1972 Deliverance
1972 The Wrath of God
1972 Jeremiah Johnson
1972 Pocket Money
1972 The Sixth Sense (TV Series)
1972 The Cowboys
1971 Harold and Maude
1971 If Tomorrow Comes (TV Movie)
1971 Honky
1971 The Resurrection of Zachary Wheeler
1971 Fiddler on the Roof
1971 The Organization
1971 Sweet, Sweet Rachel (TV Movie)
1971 Le Mans
1971 The Grissom Gang
1971 Bearcats! (TV Series)
1971 Valdez Is Coming
1971 Lawman
1971 The Sporting Club
1970 Monte Walsh
1970 Cannon for Cordoba
1970 They Call Me Mister Tibbs!
1970 The Hawaiians
1970 The Landlord
1970 Too Late the Hero
1970 Halls of Anger
1968-1970 Death Valley Days (TV Series)
– The World’s Greatest Swimming Horse (1968) … (casting)
1969 The Reivers
1969 Gaily, Gaily
1969 They Shoot Horses, Don’t They?
1969 Viva Max
1969 Castle Keep
1969 What Ever Happened to Aunt Alice?
1969 The Bridge at Remagen
1969 The April Fools
1969 Guns of the Magnificent Seven
1969 If It’s Tuesday, This Must Be Belgium
1968 The Stalking Moon
1968 The Killing of Sister George
1968 How Sweet It Is!
1968 The Thomas Crown Affair
1968 Yours, Mine and Ours
1968 The Scalphunters
1966-1968 The Rat Patrol (TV Series)
1967 Fitzwilly
1967 Clambake
1967 Hour of the Gun
1967 Dundee and the Culhane (TV Series)
1967 In the Heat of the Night
1966-1967 Hey, Landlord (TV Series)
1966 The Iron Men (TV Movie)
1966 Return of the Magnificent Seven
1966 The Fortune Cookie
1966 And Baby Makes Three (TV Movie)
1966 The Russians Are Coming! The Russians Are Coming!
1964-1966 My Favorite Martian (TV Series)
1965-1966 Hogan’s Heroes (TV Series)
1966 Man in the Square Suit (TV Movie)
1966 Cast a Giant Shadow
1961-1966 Ben Casey (TV Series)
1965 A Rage to Live
1965 The Loved One (uncredited)
1965 The Hallelujah Trail
1965 The Satan Bug
1964-1965 My Living Doll (TV Series)
1965 The Greatest Story Ever Told
1964 Kiss Me, Stupid
1964 Slattery’s People (TV Series)
1964 Profiles in Courage
1964 Lady in a Cage
1955-1964 Gunsmoke (TV Series)
1963-1964 The Greatest Show on Earth (TV Series)
1963 The Richard Boone Show (TV Series)
1963 Irma la Douce (uncredited)
1960-1963 The Untouchables (TV Series)
1963 A Child Is Waiting
1962 Two for the Seesaw
1962 Pressure Point
1962 Don’t Call Me Charlie (TV Series)
1961-1962 The New Breed (TV Series)
1959-1962 The Detectives (TV Series)
1959-1962 Hennesey (TV Series)
1961 The Children’s Hour (uncredited)
1960-1961 Peter Loves Mary (TV Series)
1961 Harrigan and Son (TV Series)
1957-1961 Zane Grey Theater (TV Series)
1961 Gunslinger (TV Series)
1960 The Westerner (TV Series)
1960 The Law and Mr. Jones (TV Series)
1960 Guestward Ho! (TV Series)
1960 Tate (TV Series) (4 episodes)
1960 Inherit the Wind (uncredited)
1959-1960 Black Saddle (TV Series)
1959-1960 Law of the Plainsman (TV Series)
1959-1960 Johnny Ringo (TV Series)
1959 The Adventures of Hiram Holliday (TV Series)
1959 The Gale Storm Show: Oh! Susanna (TV Series)
1959 The Betty Hutton Show (TV Series)
1959 Pork Chop Hill
1959 The Third Man (TV Series)
1959 Tokyo After Dark (uncredited)
1957-1959 Whirlybirds (TV Series)
1958-1959 U.S. Marshal (TV Series)
1958 Half Human
1958 I Want to Live!
1958 When Hell Broke Loose
1958 The Texan (TV Series)
1958 The Rifleman (TV Series)
1958 Kings Go Forth (uncredited)
1957-1958 Have Gun – Will Travel (TV Series)
1957-1958 The Court of Last Resort (TV Series)
1957-1958 The Sheriff of Cochise (TV Series)
1957 The Pied Piper of Hamelin (TV Movie) (uncredited)
1957 The Walter Winchell File (TV Series)
1957 Those Whiting Girls (TV Series)
1957 Black Patch
1957 Trooper Hook
1957 Hot Rod Rumble
1957 The O. Henry Playhouse (TV Series)
1957 Official Detective (TV Series)
1956 Johnny Concho
1956 Screaming Eagles
1956 Please Murder Me!
1955-1956 Dr. Hudson’s Secret Journal (TV Series)
1955 Matinee Theatre (TV Series) (1956-1957)
1954-1955 The Lone Wolf (TV Series)
1950 Big Town (TV Series)

Gabrielle Union: A force in front of and away from the camera

December 27, 2016 Leave a comment

On a per capita basis, Nebraska has been sending oodles of talent to Hollywood from the start of the industry through today. Then and now that talent has been variously expressed in front of the camera and behind the camera. While there are many name actors from the state, past and present, actresses from here who’ve made a splash in film and television are a rarer commodity. The few really big name and familiar face actresses with strong Nebraska connectiosn include Dorothy McGuire, Sandy Dennis, Inga Swenson, Marg Helgenberger, Stephanie Kurtzuba and Yolonda Ross. In terms of pure popularity and exposure though I’m not sure any of them compare with Gabrielle Union,, whose movie and TV work extends over nearly 25 years now. In addition to a very large, active body of work as an actress, she’s lately moved into producing and she’s always made a mark as a beauty pitchwoman, as an outspoken advocate, as a talk show guest and as the subject of countless glam and profile spreads in major magazines. Of course, she gets added fame and attention for being one half of a celebrity couple – her husband is NBA champion and future Hall of Famer Dwyane Wade. Like many peer actresses sharing Nebraska roots, she’s maintained close ties to her home turf. I touch on a variety of these and other things paramont in her life and career in this new Omaha Magazine ( piece I wrote about Gabrielle. I’ve been covering her for 15-plus years and it’s been fun to see her development.

You can link to my other Gabrielle Union stories at–




Gabrielle Union

A force in front of and away from the camera

December 22, 2016
Photography by Contributed
Appearing in the Jan/Feb 2017 issue of Omaha Magazine (

Actress Gabrielle Union projects her natural intelligence and feistiness in whatever role she undertakes. The Omaha native is never at a loss for words or opinions. She decries Hollywood’s male-dominated, white-centric ways and lack of opportunities afforded to women of color. She recounts her experience as a rape survivor and preaches the need for women to speak up against violence.

It took Union a while to be regarded a serious artist. Early roles included that of a wealthy suburban teenager in 10 Things I Hate About You, followed a year later by a role as a cheerleader in Bring It On. Twenty years later she’s matured into a real force both in front of and behind the camera. She expertly balances being a fashion- and fitness-conscious celebrity, the wife of NBA superstar Dwyane Wade, and a mother, actress, producer, and activist.

It is not surprising that as her life has broadened, so has her work.

Ambitious projects such as Think Like a Man and Top Five find her giving deeper, more complex performances or satirizing her own mystique. Today, as the star of the popular and critically acclaimed BET series Being Mary Jane, she represents the modern American black woman navigating her way through personal and professional relationships. In mid-October, the actress sued for breach of contract and negligent misrepresentation, claiming the network is combining seasons four and five to lower her pay and extend her contract.

Further proof of her take-no-prisoners attitude was her role in one of the most talked about films of 2016, The Birth of a Nation.

The film dramatizes the historic Nat Turner-led slave revolt, a subject of interest for Union that goes back to her Omaha childhood.

“It was a story my mom made sure I knew about. I remember going to the library and her telling me to do research on him. It wasn’t until later I realized my mom had noted I was very passive in the face of adversity and injustice, and I wasn’t willing to speak up, not only for myself, but for anyone else. She thought I might need some additional heroes to look up to and she introduced me to the story of Nat Turner,” Union says.

The interest in Turner continued for years.

“In college I learned even more about Nat Turner and I was drawn to the sense of pushback against oppression–the idea that there are stories situated in slavery where we are not waiting for someone else to save us but that we were actively trying to save ourselves. Really the story of black resistance and black liberation, I’ve always been drawn to.”

gabrielleunion2When the script first came to her attention, she says she determined that, “I had to be a part of telling this incredibly powerful chapter of American history.”

That chapter took years to produce. The film’s producer-writer-director, Nate Parker, who also portrays Turner, had a hard time getting financing for the project.

“There’s a reason the Nat Turner story has never made it to the big screen [before now],” Union says. “There’s a lot of fear of black resistance and black liberation. We see that with what’s happening with Colin Kaepernick and the rest of the professional, college, and high school athletes who are taking a knee to combat and shed light on racism, discrimination, police brutality, inequality, oppression everywhere. We see the pushback, we see people protesting [being] labeled as unpatriotic. I feel quite the opposite. I don’t think there’s anything more American or patriotic than resistance to oppression.”

With such a struggle ongoing, Union says, “I think there’s never been a better time for The Birth of a Nation to come out.”

Union plays an unnamed character who does not speak. The part was written with dialogue but she and Parker decided the woman should be mute.

“I just felt it would be much more symbolic and realistic if we stripped her of her voice, of the ability to speak, of the ability to have power over her own body and over the bodies of her family and her community,” Union says. “That was true for black women during slavery, and it’s still true for so many women, specifically black women, who are voiceless and powerless at the hands of oppressors. Sexual violence and racial inequality have always existed for black women at that very crucial intersection.

She says it was liberating to play a background character.

“Part of that was just being much more committed to the character than when I was younger. When you’re starting out, you want to stand out in every single role. I’m not as concerned about that anymore. I have enough projects where my face is recognizable and my name is out front…I’m much more interested in being fulfilled creatively.”

The film was shot on an actual Georgia plantation that stood in for the site where the historical events took place in Virginia. The dark spirit of the plantation’s past weighed heavy on Union and company.

“Every actor of color on that set felt the pain and the horror that our ancestors felt. It’s in the soil, it’s in the air. You can’t escape it, you really can’t escape it.”

She is offended that the former plantation used in the film is rented out for weddings and parties.

“It’s unfathomable,” she says.

She considers the conversations she and Wade must have with their boys about the threats facing young black males “infuriating.”

“How do you explain that to children?”

She’s banking on Birth to trigger change.

“What we keep saying is, it’s not a movie, it’s a movement. No one I know who’s seen the film is unmoved and unchallenged to re-examine everything. So I hope people walk out of the theater energized and inspired to do better, to really identify oppression and to fight back against it.”

Visit for more information.


Dope actress Yolonda Ross is nothing but versatile – from ‘The Get Down’ to cinema cannibals to dog-eat-dog politics

October 18, 2016 Leave a comment

Dope actress Yolonda Ross from Omaha gave me some love for the new Reader ( article I wrote about her, her recurring role as a teacher in “The Get Down” and an inspirational teacher in her life–

“Hey Leo!! I saw The Reader. It looks great. Thanks for including the part about Mrs. Owens. She meant a lot to a lot of people. Thanks for the nice spread in The Reader.”

Just now featuring it on my blog,, where you can find several more pieces I’ve written about Yolonda as well as Gabrielle Union, John Beasley and dozens of other Omaha native screen and stage stars.

Love the photo of Yo going all glam. How about you? She’s that rare actress who can transform herself from role to role and go from high to low, serious to silly, hard to soft in a heartbeat.


Dope actress Yolonda Ross is nothing but versatile – from ‘The Get Down’ to cinema cannibals to dog-eat-dog politics

©by Leo Adam Biga

Originally appeared in October 2016 issue of The Reader (

You can find the piece on the paper’s website at:

You can find my other work in The Reader by visiting– and searching via my name, Leo Adam Biga.

Stephanie Kurtzuba: From Bowling Alley, to Broadway and Back

August 27, 2016 Leave a comment

So, everything you need to know about stage and screen actress Stephanie Kurtzuba from Omaha is summed up in the Bill Sitzmann photo of her below and in her scenes in the movies “The Wolf of Wall Street” and “Annie.” She’s the rare performer who can project many dimensions and emotions at once or in rapid succession: brash, silly, poignant, smart. This multi-talented artist can act, sing, dance, play comedic or serious and have you smiling and laughing one moment and move you to tears the next moment. You may not know her name or her work, but she is one of the brighest talents in a long line of talented individuals from here to have found serious success in Hollywood and on Broadway. She got her acting and dancing start in Omaha at Central High, Show Wagon and the Rose Theatre. Growing up in Omaha she was encouraged to pursue her performing dreams by her mother, who didn’t live to see her realize her dreams. But Stephanie’s supportive father has. She and her dad and her siblings still own the family’s West Lanes Bowling Center that she spent a lot of time in as a girl. On a recent visit back home she agreed to a photo shoot at the bowling alley and you can see the fun movie-movie magic she and Bill Sitzmann made together. Stephanie’s also involved in an Omaha-based production company that’s developing a TV pilot drawn from her own life that is to be shot right here in her hometown. She is one of very few Nebraskans in film to bring the industry back to these Midwest roots. Alexander Payne, Nik Fackler and John Beasley have led that charge and others are looking to do the same. Whatever Stephanie ends up doing, it should be entertaining. This is my profile of her in the Sept/Oct 2016 issue of Omaha Magazine (




Stephanie Kurtzuba

From Bowling Alley, to Broadway, and Back

August 26, 2016
©Photography by Bill Sitzmann
Illustration by Kristen Hoffman
Appearing in the Sept/Oct 2016 issue of Omaha Magazine (

Stage and screen actress Stephanie Kurtzuba has graced Hollywood red carpets and Broadway billboards, but she is most comfortable at her family’s West Lanes Bowling Center in her hometown of Omaha.

The Central High School graduate’s maternal grandparents, Tony and Nellie Pirruccello, built the place at 151 N. 72nd St. Her late mother, Connie Pirruccello, had grown up there in the 1950s. Stephanie, a co-owner with her father, Ray Kurtzuba, spent countless hours at the bowling alley as a stage-struck kid. It’s now a favorite hangout for her two boys when they visit from New York City.

“I remember running up and down the concourse practicing cartwheels and using the dance floor in the lounge after school to rehearse my dance recital numbers,” recalls Stephanie, who displayed her cartwheel moves in the 2014 movie Annie. “It was a second home to me and now my children. My boys only get to visit about once a year, so when they do, they eat it up.”

Stephanie’s mom encouraged her to perform in Omaha Show Wagon. Her breakout came in Oliver at the Music Hall. She performed at the then-Emmy Gifford Children’s Theater (now The Rose) as well as the Firehouse and Upstairs dinner theaters. When the original Broadway Annie became a sensation, she sang its anthems around the house. Stephanie says, “It’s the ultimate irony” that three decades later she played Mrs. Kovacevic in the movie.

A local choreographer planted the seed that she had the chops to pursue a professional acting career. But talent only takes you so far. The rest is desire and discipline.

“It’s almost like what some people would call a calling. But it’s almost like there’s nothing else I can or want to do with my time and energies than pursue this, and that’s a real motivator.”

Her theater passion may not have gone far without tragedy befalling her biggest champion.

“If I had not lost my mother when I did, I don’t know that my choices would have been the same in terms of following my dream. We were so incredibly close, my mother and I. When everything went down with her health, it became very clear to me in a very short amount of time, tomorrow isn’t promised to anyone. Losing her rocked my foundation, my very being, but it taught me some really valuable lessons about carpe diem.”

Stephanie won a full-ride to Drake University but got cold feet being so far from home. She briefly attended the University of Nebraska-Lincoln. With her mom gone, she resolved it was now-or-never. She prepared an audition with help from The Rose’s James Larson and got accepted to NYU’s Tisch School of the Arts. Off-Broadway and regional theater parts honed her craft.

“My goal has always been to be a working actor.”

Her credits include Broadway’s The Boy from Oz, Mary Poppins, and Billy Elliott; the feature films Extremely Loud & Incredibly Close and The Wolf of Wall Street; and TV’s The Good Wife.

She hopes one day to perform again where it all started.

“The Emmy Gifford was so seminal in my development as a young artist. I loved it deeply. I still remember the smell of the place. It was home. It would be singularly fulfilling to be able to come back and rejoin the Omaha arts community. That would be some deeply felt, full-circle kinda stuff right there.”

Meanwhile, she’s found a new love: producing. She has several projects in the works. She’s also developing a TV series set in Omaha, which is loosely based on her life, for local Syncretic Entertainment. The pilot is due to shoot here in the fall. They look to put local talent to work. Paying it forward.

“It’s my passion project. I love it so much.” 

To learn more, visit



Some thoughts on the HBO documentary ‘My Fight’ about Terence Crawford

Some thoughts on the HBO documentary “My Fight” about Terence Crawford–

©by Leo Adam Biga


There are sections of contemporary life in this city that most Omahans would rather forget and would certainly do eveything to avoid because they represent uncomfortable truths and realities. Terence Crawford’s rise to professional prizefighting’s upper ranks cannot be divorced from where he grew up and from where he still has his heart and continues to have a strong presence. That place is northeast Omaha. The inner city. The Hood. Its tough people and conditions formed and forged him. Rarely if ever is there a screen portrait of that community that goes beyond stereotype or surface. Usually, those screen representations are TV news reports about the afternath of violent crimes. Over and over again. An exception is the new HBO documentary “My Fight” that profiles Terence in advance of his July 23 title fight with Viktor Postol. It shows an authentic glimpse of the neighborhood and streets, the family and friends he comes from. Not all of northeast Omaha is like what is portraysd. It’s a more diverse landscape than this or any media report paints it to be. But his film gives us a well-rounded look at this man’s life. His routines, his hangouts, his grandmother’s home, his childhood block, his church, his gym, his fishing spot. It’s good for all Omahans to see this film because it does, as much as any one film can, virtually place you there in that community and lifestyle. The psychic-social-cultural-economic-political barriers that continue separating folks are not going away anytime soon but maybe a film like this can at least help put folks there who would never venture there other than maybe for a church mission project. It shows that we’re all just people doing the best that we can. In Terence Crawford, northeast Omaha has a local hero and champion in a way that’s it’s never quite had before. Along the way, as the film makes clear, he’s become Omaha’s hometown champion who is embraced by diverse fans. Perhaps there is more to Terence’s ascendance than we know. Perhaps he can be a unifying figure. He has stayed in Omaha. He remains true to his roots. But at the end of the day he is only one man and this is only one film. Unless and until we can openly, freely and without fear or judgement sit down and break bread together, work togetther and live togeher in every part of the city, then a film like this will remain a safe way for people to look with curiosity at how the other half lives and leave it at that. Sadly, that is still how it is in much of Omaha. Maybe just maybe though we can all rally behind Terence and what he wants for his community, which is opportunity and justice.

Northeast Omaha has only been portrayed on film a handful of times. There was “A Time for Burning” Then “Wigger” Now add to the list the new HBO documentary “My Fight” that pofiles Terence Crawford in the inner city neighborhood and community that he sprang from and that he still has close ties to. Meet some of the key people in his life. You get a real sense for how things are there and for the people he is a part of. Those conditions and characters made him who he is. Click below to watch the full film, which is produced at a very high level. I have covered Terence for a few years now and my stories touch on just about everything the film does. I even went to Africa with Bud. I accompanied him on one of his two trips to Uganda and Rwanda with Pipeline Worldwide’s Jamie Nollette. I have charted his life story in and out of boxing and I look forward to doing more of this as his journey continues.

Link to my stories about The Champ at–

Come to my July 21 Omaha Press Club Noon Forum presentation Seeing Africa with Terence Crawford and Pipeline–

Terence Crawford takes you to his hometown of Omaha, Nebraska, Terence Crawford faces Viktor Postol on Saturday, July 23 live on pay-per-view…


John Beasley, Living His Dream

April 22, 2016 2 comments

In the pantheon of Nebraska born and bred actors to have made it in Hollywood and/or on Broadway, and there have been more than you think, none have really ever kept much of a close relationship with this place other than Henry Fonda, Robert Taylor, Dorothy McGuire, Julie Wilson, Johnny Carson, Dick Cavett, and Marg Helgenberger. Some more recent players who have kept the home fires burning are Gabrielle Union, Yolonda Ross, Kevyn Morrow, Randy Goodwin, and Stephanie Kurtzuba. But only John Beasley has never really left Omaha. The others all picked up and went off to pursue their careers and thus their connections to Omaha became relegated to occasional visits. A notable exception is Randy Goodwin, who recently moved back to Omaha while continuing his career as a film/TV actor, producer, and director. Meanwhile, Beasley has maintained his residence here the entire run of his now 25-plus year career as a busy film, television, and regional theater actor. He operated his own theater in town for several years. He appears in indie Nebraska films. He’s now producing two movies with Nebraska connections. He’s doing what Alexander Payne has done by not only keeping Omaha his home but by doing work here. John has definitely contributed to the theater and cinema culture in the state. Though it’s the last season for The Soul Man, the popular TVLand sitcom he’s been a regular in from the start, he recently finished the pilot for a new CBS sitcom Real Good People and he’s part of a large ensemble cast in the coming Fox event series Shots Fired. Then there are the two feature films he’s producing – The Magician and East Texas Hot Links. John’s good friend and former teammate Marlin Briscoe of Omaha is the subject of The Magician. I’ve written a lot about John over 15 years and this is my latest piece to tell his engaging story. It will appear as the cover story in the May 2016 issue of the New Horizons, the free monthly newspaper published by the Eastern Nebraska Office on Aging. Should hit newstands and, if you get it delivered, your mailbox around April 29-May 2.



Beasley as Barton (LEO)

John as Barton Ballentine in The Soul Man



John Beasley, Living His Dream

©by Leo Adam Biga

Soon to appear in the May 2016 issue of New Horizons


Following a dream

Omaha’s John Beasley (Rudy) came to film-television acting late in the game. After all, he was pushing 50 when he broke through. But he used that late start to hone his craft on stages in Omaha, the greater Midwest and the South.

Besides being a familiar face in front of the camera, John’s a producer on two feature film projects, including the story of football legend Marlin Briscoe. Before making history as the NFL’s first black starting quarterback, Briscoe starred at Omaha South and at then-Omaha University, where Beasley was a teammate in the mid-1960s.

The performing bug bit as a youth for Beasley. At Technical High School he won prizes for oral interpretation and acting. He didn’t pursue the profession awhile because he had a family to support.

“I’ve always been content and confident I could have made it as an actor years earlier. But I wasn’t ready at that time to do what it would take,” he says. “I mean, I had a young family that I was raising, and I love my family. I love the time I spent with them. And if I had started this (career) earlier I would have lost all of that. I have no regrets.”

Growing up without a father, he made sure he was there for his kids .

“My father was never around. But he taught me a lot by not being around. He taught me to be the father I didn’t have.”

John’s sons, Tyrone and Michael Beasley, both actors, appreciate his being there.

“Our father taught us how to be men by showing love and always being present and always showing interest and making sacrifices for the family,” says Michael, whose wife Deena Beasley is also an actress.


Beasley closeup #1 (LEO)



A path of his own

John Beasley’s path to stardom is not so different than fellow Omahan Nick Nolte’s. They both used regional theater as their springboard. The difference is Nolte never acted on an Omaha stage and his screen work began in his early 30s. By contrast, Beasley did an Army hitch and then worked regular jobs through his mid-40s. His wife Judy was a medical secretary. He was a Union Pacific railroad clerk and custodian, a Vickers machine operator, a North Omaha jitney driver and a Philadelphia waterfront laborer. He always did theater on the side.

“I was content, even when I was a janitor, because I was doing what it is I love to do — the theater. There were people who looked down on me and I always said to myself, ‘Well, just wait. I know who I am, and pretty soon you will know who I am.’ I’ve just always felt I could do whatever it is I wanted to do.”

His confidence was well-founded, Royal Shakespeare Company  members he trained with in Omaha encouraged his talent. At local theaters he broke casting barriers by winning roles not traditionally given actors of color. He then tested his wings outside Omaha, earning parts at regional theaters, Between his “life experience” and theater chops he preparec himself. “I’ve paid my dues, and I know that,” he says. “The foundation was already set.”

Nothing was guaranteed though. Michael says his father didn’t let on what a risk he was taking.

“He never let us know when there was struggle. As an actor you never know when your next paycheck is coming in. He always sheltered us from that. A lot of friends and family thought he was crazy for going after his dream as an actor.”

Michael admires his persistence.

“My father would drive sometimes through blizzards and sleep in the car to auditions in Minneapolis and Chicago. He asked my mother to give him three weeks to try and live his dream. He booked a job within that time period. Now the rest is history. He is my modern day hero.”

Judy Beasley never really doubted her man. Besides, she didn’t wish to stand in the way of what she considers his “God-given talent.” She says, “I believed in him. We all have gifts and he obviously had that gift and when you have a gift you should use it.” She says when he did achieve fame “there were things to work through and we did.” She enjoys the red carpet events but she also likes their life away from the spotlight doing “home stuff.” She’s not surprised her two boys followed their father as actors since “he’s in them, he’s a part of them.”

She views what’s happened to her and John as “a blessing,” saying, “I thank the Lord all the time.”

2012 BET Awards - Arrivals

John and Judy on the red carpet at the BET Awards



Once he finally went for a full-time acting career, he was ready. “When I went out to act I wanted to be actor, I didn’t want to be a waiter, so waiting tables was not in the cards. I wanted to be a working actor and I’ve been a working actor all my career. I mean, that’s all you can hope for. Stars come and go – I’ve been working for a long time.”

He’s been a regular cast member on the TVLand series The Soul Man starring Cedric the Entertainer and Niecy Nash from its 2012 start. He earlier had a recurring role on Everwood starring Treat Williams. He’s appeared in scores of TV dramas, including HBO’s highly praised Treme. His cinema work ranges from blockbusters (Sum of All Fears) to action pics (Walking Tall) to indie projects (It Snows All the Time).

While many others have come out of Nebraska to find acting success in Hollywood, Beasley stands alone for always keeping Omaha home.

“I live in Omaha, yet I just finished a five-season series in L,A, and I did four years on Everwood. I’ve worked on some really large films. I’ve done every CSI series.”


Beasely #1 by Eric Antoniou (LEO)

John as Troy Maxson in Huntington Theatre (Boston, MA)

production of August Wilson’s Fences



Taking from life, making his mark

When he made his initial splash in the early 1990s alongside Oprah Winfrey on Brewster Place and in the movie Rudy, he was past leading man age but right on time to be a wizened, gritty character player. He’s continued making his mark portraying authority figures – fathers, judges, ministers, detectives, military officers – and Everyman types.

He came to Hollywood with something no actor can buy – rich life experience. He’s packed a lot into his 72 years.

“Done a lot of things, man,” he says, adding that he draws on “every last bit of it” for his craft.

Should the fame ever go away or the acting offers stop, he’ll be fine.

“I know it’s going to be okay because I’ve lived that kind of life. I was a longshoreman in Philadelphia. I was a gypsy cabdriver in Omaha.”

Growing up in North Omaha he got to know black sports legends from the community – Bob Boozer, Bob Gibson, Gale Sayers, Johnny Rodgers. In Philadelphia he worked at a TV station that broadcast a show whose guest stars – Sammy Davis Jr., Gladys Knight, Patti LaBelle, Muhammad Ali among them – Beasley met. “It was very exciting for me.” Meeting Ali was a particular thrill.

“I had two encounters with Ali. The first was at that TV station, He was banned from boxing and claimed to have a license to fight in Mississippi. He came to do an interview. I went back stage and Ali came up to me and said, ‘I’ve seen your face someplace before, but I can’t place the cemetery.’ I didn’t say anything and he said, ‘You must not have heard me.’ I said, ‘I heard you and you’re not going to have to go to Mississippi to get a fight if you keep talking like that.’

“The next time I saw him was in a little gym down in North Philly. On     this black radio station he had goaded Joe Frazier into coming down to fight. By the time I got down there the place was packed. There was no way I was getting in. But then the news crew from my station arrived and one of the guys said, ‘Grab the sound equipment,’ and we went up to the second floor. Ali and Frazier were talking about taking the fight to a city park. Ali didn’t have anything to lose but Joe was the champ. Then Frazier’s manager, Yancey Durham, came in and told Joe to put on his clothes and go home. That was the end of it.”

Beasley got close enough to the fracas he could see Frazier genuinely disliked Ali and took The Greatest’s barbs personally. Beasley appreciated the high drama and did what he’s done since childhood –  file away the colorful characters and incidents for his art. Coming from a family of storytellers, it came naturally. With his facility for spinning yarns and assuming identities, he bluffed his way into TV and radio jobs and ingratiated himself wherever he went, including some tough spots along the way. All of it taught valuable survival skills.

“I’ve seen the rough side of life too, where I thought maybe I might not make it out alive, but I always did. It’s always turned out. But you’ve got to stay the course and you’ve got to believe it will work out.”

Even in a sitcom like Soul Man, Beasley brings a gravitas rooted in real life. His Barton Ballentine is a retired preacher who checks his son, a former hit singer turned preacher, played by Cedric.

“What I do is I ground the show in reality because that’s the way I act. It allows the other actors to be able to go over the top a little bit, to play for the laughs. I don’t play for the laughs. I treat this character just like I would an August Wilson character. In fact. one of the characters he’s patterned after is Old Joe from August Wilson’s Gem of the Ocean, the show I was doing at my theater when I got the call for this (part).”


Beasley closeup #2 (LEO)



In the moment

In the hands of less life-tested actors, many roles could be easily forgettable. Only Beasley makes them indelible. Think of his work as a preacher opposite Robert Duvall in The Apostle. Even in scenes with the masterful Duvall Beasley holds his own delivering a depth of character and truth seldom seen.

“I knew when I read the screenplay what he was looking for and I just knew I was the only one that could do it,” Beasley says. “My ability to create a believable character honestly is really the hallmark of what I do. I try to be as honest in my performance as possible as opposed to trying to be someone else. I look at how would I react to this same situation. I’ve always gone inside for my characters.”

Beasley felt a deep kinship with Duvall.

“Nobody is as believable as Bobby Duvall,” he says. “Always in the moment. In fact, when we did it, he said, ‘Big John, don’t be afraid to say anything, don’t hesitate, you’re not going to throw me.’ In other words, if I improvised something he’d go with it in the moment. I think if you’re in the moment it’s always going to work for you.”


Movies The Apostle poster

Robert Duvall as The Apostle



Two decades later Duvall still enjoys recounting the answer he gave people who inquired about the then-unknown Beasley.

“They’d say, ‘Where’d you find that nonactor?’ I’d say. ‘Well, that nonactor played Othello at the Goodman Theatre in Chicago.’ He’s a good actor that guy.”

Actually, Beasley played other roles at the Goodman, just not Othello, but he did essay the Moor at Omaha’s Norton Theater.

Duvall is a big football fan who knows enough Husker gridiron lore to describe Johnny Rodgers as “one of the greatest college football players ever.” Duvall was excited to learn Beasley’s not only from the same hometown as the Heisman Trophy winner but knows him personally. Recalls Duvall, “When I said, ‘I want to talk Johnny Rodgers,’ Big John said ‘I don’t want to talk football, I want to talk theater.’ He’s a fine actor and a good guy. Give him my regards.”

Beasley’s work in The Apostle got singled out by The New York Times and other major publications. The performance helped make his reputation in Hollywood,

Then there’s the short but telling screen time he has as a Notre Dame football coach in Rudy. His character starts out wanting no part of Rudy but by the end he’s won over by the kid’s heart.


Marlin Briscoe was the first African American quarterback

Marlin Briscoe




The Magician

Rudy is one of two hit sports movies, along with The Mighty Ducks, he made. Now he’s producing a new sports film The Magician, going before the cameras this fall. The project is a personal one because he goes back a long way with its subject, Marlin “The Magician” Briscoe. The nickname arose from Briscoe’s knack at quarterback to improvise when things broke down. At the most dire times, he’d make a memorable pass or run and lead an improbable comeback.

“He’s ‘The Magician’ for a reason,” Beasley recalls. “When I played with him I saw him in difficult positions, where you thought it was over, and he’d be in a crowd on one side of the field and the next thing you knew he’d be on the other side as if by magic. And it carried over to his life. Just when it looks like he’s down and out he comes back.”

Between Briscoe’s junior and senior seasons he suffered a broken neck in a pickup basketball game that could have easily ended his playing days. Only he came back to earn All-America status. Over his career he set 22 school records. Earlier this year he was selected for induction in the College Football Hall of Fame. Many believe his selection to the Pro Football Hall of Fame is only a matter of time because of the color barrier he broke in the NFL.

A South Omaha street’s named for him and a life-sized bronze statue of his likeness will be unveiled next fall at the University of Nebraska at Omaha. His life is worthy of a movie, too, because it is equally historic, heart-breaking and inspirational.

Briscoe signed with the Denver Broncos in 1968 as an all-around athlete. Once he reported to camp the club wanted him to play defensive back though he intended to play quarterback and had a contractual agreement he be given a tryout. Reportedly, Briscoe out-shone his competition behind center, yet when the season began he was confined to the secondary and not even on the depth chart at quarterback. In a time rife with racial prejudice, bigotry and myths, many coaches and executives believed blacks did not possess the attributes to be signal-callers at the professional level.

Then, fate forced itself upon Denver as one by one its QBs got sidelined by injuries or poor play. Pressure from media and fans grew to give Briscoe a shot. Finally, six games into the season and Denver off to a 2-4 start in which he saw limited action but still helped the team pull out a win, he was given the reins. He ran with them to set club rookie records with 14 touchdown passes, 1,589 passing yards and 309 rushing yards in leading the Broncos to a 3-5 mark as the starter.

He expected to be in the mix for the job come 1969 but instead found himself shut out of the QB race. Then he found himself traded to the Buffalo Bills, where in order to make the team he had to learn a new position, wide receiver. He not only learned it well enough to make the squad but mastered it to become a starter and All-Pro. His next trade proved fortuitous when he landed with the Miami Dolphins and helped them win two straight Super Bowls.

He played for a couple more teams before retiring. Life after football began well but by the 1980s he fell deep into the spiral of a hard drug addiction that eventually cost him his family, his home, his money and nearly his life. Once he hit rock bottom he called on the same character traits that allowed him to get out of tight spots and to surmount hurdles on the playing field, only this time the stakes were much higher – regaining his sobriety and sanity.

Lyriq Bent (Book of Negroes) will play Briscoe on-screen. The script is by Gregory Allen Howard (Remember the Titans). Beasley and two Omaha partners in his West Omaha Films, Terry Hanna and Dave Clark, are partnering with producer Doug Falconer (Forsaken) on the $20 million budgeted project. Some exteriors may shoot here but most of the film is expected to shoot in Toronto, Ontario, Canada.

This labor of love has been in the works a decade. Beasley says he stuck with it because “Marlin Briscoe is a friend, first and foremost, and it’s a great story.” When Briscoe was still mired in addiction, Beasley never lost faith in him. “When he was on drugs for years people would say, ‘Did you see, Marlin?’ ‘Yes,’ I’d say, ‘but Marlin will be back.’ He lost everything but still he came back..”

Indeed, Briscoe’s greatest feat of magic became saving himself and finding new purpose in life serving youth. The movie is based on the book, The First Black Quarterback, he wrote with Bob Schaller.




East Texas Hot Links

The other film Beasley’s helping produce, East Texas Hot Links, tells the story of black men going missing in the South. A bloody day of reckoning comes at the local hangout run by Charlesetta. Themes of community, loyalty, betrayal, revenge and racism run through this drama that builds tension until the violent purge. Eugene Lee adapted his own play and will direct. A-list actor Samuel L. Jackson is executive producing. Omaha-based Night Fox Entertainment, whose president, Timothy Christian, is an Omaha native, is financing the project.

Beasley produced the play at his own theater.

“It’s quite a story. It’s a great ensemble piece,” he says. “It goes along as kind of the quiet before the storm and then everything breaks loose and eventually there’s a shootout. Eugene Lee had The Twilight Zone in mind when he wrote this.”

Thus far, Beasley adds, the cast includes Wendell Pierce (The Wire) and Ving Rhames (Pulp Fiction). Several other familiar names are being sought. He says his Soul Man co-star Niecy Nash “would be perfect as Charlesetta – she could really carry it.”

Once the cast is complete, the film is slated to shoot in Omaha and Los Angeles, either late this year or early next year.

Building a Nebraska film culture

The addition of Night Fox Entertainment and other production companies in Nebraska signals a growing local film scene. Beasley does what he can to encourage this momentum.

“I like to help out the young filmmakers in the area,” he says, though he adds, “Sometimes I do some things I regret doing. I’m kind of a soft touch. I should tell these people to go talk to my manager but they call me on my cellphone,”

He takes far less than scale for these projects because he knows what’s it’s like to be hungry.

“I know when I was coming along there weren’t many opportunities for film here and now that the film community has grown some and there are a lot of young people trying to do some things I’ll lend my talent as much as I can.”

There’s some self-interest at work, too.

“I do want to do films that i can include my actors in. That was probably the main reason to get into producing – to provide a vehicle for not only myself and my boys but also the actors I’ve developed here.”


Beasley in kitchen (LEO)

John, middle seated, from The Soul Man



Bread and butter

Beasley’s bread and butter projects come out of Hollywood. Soul Man provided steady work and further enhanced his screen image. It was a positive experience.

“Behind the scenes we always had a great set, a welcoming set. No tension. And that says a lot about Cedric and who he is because the player in the number one position kind of sets the tone, He was also the co-creator and an executive producer, so he had a lot of say.”

Beasley is a big admirer of Niecy Nash, who played Cedric’s wife and his daughter-in-law. He says the actress best known for her light comedic roles (Reno 911) turned heads with her serious work in the HBO series Getting On. He calls her performance “real, raw, believable – I’ve been saying people have got to see her, they don’t know the Niecy Nash I know, and now everybody’s discovering her.”

Seeing the show end is not easy. He says at the wrap following the final episode’s taping “tears started to fall because after five years on a series you become family. You know the people behind the camera, in front of the camera, That was kind of a difficult day for us.” He leaves with upbeat feelings. “They were always good to me and they always let me know I was an important part of what was happening.”

There were some bumps in the road.

“The first season the writers really understood who this character was and I got quite a bit of screen time. They always told me they loved writing for me because I always make it work. After the first season we lost a lot of writers because of budget cuts. The second season they brought in new show runners and I got less storyline. In the third, fourth and fifth sessions we had different show runners altogether and these guys really didn’t know who Barton was.

“Some things they wrote for me I didn’t particularly care for. But when we’d go through rehearsals Cedric would say, ‘Circle that,’ meaning let’s take that back to the writers. There was one episode where they had Barton being disrespectful to his daughter-in-law. I said, ‘I’m not going to say that line because he wouldn’t say that.’ The writers understood. They knew that I knew the character better than they did.”

Beasley stays true to his principles in whatever he does. “The thing I’ve told myself is that I will never do any character that doesn’t have dignity. Regardless of who you are, you have to love yourself, you have to have some kind of dignity. If a character doesn’t have dignity then I don’t usually get called for it because that’s not in my body of work.” If someone were to ever demand he portray something not right in his eyes, he says. “I can walk away. It’s not an ego thing with me.”

Having a series end a long run is nothing new for him. It happened with Everwood. Beasley prefers to look at things optimistically “The end of any project is the beginning of another thing.” In this case, it led to taping the CBS sit-com pilot Real Good People from the power team of Stephanie Weir (The Millers), James Burrows (Will & Grace) and Greg Garcia (Raising Hope). The series stars David Keith and Julie White as a Texas couple. Beasley plays a denizen at a cafe they frequent. “We shot in front of a live audience and it went really good. The producers really liked me a lot. It’s a funny show. They’ve put some money into this one. It will probably go in production in July and air in the fall.”

Beasley went up for a new Shonda Rhimes (Grey’s Anatomy) project he didn’t get but was offered the role of Mr. D in the upcoming Fox event series Shots Fired starring Richard Dreyfuss, Helen Hunt, Stephen Moyer, Stephen James, Sanaa Lathan, Aisha Hinds and Trtstan Wilds. Taking its lead from racially charged police shootings that inspired Black Lives Matter, the series looks at the aftermath of such incidents in a Southern city. “I’m in demand right now,” says Beasley, whose son Michael was up for a part in the same series.


Beasley # 2 by Antoniou B & W (LEO)

John in the Huntington Theatre production of Fences




Aside from TV-film work, theater’s always on his mind. “My first love is theater,” he declares. His John Beasley Theater & Workshop found a niche doing the work of August Wilson (Fences). Beasley acted-directed there and brought in guest actors. He and his son Tyrone Beasley, who was artistic director, trained many first-time players.

“I’m thinking about doing another play in Omaha because I’ve got some players here I’ve developed that are pretty good actors and I’d just like to see them do something. I want to do August Wilson. I still think Omaha doesn’t know about August Wilson. I love his work because it’s a true reflection. I know these people.”

The late Wilson wrote a much-heralded 10-play cycle about African-American life that Denzel Washington is adapting for HBO. Beasley is a leading interpreter of Wilson, having appeared in several productions of the artist’s work at major theaters in Chicago and Atlanta as well as at the Kennedy Center in Washington D.C. He landed his Equity card playing Troy Maxson in Fences at the New American Theatre in Rockford, Illinois. Years later he was to reprise the role in a Broadway-bound production before Denzel got cast.

Beasley thinks enough of the Wilson canon he mounted all 10 plays at his theater. He feels forever indebted to the artist. “I owe so much to August Wilson. He’s been a big part of my career. He wrote some roles for middle-aged black men I can do the rest of my life.”

One thing Beasley’s not prepared to do is to have his own theater again, at least not right now.

“Running a theater myself was quite a burden. I didn’t have a strong board. They didn’t raise money and so I underwrote most of the things we did. I don’t want to go back to that. One production I can handle. I think I can find the sponsors for it and I think i can do it without it coming out of my pocket.”

Midwest values

He’s among a long line of locals who’ve gone on to screen and stage success. He feels the city’s strong theater scene helps propel some people. Besides, he says, “There’s a lot of talent here.”

He’s worked with some fellow Omaha talent on screen, including Gabrielle Union in Daddy’s Little Girls and Yolonda Ross in Treme. Closer to home, he worked with Camille Metoyer Moten on the short Tatoo and with TammyRa’ Jackson on the short Second Words.

He feels Nebraskans stand out in film-TV circles on the coasts because of their Midwest ethos.

“There’s a different value here. When you’re out in L.A., it’s a whole   different climate, it’s a whole different deal. I’m well-liked on the sets I work out there. I’m pretty laid-back too. I’m known for being a nice guy and very considerate and very compassionate.”

He’s comfortable in his skin and talent. “My work speaks for itself and I don’t have to impress anybody.” He feels he’s improved with age. “My concentration’s gotten even better. I’m even more aware of my presence and I look more and more for the subtle things. I want you to maybe see what I’m thinking without beating you over the head.”

Michael Beasley

Jan 4, 2016; Tallahassee, FL, USA; Florida State Seminoles guard Malik Beasley (5) in the second half against the North Carolina Tar Heels at the Donald L. Tucker Center. The North Carolina Tar Heels won 106-90. Mandatory Credit: Phil Sears-USA TODAY Sports

Malik Beasley



All in the family

He’s pleased his boys followed his lead. Tyrone is respected for his stage and screen work here. He’s on the artistic staff of the Rose Theater. Michael Beasley is a busy TV-film actor based in Atlanta. He was a fine athlete who played hoops in high school (Omaha Central), college (Texas Arlington) and professionally (overseas). His son Malik was a Blue Chip prep baller who this past season became a one-and-done phenom at Florida State and declared for the NBA draft. John has enjoyed his grandson’s coming-out party. During Malik’s banner FSU season he often posted about his on-court exploits.

“It’s been great. I went down to see him in Tallahassee for their last home game. I flew in the night before. He’d not been scoring much the previous few games and I said, ‘Tomorrow, I want you to show out,’ and he did show out – he scored 20 points for grandpa and his team beat Syracuse. It was a great comeback for him.”

Hoops runs in the bloodlines.

“I’m told my father was a really good basketball player,” John says.” I never knew that side of him.”

Acting is in the genes, too. Malik and his sister Micah grew up on sets their father and mother worked on. They visited some of grandpa’s sets as well. John Beasley says whether an NBA career works out for Malik or not, he has the skills to succeed in acting. “He’s very talented.” He says being around lights and cameras is why Malik is “so grounded – he’s been there before,” adding, “He knows what celebrity is and handles it very beautifully I must admit.”

Meanwhile, John Beasley’s actively seeking a project he and his sons can do together. “I’ll find something, even if we have to write it ourselves.”

All in all, he says, “I’ve just been blessed. It’s been quite a ride.”

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