Archive for the ‘Theater’ Category

“A Thousand Clowns” and other ’60s films begat golden age of ’70s cinema

September 14, 2016 Leave a comment




“A Thousand Clowns” and other ’60s films begat golden age of ’70s cinema

©by Leo Adam Biga


The other night on YouTube I watched a largely forgotten but seminal American movie from 1965 titled “A Thousand Clowns” and it reminded of two things: As a kid, that movie was way too mature and cerebral for me to fully appreciate; and it was part of a vanguard that helped usher in the New Hollywood. Those of us who regard the last Golden Age of American cinema to be the 1970s know full well that that New Wave of American film really began in the late 1950s-early 1960s, before finally becoming a full fledged movement in the late 1960s. That movement or wave marked by personal, humanistic-themed filmmaking led by auteurist directors hailing from television and film school persisted throughout the following decade. This was the period when the studios were “taken over” by the artists or so it seemed. The new freedom allowed a brash group of filmmakers to assert themselves on the American and world cinema scene. The new school directors whose work most stood out then included: Arthur Penn, John Frankenheimer, John Cassavetes, Mike Nichols. Francis Ford Coppola, Martin Scorsese, Hal Ashby, Peter Bogdanovich, William Friedkin, Robert Altman, Bob Rafelson, Richard Rush, Roman Polanski, Milos Forman, John Schlesinger, Karel Reisz, John Boorman, Peter Yates, Michael Cimino, Mel Brooks and Woody Allen.

But those hot new directors were not the only ones making waves then. Indeed, a few veteran studio directors long since having gone independent made some of their strongest works in that era, particularly John Huston (“Reflections in a Golden Eye,” “Fat City,” “The Man Who Would Be King,” “Wiseblood”). Then there were directors who made only one or very few notable films in that time only to disappear from the world of features or never to catch the magic again. “A Thousand Clowns” director Fred Coe was one of these. He was a writer and producer who had his biggest success in TV, but he made two films right in the thick of that transition in American features that caught the wave in their own idiosyncratic ways. The first was “A Thousand Clowns,” which writer Herb Gardner adapted from his own Broadway play. The other was “Me, Natalie,” which like “Clowns” has a great reputation, but I have never seen it to judge for myself. Before the film adaptation of “Clowns,” he directed the original Broadway play, which was a commercial and critical hit. For the film Jason Robards and Barry Gordon reprised their starring roles from the stage version.



Now having viewed “Clowns” for the first time through adult eyes – decades removed from when I last saw it –  it is clearly part of a continuum in American film that pushed boundaries and assimilated stylistic techniques and humanistic themes prominent in the cinematic new waves of Italy, France and Great Britain and that reflected the growing social tumult. “Clown” stars Robards as a quintessential New York City nonconformist named Murray who has raised his nephew Nick (Barry Gordon) ever since his sister abandoned him to his care. He’s a sardonic writer hedonistically living off of his imagination and irascibility. Out of work by his own choice and none too eager to rejoin the Rat Race, he lives by his own rules and seemingly without adverse consequences. His nephew is, on the surface at least, more of an adult than he is and goes along with his flights of fancy as much to humor him as anything. Even when Murray’s guardianship of the boy is threatened by this carefree lifestyle and cavalier attitude that sees him run through women, defy authority and flee responsibility, he doesn’t change. Then, in the strangely melancholic and wonderfully anarchic spirit of the story – something of a cross between the Marx Brothers, “The Producers,” “Harold and Maude” and Woody Allen – a couple from the child welfare board visits the uncle and nephew’s apartment to make an assessment. William Daniels as Albert and Barbara Harris as Sandra play the romantically involved couple. He’s an uptight case worker and she’s an emotionally fragile psychologist and they have wildly different responses to the situation. He’s appalled and annoyed by Robards’ seeming indifference to this official inquiry and the threat of the nephew being taken from the home. She, however, is charmed by the Murray and Nick’s insouciance. The professional and personal relationship between the neurotic couple devolves right before Murray’s eyes and he takes up with her that very day. That still leaves the matter of Murray needing to find a job before a hearing in a few days to determine the boy’s fate.

NOTE: Nebraska’s own Sandy Dennis played Sandra in the Broadway play and won a Tony for her efforts.

Robards is perfectly cast as Murray. He had a gift for irony and larceny. I’ve always thought of him as the Bogart among his generation of actors. Gordon, who as an adult became the long tenured head of the Screen Actors Guild, plays prococious and worldy wise without cloying cuteness – something akin to what Jodie Foster did a decade later in “The Bad News Bears” and “Taxi Driver.”

Murray’s staid agent brother Arnold (Martin Balsam), frantically lines up interviews for him but Murray can’t or won’t sell-out and ends the day still unemployed. This causes Sandra to lay down an ultimatum: find a job or lose me. There’s a great scene between the brothers when an exasperated but loving Arnold explains to Murray why they are so different. Arnold needs the security that comes with showing up for work everyday. He’s settled for the consumerist American Dream, even if it is a fraud, and he’s willing to play by the rules to remain a sheep and to be comfortable. He has a family to support, after all. By contrast, Murray’s search for whimsy in a system designed to crush individuality and his penchant for calling out the hypocrisy around him leaves him fighting windmills that cannot be harnessed. Arnold admires and pities Murray;s inability or refusal to compromise. Murray feels anger and sorrow that Arnold long ago lost his freedom. In the end, Murray sacrifices his independence for the sake of the kid and the girlfriend and perhaps his own peace of mind by going back to work for Leo, the manic, egomaniacal host-producer of a children’s TV show, brilliantly played by Gene Saks. The ending bothers fans of the stage version, who feel the film makes it seem that Murray too has sold his soul to become just another sheep. But my take is that Murray’s simply adjusted his attitude, much like his hat, to appear to be a conformist on the outside when he’ll really always remain a free spirit and independent agent on the inside. It’s what you do for love, in this case his love for the boy and for the woman.



Director Coe opens up “A Thousand Clowns” by variously  following Murray, Nick and Sandra cavorting about the city, their spontaneous play in stark contrast to the regimented patterns of workers moving in lockstep to and from work. These moments represent their escapes, if only fleeting, from harsh reality. These scenes give the film a kinetic, pure cinema look and feel that also emphasizes the whole theme of moving against the tide. My take away from the story is that Gardner views the constructs of 9 to 5 civilization as a game in which the House (corporations, society, government) is always going to “win” and the best antidote to staying sane and happy in this rigid, stacked paradigm is to see it for what it is and have a good time winking at it. Murray is not so much a rebel then as a survivor who gives as good as he gets on his own terms. He will always be an outlier with a barbed comment or silly joke or impulse to do something spontaneous. It’s his way of saying; I am here, I am alive. I own my own thoughts and behaviors. And I don’t give a damn what you may think of me. While it’s message may be muddled for some, I think it’s basically just saying; No matter what, be yourself. We all make compromises, but be true to yourself.

All of this is played out against the subtext of what was happening at the time in society with the civil rights and black power movements, the birth of women’s lib, the Vietnam War, the counterculture revolution led by rock, the growing drug culture and consumerism run amok. Things were on simmer in the early and mid’60s and would come to a full boil by the end of the decade. The film is a mood capsule for the dissatisfaction people were feeling without ever overtly referring to any of these things. But it’s all there between the lines.



“Clowns” came smack dab in the middle of a flood of films starting to redefine American cinema in the 1960s:


The Hustler


Wild River

The Manchurian Candidate

David and Lisa

America, America

Dr. Strangelove

A Hard Day’s Night 

Nothing But a Man

Who’s Afraid of Virginia Wolf?


In Cold Blood

Mickey One

The Graduate

Bonnie and Clyde

Point Blank


The Producers

A Funny Thing Happened on the Way to the Forum


Midnight Cowboy

Alice’s Restaurant

Easy Rider

Butch Cassidy and the Sundance Kid


Five Easy Pieces

The Landlord


Harold and Maude

The French Connection

The Last Picture Show

Mean Streets

The Conversation

These and many other films brought a new freedom and excitement to bear that opened up American cinema more than at any time since the pre-code silent and early sound era. The best of these new films variously introduced new levels of naturalism, expressionism and impressionism to the screen. It was an anything goes time informed by the cinema of the world. America made its own indelible contributions to this rich cinema stew. “Clowns” rarely gets mentioned in appraisals or retrospectives of ’60s and ’70s film. It’s not nearly as well known as many of the films in the above list. While it’s not a great film – Coe doesn’t quite get the visuals aspects of the story right in my opinion and I think he doesn’t make full use of the dynamics between Murray and Nick – it’s a very good and important film. I can’t wait to discover more of these gems that have got lost in the shuffle.

Here is a link to a superb tribute essay written about Herb Gardner and “A Thousand Clowns”–


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



This post falls under the heading: This is why I do what I do

August 15, 2016 Leave a comment

This post falls under the heading:

This is why I do what I do.


Received the amazing email message below from Kac Young. She fell under the influence of a dynamic group of radical feminists at Immaculate Heart College in Hollywood, California of all places during the late 1960s. These were provocateurs who challenged all kinds of conformity and many of them were the nuns who taught there. These women were unafraid to challenge the status quo when it came to the Catholic Church, higher education, culture and society. They were known as the Rebel Nuns of Hollywood. They brought cutting edge figures to the campus, including activists and artists. Among the resident artists was Megan Terry, a major figure in the New York and national experimental theater scene then. Kac Young appeared in the original production of Terry’s “The Tommy Allen Show” at the college. Kac found a Reader cover story I did on Megan and Jo Ann Schmidman, who together forged compelling, socially relevant work at their Omaha Magic Theatre. Kac wanted to make sure Megan knew that one of those cheerful subversives at the college, in fact the very woman who brought Megan there, had passed away.



Megan Terry


You can linl to that Reader story at–

The Magical Mystery Tour of Omaha’s Magic Theatre, a Megan Terry and Jo Ann Schmidman Production

I have also included, thanks to Kac, links to some content about the places, the figures and the times she references in her message.

Kac says some very nice things about my writing but you should know she enjoyed quite the career as a television director before changing careers a few years ago. She’s also an author. Check out her website at and her LinkedIn page at

Kac Young

Here is the message she sent that made my day yesterday and that I think you will enjoy too (that’s Kac on the right).

“Dear Leo: I was in the original play The Tommy Allen Show that Megan Terry wrote and directed at Immaculate Heart College in 1969.  I was searching for her and found your incredible interview with her and Jo Ann Schmidman. I’m now following you and what you write about because you are terrific and there are no accidents. Thank you for a great piece on Megan.  I am writing to you because I want to get in touch with Megan. The beautiful nun who hired her to come to our drama department passed away two summers ago. She was Sr. Ruth Marie Gibbons that we all called “Ruth.” She was one of the leading drama teachers and persons of theatrical merit in the 60’s and 70’s having worked with Joe Papp, The Bread and Puppet Theater and La Mama. She graduated from the then Carnegie –Mellon and was way ahead of her time and vocation. Ruth brought Megan to our campus for the experience of having a radical playwright in residence at Immaculate Heart College which was frequented by The Berrigan Brothers and other anti-war protestors. These are the nuns who rebuked the Vatican and left the church because the powers that be in Rome wanted them to get back in their habits after a two-year experiment without them. The nuns found that being out of the habit made their work in the community more effective and in line with their purpose which was to serve humanity. The uniform habits proved to be a barrier and they wanted to be effective not quaint.  They were a feisty lot and they were smart. They owned the deed to the property at Western and Franklin in Hollywood, where AFI now sits, and were able to subsidize their mission statement with the proceeds from the sale of the College land.  They formed a lay community and have been doing good in the world ever since.

“I wanted Megan to know Ruth died. I thought maybe you could connect me with Megan. Or at least forward my info to her.  It was 47 years ago that we worked together. I became the 4th woman to join the Director’s Guild in 1973 and have three Doctorates to my name and other rabble-rousing credits.  It would be great fun to speak with Megan and let her know what an impact she had on all of us and the theatrical world. She probably already knows that, but it never hurts to tell her again.

“I love your writing Leo and I thank you for anything you might be willing to pass along to Megan on my behalf. Thank you…Your help is much appreciated. Thank you and I’ll be reading what you write from now on.  Thanks a zillion.” -kac

Love and Heartlight


The Mary’s Day Parade at Immaculate Heart College in Los Angeles,1964

The Mary’s Day Parade at Immaculate Heart College in Los Angeles,1964
Reproduction permission of the Corita Art Center, Immaculate Heart Community, Los Angeles


The Immaculate Heart College silkscreen room in 1956. Corita Kent is in the middle in the back, standing and pointing.

The Immaculate Heart College silkscreen room in 1956. Corita Kent is in the middle in the back, standing and pointing.
Courtesy of the Corita Art Center


Here are some links about the times and the place that was so alive in the 60’s.

The most famous of them all: Sister Corita Kent.

The Trial of the Catonsville Nine was performed first in LA at The Mark Taper Theater and was based on the Berrigan work.  Those were the people who gathered at the college along with Megan Terry, our playwright in residence.

Noah Diaz: Metro theater’s man for all seasons and stages

July 19, 2016 1 comment

Theater prodigies of the kind portryaed in the Wes Anderson film “Rushmore” have their antecedents in real life and just like in that story, they spring up in the most unexpected places. Omaha’s Noah Diaz is the latest Omaha theater prodigy and he finds himself in some very good company historically speaking. Perhaps the best known American theater prodigy, the late Orson Welles, first emerged as a stage presence to be watched at the Todd School for Boys in Woodstock, Illinois before he brazenly announced himself to the world in Dublin and then New York City. Across the pond, Kenneth Branagh, born in Belfast, first asserted his thespian bent in elementary school in Reading, Berkshire after his family’s move to England, and then he displayed his precicious talents at London’s Royal School of Dramatic Art. Back home, Omaha has had its own share of youth-must-be-served stage lights. The most famous of them all, Henry Fonda, was encouraged to try his hand at theater by Dottie Brando, mother of future stage-film icon Marlon Bramdo, at the Omaha Community Playhouse. A young Henry found his calling three and threw himself into all aspects of the craft – from building, painting and taking down sets to acting on stage. Dorothy McGuire soon followed him in the fold. They appeared together in a 1930 production at the Playhouse. Older than her, he left first to pursue a life in theater. Her family moved from Omaha and she soon left home to pursue her own career in theater. They both made it, of course, and two and a half decades after they shared the stage in Omaha in that 1930 show, they returned, this time as Broadway-Hollywood stars, to perform together in “The Country Girl” as a fundraiser for the new Playhouse. Now comes Noah Diaz, who by his early 20s has racked up more theater credits than most players twice or three times his age. He’s also been nominated for and won a slew of local theater awards for his acting. But he’s also a director and his work behind the stage has received raves as well. But it turns out his real calling in theater may be as a playwright. An original piece he’s written, The Motherhood Almanac, is being workshopped around the country and makes its world premiere here in January at the Shelterbelt, which is his theater home. Not to put pressure on him, but he may just be the latest in a recent line of Omaha-bred theater talent – Andrew Rannells, John Lloyd Young, Stephanie Kurtzuba, Quiana Smith, Kevyn Morrow – to make it to Broadway one day. Remember his name.


Noah Diaz: Metro theater’s man for all seasons and stages

©by Leo Adam Biga

Appearing in El Perico


Noah Diaz has been a force of nature in metro area theater since age eight. Still just 23, he owns 90-plus credits and multiple Omaha Theatre Arts Guild and Omaha Entertainment and Arts Awards nominations and wins.

He’s also a feted writer-director. He’s in good company as a local theater prodigy. A young Henry Fonda and Dorothy McGuire blazed early trails at the Omaha Community Playhouse before Broadway and Hollywood stardom. More recent stage-screen stars Andrew Rannells and John Lloyd Young got their performing starts as kids in Omaha theater.

Diaz, a University of Nebraska at Omaha student, is set on making theater his life but he only recently concluded that writing, not acting, may be his calling. A play he’s written, The Motherhood Almanac, is creating buzz. He served a residency with it at the Seven Devils Playwrights Conference in Idaho. Two New York City theater companies will workshop it in 2017. It premieres at Omaha’s Shelterbelt Theatre on January 27.

He said it was in Idaho he discovered his true “theatrical path,” adding, “I’ve been directing a number of things recently and I’m enjoying directing very much. But I think I might be a playwright. I think that might be what I want to do. That was like a very crystal moment of clarity for me.”



As a kid, Diaz and his cousins put on shows for their parents, but he’s been been writing since childhood, too. Almanac began as a poem he wrote as a youth.

“Over the years it expanded and kept unfolding. That poem turned into a handful of different poems that turned into scenes that turned into stories. It was two years ago I sat down and pieced it all together and understood what I had written. It’s a fragmented, nonlinear story with seven actresses about mothers across time and space. It’s my answer to the question – what does it meant to love somebody other than yourself.

“I’m constantly working on it, developing and workshopping it.

That’s why I’m opening myself up to these opportunities to work with different companies and actresses.”

He’s always had the internal drive and discipline writing requires, just as he’s long known he was meant to do theater.

“It’s always been a thing I’ve just understood about myself since I was young.” His parents encouraged his theater interests. “They recognized where my passions lay and they were about fostering my achieving that.”

His pursuit has landed him on virtually every metro area stage, including the Omaha Community Playhouse and The Rose. “By sheer tenacity I’ve wracked up a number of credits and a lot of experience.” No matter where he does theater, he’s younger than his fellow creatives, “I’ve been very fortunate to have had zero run-ins where age is an issue.. I’ve worked with actors who are so open with their process that they’ve allowed themselves over to me. It’s a profoundly high compliment in my book.”

He added, “The only thing I find tricky to maneuver is simply getting the work – being given opportunities. Directing work is hard to come by. It’s scary for people to put a full production in a 23 year-old’s hands. Luckily, I’ve made an artistic home at the Shelterbelt. They’ve been great to me. They’ve given me a number of opportunities.”

He counts theater veterans as teachers.

“I’ve worked with a staggeringly high number of talented people on stage and off. I’ve learned from them, I’m still learning from them. I have mentors, big and small, everywhere. I think in many ways I was raised by my mentors. I received theatrical and life lessons working in shows.”

He admires writers who sacrifice to get their stories told. “I’m so inspired by local playwrights like Ellen Struve, Beau Berry, Kaitlyn McClincy, Laura Leininger-Campbell, Nick Zadina, Joe Basque.” He’s collaborated with some.

He sees a vibrant local stage scene with “a big surge of people wanting to make theater.” He also sees gaps that need addressing. “I’m a very big advocate for accessible theater,” said Diaz, a special education and communication disorder major. He played a deaf character on stage in SNAP Productions mounting of Tribes. “Opening possibilities and opportunities for inclusivity in theater is important to me. Theaters can do better in terms of offering interpretive performances. I taught a deaf integrated acting class at the Rose (Theater) and I will be training to be an audio describer for the blind.”

Since he’s done so much so early, Diaz often gets asked – why haven’t you moved away yet to try Broadway or Hollywood?

“It’s simply about going when I’m ready. I’m still in school. I’ll be applying to a number of MFA programs this fall for playwriting.

Hopefully I’ll be be accepted to one to begin in the fall of 2017.

“I will move away eventually and work.”

Chicago’s vital theater community is a likely landing spot. He’s well aware of those who’ve left here to find stardom.

“If great success comes my way, that’s cool, but I’m more interested in doing the actual work itself.”

Meanwhile, he’s not giving up acting quite yet. “I will still continue to do it because I enjoy it.”

For details and dates on Almanac’s run at the Shelterbelt, visit


‘The Bystanders’ by Kim Louise takes searing, moving look at domestic violence as a public health issue

May 10, 2016 2 comments

Last night I had the privilege of experiencing as searing and moving a piece of live theater that I have seen in a long time. It was a staged reading of a new play, “The Bystanders,” by Kim Louise of Omaha. It tells the story of four friends who hear an incident of domestic abuse in the apartment next door. They are split on what to do next. The play asks – What would you do? The play is touring this week as part of the Metropolitan Community College Theatre Program’s Spring Tour. The program annually features a play written by an MCC student playwright in a staged reading format produced and performed by theater professionals. Kim’s “The Bystanders” is this year’s featured work. She first got inspired to write the piece some years ago and she has more recently developed it under the guidance of MCC theater program instructor Scott Working, who directs the production. The playwright, whom you may know as Kim Whiteside, is a much published author and veteran writing workshop faciliator under the pen name Kim Louise. She has writen a powerful piece whose heavy truth is impossible to ignore and to forget.

Some leading local theater talents comprise the cast:

Victoria – Beaufield Berry
OthaJean – Pamela Jo Berry
Benet – TammyRa’ Jackson
Ashland – Felicia Webster
Carla – Doriette Jordan
Cullen – Developing Crisp


Some pics of the cast and playwright after the May 9 evening show at MCC’s Fort Omaha campus (photos courtesy Deborah Steele):

Deborah Steele's photo.
Deborah Steele's photo.
Deborah Steele's photo.
Playwright Kim Louise with Deborah Steele



Performances are free and open to the public, but you only have two chances left to see this staged reading:

Wednesday, May 11th at 11:00 am in the Conference Room of the MCC Sarpy Center, 9110 Giles Road.
Thursday, May 12th at 12:30 pm in ITC Building Room120 at MCC’s South Omaha Campus, 27th and Q Streets.

What the play utilmately confronts us with is the fact that domestic violence is a public health issue that none of us can stand by and allow to happen without speaking out against or taking action to prevent it from happening again. Otherwise, we are as complicit in the situation as the person who commits the violence and the person who lives with the violence. This is a community problem we all have a share in. As witness, as advocate, as friend, as advisor, as safe house, as 911 caller, as whatever it takes or whatever we are prepared to do. Just don’t stay silent or do nothing. That’s how battered women end up traumatized or dead.


May 9 – May 12 · Omaha, NE
18 people interested · 14 people going


Play considers North Omaha history through the eyes of Mildred Bown

April 29, 2016 Leave a comment

Upcoming Great Plains Theatre Conference PlayFest productions at nontraditional sites examine North Omaha themes as part of this year’s Neighborhood Tapestries. On May 29 the one-woman play Northside Carnation, both written and performed by Denise Chapman, looks at a pivotal night through the eyes of Omaha Star icon Mildred Brown at the Elks Lidge. On May 31 Leftovers, by Josh Wilder and featuring a deep Omaha cast, explores the dynamics of inner city black family life outside the home of the late activist-journalist Charles B. Washington. Performances are free.


Play considers North Omaha history through the eyes of Mildred Bown

Denise Chapman portrays the Omaha Star icon in pivotal night in 1969

©by Leo Adam Biga

Appearing in the May 2016 issue of The Reader (





As North Omaha Neighborhood Tapestries returns for the Great Plains Theatre Conference’s free PlayFest bill, two community icons take center stage as subject and setting.

En route to making her Omaha Star newspaper an institution in the African-American community, the late publisher Mildred Brown became one herself. Through the advocacy role she and her paper played, Brown intersected with every current affecting black life here from the 1930s on. That makes her an apt prism through which to view a slice of life in North Omaha in the new one-woman play Northside Carnation.

This work of historical fiction written by Omaha theater artist Denise Chapman will premiere Sunday, May 29 at the Elks Lodge, 2420 Lake Street. The private social club just north of the historic Star building was a familiar spot for Brown. It also has resonance for Chapman as two generations of her family have been members. Chapman will portray Brown in the piece.

Directing the 7:30 p.m. production will be Nebraska Theatre Caravan general manger Lara Marsh.

An exhibition of historic North Omaha images will be on display next door at the Carver Bank. A show featuring art by North Omaha youth will also be on view at the nearby Union for Contemporary Art.

Two nights later another play, Leftovers, by Josh Wilder of Philadelphia, explores the dynamics of an inner city black family in a outdoor production at the site of the home of the late Omaha activist journalist Charles B. Washington. The Tuesday, May 31 performance outside the vacant, soon-to-be-razed house, 2402 North 25th Street, will star locals D. Kevin Williams, Echelle Childers and others. Levy Lee Simon of Los Angeles will direct.

Just as Washington was a surrogate father and mentor to many in North O, Brown was that community’s symbolic matriarch.



Denise Chapman


Chapman says she grew up with “an awareness” of Brown’s larger-than-life imprint and of the paper’s vital voice in the community but it was only until she researched the play she realized their full impact.

“She was definitely a very important figure. She had a very strong presence in North Omaha and on 24th Street. I was not aware of how strong that presence was and how deep that influence ran. She was really savvy and reserved all of her resources to hold space and to make space for people in her community – fighting for justice. insisting on basic human rights, providing jobs, putting people through school.

“She really was a force that could not be denied. The thing I most admire was her let’s-make-it-happen approach and her figuring out how to be a black woman in a very white, male-dominated world.”

Brown was one of only a few black female publishers in the nation.  Even after her 1989 death, the Star remained a black woman enterprise under her niece, Marguerita Washington, who succeeded her as publisher. Washington ran it until falling ill last year. She died in February. The paper continues printing with a mostly black female editorial and advertising staff.

Chapman’s play is set at a pivot point in North O history. The 1969 fatal police shooting of Vivian Strong sparked rioting that destroyed much of North’s 24th “Street of Dreams.” As civil unrest breaks out, Brown is torn over what to put on the front page of the next edition.

“She’s trying her best to find positive things to say even in times of toil,” Chapman says. “She speaks out reminders of what’s good to help reground and recenter when everything feels like it’s upside down. It’s this moment in time and it’s really about what happens when a community implodes but never fully heals.

“All the parallels between what was going on then and what we see happening now were so strong it felt like a compelling moment in time to tell this story. It’s scary and sad but also currently repeating itself. I feel like there are blocks of 24th Street with vacant lots and buildings irectly connected to that last implosion.”


Mildred Brown and the Omaha Star offices


The Omaha Star | by National Register

During the course of the evening, Chapman has Brown recall her support of the 1950s civil rights group the De Porres Club and a battle it waged for equal job opportunities. Chapman, as Brown, remembers touchstone figures and places from North O’s past, including Whitney Young, Preston Love Sr., Charles B. Washington, the Dreamland Ballroom and the once teeming North 24th Street corridor.

“There’s a thing she says in the play that questions all the work they did in the ’50s and yet in ’69 we’re still at this place of implosion,” Chapman says. “That’s the space that the play lives in.”

To facilitate this flood of memories Chapman hit upon the device of a fictional young woman with Brown that pivotal night.

“I have imagined a young lady with her this evening Mildred is finalizing the front page of the paper and their conversations take us to different points in time. The piece is really about using her life and her work as a lens and as a way to look at 24th Street and some of the cultural history and struggle the district has gone through.”

Chapman has been studying mannerisms of Brown. But she’s not as concerned with duplicating the way Brown spoke or walked, for instance, as she is capturing the essence of her impassioned nature.

“Her spirit, her drive, her energy and her tenacity are the things I’m tapping into as an actor to create this version of her. I think you will feel her force when I speak the actual words she said in support of the Omaha and Council Bluffs Railway and Bridge Company boycott. She did not pull punches.”

Chapman acknowledges taking on a character who represented so much to so many intimidated her until she found her way into Brown.

“When I first approached this piece I was a little hesitant because she was this strong figure whose work has a strong legacy in the community. I was almost a little afraid to dive in. But during the research and what-if process of sitting with her and in her I found this human being who had really big dreams and passions. But her efforts were never just about her. The work she did was always about uplifting her people and fighting for justice and making pathways for young people towards education and doing better and celebrating every beautiful accomplishment that happened along the way.”

Chapman found appealing Brown’s policy to not print crime news. “Because of that the Star has kept for us all of these beautiful every day moments of black life – from model families to young people getting their degrees and coming back home for jobs to social clubs. All of these every day kind of reminders that we’re just people.”

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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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