South Omaha Stories on tap for free PlayFest show; Great Plains Theatre Conference’s Neighborhood Tapestries returns to the south side
Omaha’s various geographic segments feature distinct charecteristics all their own. South Omaha has a stockyards-packing plant heritage that lives on to this day and it continues its legacy as home to new arrivals, whether immigrants or refugees. The free May 27 Great Plains Theatre Conference PlayFest show South Omaha Stories at the Livestock Exchange Building is a collaboration between playwrights and residents that shares stories reflective of that district and the people who comprise it. What follows are two articles I did about the event. The first and most recent article is for The Reader (www.thereader.com) and it looks at South O through the prism of two young people interviewed by playwrights for the project. The second article looks at South O through the lens of three older people interviewed by playwrights for the same project. Together, my articles and participants’ stores provide a fair approximation of what makes South O, well, South O. Or in the vernacular (think South Side Chicago), Sou’d O.
South Omaha Stories on tap for free PlayFest show
Great Plains Theatre Conference’s Neighborhood Tapestries returns to the south side
©by Leo Adam Biga
Appearing in the May 2015 issue of The Reader (www.thereader.com)
Perhaps more than any geographic quadrant of the city, South Omaha owns the richest legacy as a livestock-meatpacking industry hub and historic home to new arrivals fixated on the American Dream.
Everyone with South O ties has a story. When some playwrights sat down to interview four such folks, tales flowed. Using the subjects’ own words and drawing from research, the playwrights, together with New York director Josh Hecht, have crafted a night of theater for this year’s Great Plains Theatre Conference’s Neighborhood Tapestries.
Omaha’s M. Michele Phillips directs this collaborative patchwork of South Omaha Stories. The 7:30 p.m. show May 27 at the Livestock Exchange Building ballroom is part of GPTC’s free PlayFest slate celebrating different facets of Neb. history and culture. In the case of South O, each generation has distinct experiences but recurring themes of diversity and aspiration appear across eras.
Lucy Aguilar and Batula Hilowle are part of recent migration waves to bring immigrants and refugees here. Aguilar came as a child from Mexico with her undocumented mother and siblings in pursuit of a better life. Hilowle and her siblings were born and raised in a Kenya refugee camp. They relocated here with their Somali mother via humanitarian sponsors. In America, Batula and her family enjoy new found safety and stability.
Aguilar, 20, is a South High graduate attending the University of Nebraska at Omaha. GPTC associate artistic director and veteran Omaha playwright Scott Working interviewed her. Hilowle, 19, is a senior at South weighing her college options. Harlem playwright Kia Corthron interviewed her.
A Deferred Action for Childhood Arrivals (DACA) work permit recipient, Aguilar is tired of living with a conditional status hanging over head. She feels she and fellow Dreamers should be treated as full citizens. State law has made it illegal for Dreamers to obtain drivers licenses.
“I’m here just like everybody else trying to make something out of my life, trying to accomplish goals, in my case trying to open a business,” and be successful in that,” Aguilar says.
She’s active in Young Nebraskans for Action that advocates restrictions be lifted for Dreamers. She follows her heart in social justice matters.
“Community service is something I’m really passionate about.”
She embraces South O as a landing spot for many peoples.
“There’s so much diversity and nobody has a problem with it.”
Hilowle appreciates the diversity, too.
“You see Africans like me, you see African Americans,, Asians, Latinos, whites all together. It’s something you don’t see when you go west.”
Both young women find it a friendly environment.
“It’s a very open, helpful community,” Aguilar says. “There are so many organizations that advocate to help people. If I’m having difficulties at home or school or work, I know I’ll have backup. I like that.”
“It’s definitely warm and welcoming,” Hilowle says. “It feels like we’re family. There’s no room for hate.”
Hilowle says playwright Kia Corthon was particularly curious about the transition from living in a refuge camp to living in America.
“She wanted to know what was different and what was familiar. I can tell you there was plenty of differences.”
Hilowle has found most people receptive to her story of struggle in Africa and somewhat surprised by her gratitude for the experience.
“Rather than try to make fun of me I think they want to get to know me. I’m not ashamed to say I grew up in a refugee camp or that we didn’t have our own place. It made me better, it made me who I am today. Being in America won’t change who I am. My kids are going to be just like me because I am just like my mom.”
She says the same fierce determination that drove her mother to save the family from war in Somalia is in her.
About the vast differences between life there and here, she says, “Sometimes different isn’t so bad.” She welcomes opportunities “to share something about where I come from or about my religion (Muslim) and why I cover my body with so many clothes.”
Aguilar, a business major seeking to open a South O juice shop, likes that her and Hilowle’s stories will be featured in the same program.
“We have very different backgrounds but I’m pretty sure our future goals are the same. We’re very motivated about what we want to do.”
Similar to Lucy, Batula likes helping people. She’s planning a pre-med track in college.
The young women think it’s important their stories will be presented alongside those of much older residents with a longer perspective.
Virgil Armendariz, 68, who wrote his own story, can attest South O has long been a melting pot. He recalls as a youth the international flavors and aromas coming from homes of different ethnicities he delivered papers to and his learning to say “collect” in several languages.
“You could travel the world by walking down 36th street on Sunday afternoon. From Q Street to just past Harrison you could smell those dinners cooking. The Irish lived up around Q Street, Czechs, Poles, and Lithuanians were mixed along the way. Then Bohemians’ with a scattering of Mexicans.”
He remembers the stockyards and Big Four packing plants and all the ancillary businesses that dominated a square mile right in the heart of the community. The stink of animal refuse permeating the Magic City was called the Smell of Money. Rough trade bars and whorehouses served a sea of men. The sheer volume of livestock meant cows and pigs occasionally broke loose to cause havoc. He recalls unionized packers striking for better wages and safer conditions.
Joseph Ramirez, 89, worked at Armour and Co. 15 years. He became a local union leader there and that work led him into a human services career. New York playwright Michael Garces interviewed Ramirez.
Ramirez and Armendariz both faced discrimination. They dealt with bias by either confronting it or shrugging it off. Both men found pathways to better themselves – Ramirez as a company man and Armendariz as an entrepreneur.
While their parents came from Mexico, South Omaha Stories participant, Dorothy Patach, 91, traces her ancestry to the former Czechoslovakia region. Like her contemporaries of a certain age, she recalls South O as a once booming place, then declining with the closure of the Big Four plants, before its redevelopment and immigrant-led business revival the last few decades.
Patach says people of varied backgrounds generally found ways to co-exist though she acknowledges illegal aliens were not always welcome.
New York playwright Ruth Margraff interviewed her.
She and the men agree what united people was a shared desire to get ahead. How families and individuals went about it differed, but hard work was the common denominator.
Scott Working says the details in the South O stories are where universal truths lay.
“It is in the specifics we recognize ourselves, our parents, our grandparents,” he says, “and we see they have similar dreams that we share. It’s a great experience.”
He says the district’s tradition of diversity “has kept it such a vibrant place.” He suspects the show will be “a reaffirmation for the people that live there and maybe an introduction to people from West Omaha or North Omaha.” He adds, “My hope is it will make people curious about where they’re from, too. It’s kind of what theater does – it gives us a connection to humanity and tells us stories we find value in and maybe we learn something and feel something.”
The Livestock Exchange Building is at 4920 South 30th Street.
Next year’s Neighborhood Tapestries event returns to North Omaha.
For PlayFest and conference details, visit http://www.mccneb.edu/gptc.
South Omaha stories to be basis for new theater piece at Great Plains Theatre Conference
©by Leo Adam Biga
Originally appeared in El Perico
Historically, South Omaha is a melting pot where newcomers settle to claim a stake of the American Dream.
This hurly burly area’s blue-collar labor force was once largely Eastern European. The rich commerce of packing plants and stockyards filled brothels, bars and boardinghouses. The local economy flourished until the plants closed and the yards dwindled. Old-line residents and businesses moved out or died off. New arrivals from Mexico, Central America, South America and Africa have spurred a new boon. Repurposed industrial sites serve today’s community needs.
As a microcosm of the urban American experience it’s a ready-made tableaux for dramatists to explore. That’s what a stage director and playwrights will do in a Metropolitan Community College-Great Plains Theatre Conference project. The artists will interview residents to cultivate anecdotes. That material will inform short plays the artists develop for performance at the GPTC PlayFest’s community-based South Omaha Neighborhood Tapestries event in May.
Director Josh Hecht and two playwrights, Kia Corthron and Ruth Margraff, will discuss their process and preview what audiences can expect at a free Writing Workshop on Saturday, January 24 at 3 p.m. in MCC’s South Campus (24th and Q) Connector Building.
Participants Virgil Armendariz and Joseph Ramirez hail from Mexican immigrant clans that settled here when Hispanics were so few Armendariz says practically everybody knew each other. Their presence grew thanks to a few large families. Similarly, the Emma Early Bryant family grew a small but strong African-American enclave.
Each ethnic group “built their own little communities,” says Armendariz, who left school to join the Navy before working construction. “There were communities of Polish, Mexicans, Bohemians, Lithuanians, Italians, Irish. Those neighborhoods were like family and became kind of territorial. But it was interesting to see how they blended together because they all shared one thing – how hard they worked to make life better for themselves and their families. I still see that even now. A lot of people in South Omaha have inherited that entrepreneurial energy and inner strength. I feel like the blood, sweat and tears of generations of immigrants is in the soil of South Omaha.”
Armendariz, whose grandmother escaped the Mexican revolution and opened a popular pool hall here, became an entrepreneur himself. He says biases toward minorities and newcomers can’t be denied “but again there’s a common denominator everybody understands and that is people come here to build a future for their families, and that we can’t escape, no matter how invasive it might seem.”
He says recent immigrants and refugees practice more cultural traditions than he knew growing up. He and his wife, long active in the South Omaha Business Association, enjoy connecting to their own heritage through the Xiotal Ballet Folklorico troupe they support.
“These talented people present beautiful, colorful dance and music. When you put that face on the immigrant you see they are a rich part of our American past and a big contributor to our American future.”
Ramirez, whose parents fled the Cristero Revolt in Mexico, says he and his wife faced discrimination as a young working-class couple integrating an all-white neighborhood. But overall they found much opportunity. He became a bilingual notary public and union official while working at Armour and Co. He later served roles with the Urban League of Nebraska and the City of Omaha and directed the Chicano Awareness Center (now Latino Center of the Midlands). His activist-advocacy work included getting more construction contracts for minorities and summer jobs for youths. The devout Catholic lobbied the Omaha Archdiocese to offer its first Spanish-speaking Mass.
He’s still bullish about South Omaha, saying, “It’s a good place to live.”
Dorothy Patach came up in a white-collar middle-class Bohemian family, graduated South High, then college, and went on to a long career as a nursing care professional and educator. Later, she became Spring Lake Neighborhood Association president and activist, helping raise funds for Omaha’s first graffiti abatement wagon and filling in ravines used as dumping grounds. She says the South O neighborhood she lived in for seven decades was a mix of ethnicities and religions that found ways to coexist.
“Basically we lived by the Golden Rule – do unto others as you want them to do unto you – and we had no problems.”
She, too, is proud of her South O legacy and eager to share its rich history with artists and audiences.
MCC Theatre Program Coordinator Scott Working says, “The specifics of people’s lives can be universal and resonate with a wide audience. The South Omaha stories I’ve heard so far have been wonderful, and I can’t wait to help share them.”
Josh Hecht finds it fascinating South O’s “weathered the rise and fall of various industries” and absorbed “waves of different demographic populations.” “In both of these ways” he says, “the neighborhood seems archetypally American.” Hecht and Co. are working with local historian Gary Kastrick to mine more tidbits.
Hecht conceived the project when local residents put on “a kind of variety show ” for he and other visiting artists at South High in 2013.
“They performed everything from spoken word to dance to storytelling. They told stories about their lives and it was very clear how important it was for the community to share these stories with us.”
Hecht says he began “thinking of an interactive way where they share their lives and stories with us and we transform them into pieces of theater that we then reflect back to them.”
Working says, “This project will be a deeper exploration and more intimate exchange between members of the community and dramatic artists” than previous Tapestries.
The production is aptly slated for the Stockyards Exchange Building, the last existing remnant of South O’s vast packing-livestock empire.
PlayFest broadens theater possibilities: Great Plains Theatre Conference events feature community-based, site-specific works
Much of theater is elitist without even intending to be. It’s just the nature of what happens when art, academics, and economics collide. There are of course counter strains to the theater of exclusion. The Great Plains Theatre Conference in Omaha is an interesting study of something that started out as a kind of closed set endeavor hanging on the threads of the New York City stage establishment but that has made a concerted effort in recent years to break out of its box to be more cutting-edge, community-based, and inclusive. My story here for The Reader (www.thereader.com) details how the conference’s PlayFest series is leading the way to make theater more engaging and accessible while at the same time more experimental, including site-specific works that draw on multiple genres and that feature work and in some cases collaborations by artists from Omaha and New York that speak to events and concerns in this community. In keeping with this more communal, democratic spirit of theater, PlayFest events are free and open to the public. This year’s events are at Kaneko May 27, the Malcolm X Center May 28 and the historic Florence Mill on May 30. A highlight will be readings by 2014 conference featured playwright Kia Corthron at the May 28 Voices at the Center program at the Malcolm X Center. That program is a continuation of the Neighborhood Tapestries series the GPTC inaugurated a couple years ago to bring theater into the communtiy or more specifically into neighborhoods.
PlayFest broadens theater possibilities
Great Plains Theatre Conference events feature community-based, site-specific works
©by Leo Adam Biga
Now appearing in The Reader (www.thereader.com)
The Great Plains Theatre Conference continues stretching beyond its hidebound beginnings by assuming an ever freer, more engaging public model. Where it was once top-heavy with crusty old lions of the conventional New York City stage, it’s now embracing more contemporary, cutting-edge, community-based artists. Where it often played like an exclusive party or lab for the drama circle set, it’s now a more inviting, inventive forum for artists and audiences alike.
GPTC artistic director Kevin Lawler, who’s acutely aware of theater’s challenge capturing audiences, has made the conference more accessible through PlayFest series offerings that take theater outside the box. Lawler entrusts PlayFest to artists from Omaha and New York, where he’s worked as a director, to create site-specific, free-form, multi-genre works that break barriers and embrace community.
“Theatre in the U.S. stagnated heavily in the last century with ticket prices climbing ever higher and content being generated by an overwhelmingly white, male, privileged, linear storytelling, playwright-director based system driven mainly by capitalist economics rather than community enrichment,” he says. “The idea behind PlayFest is to move theater out of the established ‘temples of art’ by experimenting with content, form, means of production and dissemination.
“On top of the spirit of experimentation and exploration we make a special effort to create a Neighborhood Tapestries project performance each year from the stories and history of our own community members. All these aspects combined with the fact PlayFest is free, open to everyone and performed in alternative sites across the city creates a wonderful new dynamic for theater in our community.”
This year’s PlayFest features three distinct events over four days at venues that couldn’t be more different from one another.
On May 27 the artists of Omaha-based aetherplough present We’re Almost There – High Viscosity. This conceptual performance piece will inhabit the wide-open, light-filled second floor at Kaneko, 1111 Jones Street. The piece is directed by Susann Suprenant and Jeanette Plourde. Specifically designed for the show’s cavernous interior, the piece is also informed by the transformation of this former Fairmont Creamery warehouse space into a cultural oasis.
Lawler says he brought the two directors together because “Susann and Jeanette seem like sisters in the realm of creativity and thought,” adding, “With their heavy background of performance based in movement I knew they would complement each other wonderfully.”
“We both bring an intensity of focus, a trust in collaborative creation and a willingness to explore performance made with-for-in the space and with the body as the impetus, rather than narrative as the impetus. We trust in the ‘meaning-making’ abilities of the audience,” says Suprenant, dean of communications and humanities at Metropolitan Community College.
“We’re kindred spirits with respect to the creation of performance and the creation of events to share with an audience,” says Plourde, a New York director. “We create performance, we create live events, we work with groups of artists we consider artist-creators. There isn’t a script.
We start with questions and territories of exploration and as directors we guide the exploration with a company to create what ultimately becomes a performance event.”
Each year the conference recognizes a playwright and celebrates their work. During the May 28 Voices at the Center 2014 honored playwright Kia Corthron will read from a selection of her politically charged plays and be joined by local spoken word artists, actors and musicians speaking their own truths. Set outdoors at the Malcolm X Center, 3448 Evans Street, this gathering of raised social consciousness at the birth-site of the slain activist born as Malcolm Little is curated by Omaha Community Playhouse Education Director Denise Chapman.
This Neighborhood Tapestries event will intersect with issues affecting inner city communities like North Omaha’s. The Harlem-based Corthorn will read from her new play Megastasis, which she says is “inspired” by the Michelle Alexander book The New Jim Crow in its look at “how the war on drugs has impacted the black community in such devastating ways.” Chapman will direct an excerpt from her adaptation of ancient Greek theater, Women of Troy, that substitutes modern urban women “left behind” as collateral damage in the war on drugs. TammyRa Jackson, Zedeka Poindexter and Monica Ghali portray the Trojan women.
Corthron, who’s written for television and has authored a novel, will read from at least two more of her plays: Trickle and Sam’s Coming.
She recently won a $150,000 Windham Campbell literary prize.
She says she strives to affect audiences emotinally as a way to engage them and therefore “make them think and maybe reconsider or for the first time consider issues they hadn’t thought about before.” She says as a black woman writing about the black experience whatever she chooses to address in her work is bound to be militant in someone’s eyes. “I feel like if you are part of a community that has been traditionally oppressed as the black community has been that…it’s hard to write anything without it being somewhat political.” In Corthron’s view, wearing one’s hair natural or not, having a light or dark skin tone and using slang or proper English all potentially become tense political-ideological points thrust upon and internalized by blacks.
When Corthron’s penning a play she says “‘I’m just really conscious of and true to the world of these characters and to the way these characters would speak. That’s sort of my driving force when I’m writing – their language.”
The playwright’s excited to have her characters’ voices mix with those of The Wordsmiths, led by Michelle Troxclair and Felicia Webster, the poets behind Verbal Gumbo at the House of Loom, along with Devel Crisp, Leo Louis II and Nate Scott. Adding to the stew will be hip hop artists Jonny Knogood and Lite Pole. Chapman looks forward to this “battle cry music that speaks truths about what’s going on in the community and offers platforms to start conversations for solutions.” Corthron and her fellow artists will do a talk back following the show.
Gabrielle Gaines Liwaru is creating original mural art for the evening.
On May 30 PlayFest moves to the historic Florence Mill, 9102 North 30th Street., for Wood Music, an immersive event created by the writers, directors and actors of the New York-based St. Fortune Collective. Omaha’s own Electric Chamber Music is composing original music. New Yorker Elena Araoz, is directing. Her husband Justin Townsend is designing the show with the conference’s Design Wing fellows.
Araoz says the 1860-set piece will have the audience walk through the mill to meet characters drawn from its past. That year is when the mill converted from water to steam energy. Around that time Florence lost a contentious bid for the state capitol. It all concludes with an outdoor celebration featuring mill-themed music, dance and secret burlesque.
“We’re trying to give the audience more of an experience than just a play,” says Araoz.
The theatrical party will be a direct through-line to the communal, festive life of the mill today as the home to a farmer’s market, an art gallery and live music performances.
St. Fortune writer Jack Frederick says the event will both “pay homage to and activate the mill’s rich history” and new reuse.
Frederick, Araoz and Co. have tapped mill director Linda Meigs, who led efforts to preserve the site and has made it into an arts-agriculture-history colony, for details about the structure’s Mormon settlement lineage. Brigham Young himself supervised its 1846 construction as a grist mill. After the Mormons abandoned their winter quarters the mill was rebuilt and a grain elevator added.
Each PlayFest event is free and starts at 7:30 p.m. For more details and for a schedule of conference events, visit http://www.mccneb.edu/gptc.
The Great Plains Theatre Conference in Omaha is always looking for new ways to connect with audiences and in the following story for The Reader (www.thereader.com) I share the latest attempt to bring theater to where people live. The conference’s PlayFest is presenting Neighborhood Tapestries in two well-defined inner city communities that don’t always have the kind of access to theater that other communities do. The idea of these tapestries is for people of these communities to share various aspects of their neighborhood’s art, music, culture, and history.
Tapestries to celebrate Omaha neighborhoods; Theater by any other name
©by Leo Adam Biga
Soon to appear in The Reader (www.thereader.com)
The play’s still the thing with the Great Plains Theatre Conference but organizers are making a concerted effort to expand theater’s definition in order to connect more people to it.
The May 26-29 PlayFest is the Metropolitan Community College conference’s answer to making theater more accessible. That means staging works at nontraditional sites, including one along the riverfront, and, new this year, holding Neighborhood Tapestries in the inner city.
The inaugural tapestries, a cross-between a chautauqua, a street arts event, a storytelling festival, a salon and a variety show, will happen outdoor on separate dates in North and South Omaha. Each neighborhood’s art, culture and history will be celebrated through a loose program of music, poetry, stories, dance and other creative expressions. The performers will include professionals and amateurs.
Union for Contemporary Art
Chapman, an actress and stage director, is the Omaha Community Playhouse education director and a Metropolitan Community College theater instructor. She’s worked with a team to produce the event.
“We’re creating a thread,” she says. “We are thinking of our show as a block. So who are these people on the block? Borrowing from Sesame Street. who are the people in your neighborhood? We want to have this musical and movement throughline with these transitional words and the sharing of these stories as people get up and talk about community and food, growing up on the North Side, memories of their mothers and just all these different people you might encounter on a street in North Omaha.
“That thread allows us to plug in people as we get them, as they see fit. Who knows what could happen with the evening. We’ve got that flexibility. It’s not a rigid the-curtain-opens and this-series-of-events needs to happen for the show to make sense and come to some conclusion. Instead it’s this nice woven piece that says here are some things that happened, here are some reflections, here is some music , here’s a body in space moving. Hopefully at the end you’re like, Oh, let’s get around this circle and have a conversation.”
She says GPTC producing artistic director Kevin Lawler gave her a “very open” script to take the event wherever she wanted.
“I’m excited about this project because it allows us to explore the concept that we’re all performers with this urge to tell a story or to share this happening or to recount this thing that happened to us. But where’s the platform for that? When do we get together and do it? What we’re doing is throwing some artists and musicians and actors in the mix. It’s engaging us as theater practitioners to not be so static in our art form and it engages the community to understand that theater isn’t this other thing that happens on the other side of the city.”
Featured storytellers include Nancy Williams, Felicia Webster, Peggy Jones and Dominque Morgan, all of whom will riff and reflect on indelible characters and places from North O’s past and present.
Jazz-blues guitarist George Walker will lay down some smooth licks.
Member youth from the North Omaha Boys and Girls Club will present an art project they created. Works by Union for Contemporary Art fellows will be displayed.
Chapman sees possibilities for future North O programs like Tapestries that celebrate its essence. She says such programs are invitations for the public to experience art and own it through their own stories.
“Then you start having those conversations and then you realize the world is a lot smaller than you think it is,” she says. “It just starts to close the gap. So yeah I think there’s a real possibility for it to grow and create these little pockets of reminders that we’re all performers and we all need our platforms for creation.”
The May 29 South Omaha tapestry will take a similar approach in fleshing out the character and personalities of that part of town. The site is Omaha South High’s Collins Stadium, 22nd Ave. and M Street. Director Scott Working, the theater program coordinator at MCC, says he’s put together an event with “a little music, a little storytelling, a little poetry to let people know some of the stories and some of the history of the neighborhood.”
He says he got a big assist from Marina Rosado in finding Latino participants. Rosado, a graphic designer, community television host and leader of her own theater troupe, La Puerta, will also emcee the program. She led Working to retired corporate executive David Catalan, now a published poet. Catalan’s slated to read from three poems written as a homage to his parents.
Rosado also referred Working to artist and storyteller Linda Garcia.
“I will be doing a storytelling segment based on my Abuelita (Grandmother) Stories,” says Garcia. “The story I am telling is an actual story of my abuelita, Refugio ‘Cuca’ Hembertt, and my exposure to her insatiable reading habits. That led to my discovery and connection with languages and the power of words.*
Even Louie M’s Burger Lust owner Louie Marcuzzo has been marshaled to tell South O tales.
Also on tap are performances by the South High School Louder Than a Bomb slam poetry team, Ballet Folklorico Xitol, the Dave Salmons polka duo and a youth mariachi band. Working also plans to bring alive an El Museo Latino exhibit of Latinos in Omaha. Individuals will read aloud in English the subects’ bios as a video of the subjects reading their own stories in Spanish plays. He says his inspiration for the evening’s revolving format is the Encyclopedia Shows that local artists and poets put on.
“It’s a combination of like standup and poetry and music and theater,” Working says. “It’s relaxed, it’s fun. Plus, I don’t think I could get David Catalan and Louie Marcuzzo to come to six rehearsals to get it right. I trust them.”
Rosado embraces the format.
“I believe in the power of art. Music, dance, literature, theater and all cultural expressions can change a person’s life. That’s why I am so excited about the event. Scott has a genuine interest in showcasing the best of our community. Tapices is the word in Spanish for tapestries and I can hardly wait to see the unique piece of art that will be made at the end of this month.”
Catalan feels much the same, saying, “Stories told as a performing art leave lasting impressions on audiences and motivate many to learn more about heritage and ancestry.” He applauds Metro for its outreach to inner city Omaha’s “rich cultural history in the transitional ethnic populations.”
Lawler says Tapestries enables the conference “to be more rooted in the community,” particularly underserved communities. “I wanted to go further into involving the community and being something relevant for the community. That’s why I want to generate these stories from the community. It’s kind of a lifelong quest I have to keep looking at the art form and saying, ‘What are we doing that’s working but what are we doing that’s not working very well’ That’s part of the reason the whole PlayFest is free. Theater is just priced out of society’s ability to go. That doesn’t work.”
Just as Chapman feels Tapestries can continue to mine North O’s rich subject matter, Working feels the same about South O. He adds that other neighborhoods, from Benson to Bellevue, could be mined as well.
Both the North O and South O events kick off with food, art displays and music at 6:30 p.m. Storytelling begins at 7:30.
For the complete PlayFest schedule, visit http://www.mccneb,edu/theatreconference.
- Artists running with opportunity to go to the next level; Carver Bank resident artists bring new life to area (leoadambiga.wordpress.com)
- Kevin Lawler Guides Ever Evolving Theater Conference to Put More Focus on Fewer Plays and Playwrights and to Connect Deeper with Community (leoadambiga.wordpress.com)
Kevin Lawler Guides Ever Evolving Theater Conference to Put More Focus on Fewer Plays and Playwrights and to Connect Deeper with Community
I’ve been writing about the Great Plains Theatre Conference since its start eight years ago and while I don’t get the chance to write at length about it and its guest artists the way I used to, I still manage an assignment like this one, which is an interview with producing artistic director Kevin Lawler. He’s been moving the event in some different directions that put more focus on fewer plays and playwrights and that connect the conference more deeply with the community. My story appears in Omaha Magazine.
The 2013 Great Plains conference is May 25 through June 1. It’s a wide mix of readings, productions, and special events, all of it geared to celebrating plays and playwrights and the theater.
On this blog you can find the many other stories I’ve filed over the years about the conference and some of its guest artists, including interviews with Edward Albee, Arthur Kopit, John Guare, and Patricia Neal. In fact, you’ll find here many other theater pieces I’ve written over time. Enjoy.
Kevin Lawler Guides Ever Evolving Theater Conference to Put More Focus on Fewer Plays and Playwrights and to Connect Deeper with Community
©by Leo Adam Biga
Now appearing in Omaha Magazine
Plays and playwrights remain “the heart” of the May 25-June 1 Great Plains Theatre Conference, which is now in its eighth year, says producing artistic director Kevin Lawler. But since assuming leadership over this Metropolitan Community College-hosted stagecraft confab four years ago he’s brought more focus to a smaller selection of plays and playwrights and deepened the conference’s community connections.
The conference revolves around readings or performances of new plays by emerging playwrights from around the nation and master theater artists responding to the work in group and one-one-one feedback sessions.
“We used to bring somewhere around 70 plays out and we didn’t have time to read the full play, which was unfair to the playwright,” says Lawler, who writes and directs plays himself. “And 70 plays meant 70 directors and 70 casts, which our local theater community wasn’t quite able to properly support, so there was always kind of a heightened energy of struggle trying to fulfill all those roles and spots.
“We’ve reduced that number to about 30 plays, so now were able to really find great directors, great casts, and we’re able to have a performance of the full script.”
Playwrights find a nurturing environment during the event.
“They’re getting a lot of great attention. It can be a very transformative experience for playwrights who come here. The feedback they give us is that it’s moving them forward as theater artists.”
Omaha playwright Ellen Struve says, “It’s been phenomenal. Going to the Great Plains reaffirmed this was something I was capable of and finding a playwriting community was very important.” She and others who participate there formed the Omaha Playwrights Group and two of her own plays read at the conference have been produced, including Recommended Reading for Girls at the Omaha Community Playhouse this spring. As interim artistic director of the Shelterbelt Theatre Struve regularly draws on conference scripts for productions.
“Ellen’s a shining example of somebody who was really able to find their feet at the Great Plains and really go from there and grow and take off.” says Lawler.
He adds that other local theaters also source plays and contacts at the conference.
“There’s an aspect of community building that occurs here,” Lawler says. “We try to foster that. There are many folks who leave here who stay in very close contact with others they meet here, supporting each other, sharing work, working on each other’s projects, helping get their work made. A national network is starting now.
“Theres a great exchange that happens.”
Featured plays are selected from 500-plus submissions. Guest artists who serve as responders also teach workshops. These artists are nationally known playwrights and educators who lead “various new movements in theater expanding what theater might be, widening the horizons a bit,” says Lawler.
Works by featured guests are performed, including a water rights drama by 2013 honored playwright Constance Congdon slated for the edge of the Missouri River.
The conference’s PlayFest is a free festival that happens citywide. This year “neighborhood tapestries” in North and South Omaha will celebrate the stories, music, dance, art and food of those communities.
“We’re trying to be more rooted in the community,” Lawler says. “It’s kind of a lifelong quest I have to keep looking at the art form and saying, ‘What are we doing that’s not working very well?’ That’s part of the reason the whole PlayFest is free. Theater is just priced out of society’s ability to go. That doesn’t work.”
StageWrite is a conference initiative to nurture women playwrights and their work in response to the disproportionally small percentage of plays by women that get produced in America. A writing retreat for women playwrights is offered and funding’s being sought for year-round women’s programs.
Another way the Great Plains supports playwrights is by publishing an anthology of select scripts to get those works more widely read and hopefully produced.
Lawler says Omaha’s embrace of the conference has “allowed it to grow.” Actors, directors and technicians from the theater community help put in on. Donors like Todd and Betiana Simon and Paul and Annette Smith help bring in guest artists.
For the conference schedule, visit http://www.mccneb.edu/gptc.
- Omaha Playwright Beaufield Berry Comes into Her Own: Her Original Comedy ‘Psycho Ex Girlfriend’ Now Playing (leoadambiga.wordpress.com)
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- Brand new works by Washington state playwrights in festival at Burien Little Theatre (highlinetimes.com)
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- Chicago Writers’ Bloc to Showcase 13 New Plays at Next Theatre Co. in Evanston (chicagostagestandard.com)
- Playwrights-In-Residence and The Meaning Of Homegrown Theatre (undermainblog.wordpress.com)
- New works by Washington playwrights in festival at Burien Little Theatre (b-townblog.com)
- Local Playwright Gears Up for Big Theatre Event in Washington, DC (oldschool1053.com)