Archive

Posts Tagged ‘Omaha Performing Arts’

Dick Holland, Omaha’s Old Lion of Philanthropy


To commemorate the recent 95th birthday celebrated by one of Omaha’s favorite sons and most popular philanthropists, Dick Holland, I have compiled this set of stories I’ve done either profiling him or some of his passions. He is the proverbial fat cat with a heart of gold. The avuncular Omaha native has been a major player on the local philanthropic scene for a few decades now. He was already a highly successful advertising executive when he heeded Warren Buffett’s advice and invested in Berkshire Hathaway. Holland and his late wife Mary became part of that circle of local investors who could trace their incredible wealth to that fateful decision to ride the Buffett-Berkshire snowball that made millionaires out of dozens of ordinary investors. Unlike some donors who prefer to remain silent, Holland is not shy about expressing his opinions about most anything. This classic liberal makes no bones about where he stands on social issues, and you have to give him credit – he really does put his money where his mouth is. The causes that he and Mary put their energies and dollars behind have helped shape the social, cultural, aesthetic landscape in Omaha.

 

Omaha’s old lion of philanthropy Dick Holland slowing down but still roaring and challenging the status quo

©by Leo Adam Biga

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

Omaha’s philanthropic heavyweights are generally male, old-monied Great White Fathers whose wealth and influence support health, human services, education and the arts.

A veteran of this deep-pocketed fraternity is Richard D. Holland. The Omaha native came from an upper middle class family that produced high achievers. Holland took over his father’s small advertising firm and built it into the metro’s second largest agency but his real fortune came from investing with Warren Buffett.

An entrepreneur from the jump, he ran an ice house that fronted for a bookie operation, he probed rail grain shipments, he sold Fuller brushes door to door, he cut lawns and he did janitorial work.

“I found out kind of early I didn’t want to work for somebody – I wanted to be my own boss,” he says.

He also served a stint in the Chemical Corps during World War II.

“It’s obvious I learned a lot as I went along.”

“There were disappointments in all the things I did,” he says, but it taught him the resilience he finds lacking in many today. He advises young people that “by trying out things regardless of what they are you begin to gain confidence.”

According to the occupational assessment inventory developed by his late star psychologist brother John “Jack” Holland, he’s an investigative, artistic, entrepreneurial type. Those traits, along with some luck, helped him amass wealth.

The Holland Foundation he and his late wife Mary Holland established reported assists of $150 million in 2014.

Like his first generation philanthropic cronies, Holland’s a Great Depression and Second World War product. While they largely operate behind the scenes on capital and building campaigns. Holland’s an outlier who speaks bluntly and publicly about things he’s passionate about. That’s in stark contrast to his peers, who parse words in carefully prepared press releases and sound bites devoid of personality and controversy.

Where others prefer uniformity, Holland, a science geek, favors chaos theory. He’s the rogue who says what’s on his mind not only behind closed doors but in interviews and letters to the editor and lets the chips fall where they may. He’s equally capable being a team player or going his own way. For example, when an organization he helped found and fund, Building Bright Futures, balked at doing lobbying and research he favored, he cut ties with it to form two organizations of his own – Holland Children’s Movement and Holland Children’s Institute – charged with those two priorities, respectively.

This Europhile’s opinionated critiques of what he deems American lapses can come off as the bluster of a crusty, crotchety old man. Like what he says or not, he puts his money where his mouth is.

The ultra progressive Holland is a robust Democratic Party political contributor. He proudly proclaims his liberal leanings and Unitarian beliefs by supporting humanistic public policies and rigorously questioning things. Unlike some fellow travelers, he favors giving the undeserved tools or means for success rather than hand-outs.

This blend of pragmatist and creative studied art at what’s now the University of Nebraska at Omaha and spent his salad days wooing ad clients. His agency devised campaigns for industrial clients, including Valmont, and political candidates.

His philosophy on giving is getting “results,” and “making ideas a reality.” “It’s always great to have ideas but somehow or other somebody has to pay, and pay big in order to get something done.” He does his homework before committing funds. “I’m not throwing money at it.” He says he makes his donations public because “I’ve learned I actually influence a few people. I’m sure if somebody hears I’m into anything big they say, ‘Well, he’s not just playing around.’ I hope it’s true.” He uses the same art of persuasion he practiced as a Mad Man trying to win others over to his way of thinking.

“Some of the great lessons I learned in advertising, like how to talk to people to try and convince them of an idea, have served me well.”

He adamantly endorses America providing free prenatal care and early childhood education for all at-risk families. He says the presence or absence of that care and education is often the difference between success and failure in school and later in life.

“Brain research indicates what happens to a child between 0 and 3 is far more important than anything else that happens to him in his life in terms of growing up and becoming a productive citizen. It’s a truth I’m trying to get across to the rest of society. Hell, yes, I’m trying to influence public opinion. ”

He considers his advocacy for early childhood ed the most important thing he’s ever supported. “Oh, absolutely.”

He envisions a large, central funding apparatus to support another passion, the arts, but rues it iall take someone younger to launch it.

“I see the future not being so much private but much more public,” says the man for whom the Holland Performing Arts Center is named. “I don’t see the enormous private fortunes coming along in Omaha where they can make $100 million gifts.”

Holland points out that some of the biggest local fortunes were made by early Warren Buffett investors like himself and by the heads of dynastic companies. Both groups are dying out and there isn’t necessarily new rich blood replacing them.

Mary and Dick Holland, ©portrait by Debra Jay Groesser

He says the more cosmopolitan Omaha that’s emerged was a long time coming as the city’s economic base transitioned from blue collar industrial to white collar professional and things like the arts became more valued quality of life measures

“We had a helluva time getting over the fact we were a cow town. That was Omaha’s original wealth. We had all the great packing plants. That whole thing just disappeared and a new system or class replaced it.”

Like his peers, Holland’s giving includes many education initiatives. He funded the Robert T. Reilly Professorship of Communications at UNO named in honor of his old advertising partner. Holland monies established the Cardiovascular Research Laboratories at the University of Nebraska Medical Center. He helped found the Nebraska Coalition for Lifesaving Cures. He backed the purchase of a supercomputer at the Peter Kiewit Institute in the Holland Computing Center.

He’s equally bullish in his arts philanthropy. “I suppose it really began in the mid-’80s and really got going in the late ’90s.” His lead donations enabled construction of the Holland Performing Arts Center and renovation of the Orpheum Theatre.

“I was on a symphony committee about building a new home and every time we had a meeting we had great ideas and no money. I got to talking to Sue Morris of Heritage Services because I knew about its work with the Joslyn and so on. That was Bob Dougherty and Walter Scott getting together the fat cats. Bob was after me on it and then it was the SAC museum. Coming home from some meeting he and Walter were talking and they said we ought to set up a permanent organization to take on some of these things important to the city,”

That something became Omaha Performing Arts and Holland says his two giving buddies “are greatly to be complimented because few cities have this.” He recalls a backstage inspection at the Orpheum revealed an antiquated theater ill-equipped to accommodate large touring shows. “It was just dismal. I think that viewing of the Orpheum opened some eyes to the need and things began to move after that.”

The Hollands made the biggest gift and later gave more but he credits others for actually making the Orpheum project happen.

“Without Heritage I don’t think we would have got it done then. Sue (Morris) is a wonderful gatherer. She also understands construction.”

Adapting the Orpheum from a vaudeville and movie house into “a full-blown theater” hosting Broadway shows before record crowds paid off.

“Hell, we have tours coming that take two weeks to load-in with eight over-the-road trailers. Elaborate damn things. That wouldn’t have been possible without that work. We reseated it, too. Cut out one aisle to make a better line-of-sight. We brightened it up. It’s a lovely place. If you had to duplicate it today you better start with $150 to $200 million.

Besides being home to the symphony, the Holland Center hosts dozens of shows a year across the live arts spectrum.

He’s proud of how generously Omaha supports its arts, as most recently evidenced by community giving that made the new Blue Barn Theatre possible. But he bemoans the way funding’s done.

“Our support of the arts leaves everybody gasping at the end of every year over a lack of funds. This to me we don’t see the arts is an economic engine for the whole damn society. Major donors tend to be heads of companies, corporations and generally they’re not artistics in the sense of having great artistic interests. The net is they dismiss the arts – there’s a lack of understanding of value.

“Nobody’s ever nailed down that value but I always think about European cities where they think nothing of putting up millions for operas and symphonies and privately and publicly support them because they recognize a major industry for Vienna or Berlin or Paris is the arts. And it’s not just the performing arts – it’s museums, galleries.”

Dick Holland is pictured in his Omaha home on Oct. 2, 2012.

He feels America must move away from its haphazard support to something more consistent and equitable but he concedes that sea change requires a new mindset.

“At the present time most of the arts struggle. Funding is dispersed, it’s spread around, there’s no leadership of it. That’s one of the reasons why I think a great coalition is needed.”

He says if the city can invest $150 million to build TD Ameritrade Park for the two-week College World Series there’s no reason it can’t invest similarly in arts that serve audiences year-round. It galls him that the public sector leaves the bulk of arts funding to the private sector.

He feels Omaha could capitalize more on its existing amenities and perhaps expand offerings to become a regional destination.

“It almost defies anybody saying the arts don’t amount to much because of all these things going on and the audiences that go there. In the 10 years since the opening of the Holland and the refurbishing of the Orpheum we’ve had millions of people pass through. Those people came from not just Omaha or the outlying districts. We’ve done studies which indicate that maybe 20 or 25 percent and once in a while as high as 40 percent come from beyond. It’s a support for the restaurants, hotels, parking garages-lots, shops and so on.

“I think there’s an enormous amount to be gained by making Omaha a Middle Western city that is well known for its arts.”

For him, it’s part of the calculus that makes a city livable and attractive.

“I think what’s greatly underestimated is why people come to Omaha and want to live here. One of the economic engines is the Med Center. I’ve talked to them about the arts and its effects and one of the things they point out is that when they want to bring in someone to head up a new initiative or an existing section they tell me the key is the wife. The first question she asks is, ‘What are the arts like?’ She’s the key because if she says no it’s no and it doesn’t make much difference how good the offer is. These decisions are made like that.

“The whole cultural scene is a big, big part of a community.”

He’s dismayed America forces presenting organizations to be perpetually on the beg and cuts arts ed in public schools.

“They cut out the arts in the schools at a time when they’re needed most,” he says about a nationwide patern. “They cut out the arts in a town when they have to balance budgets. This is nearsightedness.”

An area he feels Omaha has fallen much shorter in yet is handling its growing poverty population.

“It’s neglected its poor people badly. Omaha’s doing OK economically
but it is has great difficulty educating poor kids. To me that’s the worst thing Omaha does.”

While he applauds the metro’s “highly developed educational system” he says too many children enter school unprepared to learn and too few programs address preparing them. Reading difficulties, for example, get magnified when kids become adults and don’t have the education or skills to get living wage or salaried jobs.

“‘i don’t see this so much as an intellectual problem as a community problem. We have all kinds of government programs designed to grab these people as they fall off the cliff. The failure is to raise them so they can climb cliffs. There’s no question in my mind it’s going to be a major government project. It has to be.”

He insists universal early childhood education is the key to reversing the situation but claims legislators ignore the evidence.

“We are terribly ignorant in this country about early childhood. We just plain are dumb. We don’t understand how kids get educated even though it stares us in the face and we are not willing in many cases to turn around and fix this. The proof is all over the place, all you have to do is look at it. There’s no point sitting around speculating about it. If we do it, it will end the problem. It’s very clear. Hell, we can look at all kind of European education systems – you’ll see the same thing.”

He feels America may have missed an opportunity with Head Start. “If we had continued to develop Head Start we might have got there.”

New models have emerged that show promise. “We have something going on in Neb. headed by Susie Buffett, Educare, that’s a helluva good idea. It’s also expensive. But it is a proven thing now.”

“The Susan Thompson Buffett Foundation is one of the largest in the United States. What they’re attempting to do in education and the schools through Building Bright Futures is just monumental.”

He’s also encouraged by the Buffett Early Childhood Institute and the impact it’s making in raising awareness and standards.

The goal is creating holistic after school and daycare programs that are educational and developmentally based, not just caretakers.

Holland Performing Arts Center

Child Saving Institute

Holland, whose support of the Child Saving Institute is legendary, says, “I just decided to focus on this problem. It’s difficult because it’s costly. Trying to get the kind of money from the state and the nation to really look after these children is just plain expensive.”

He says even as Building Bright Futures, Partnership4Kids and other education efforts have scaled up their impact “is tiny in terms of the need,” “Five thousand-plus kids enter the Omaha Public Schools each year and half of them are probably not ready to learn, which indicates a serious problem,” he says. “Multiply that over some years and these kids are more likely to have problems becoming productive citizens. That describes in Omaha the size of the problem. It’s enormous.”

Mentoring is another thing he supports.

“It’s been shown that even after this bad beginning if we get a hold of a child and mentor him properly we can get him higher up in the education scale.”

Holland wants America do something overarching, like the New Deal or the Marshall Plan or the Great Society, to once again assert leadership that’s inspirational at home and abroad.

“We’re beginning to see we have to make some changes but the changes I’ve seen so far are not nearly as drastic as I think they should be. I’m more and more positive it’s going to take a revolution.”

The old ad man in him tells him “we haven’t really been able to sell the benefits of doing something like this even though it would be far better than the cost of not doing it.”

“We have more than two million people in prison in the United States, leading the world, and not realizing this is our own fault. We think they’re just bad people. They weren’t bad when they were born, I’ll guarantee you.”

He’s concerned the American Empire he came of age in is eroding.

“I’m worried about it terribly. I think our national government and even our state governments are not using their ability to think about the good of the country and to work together to improve it. Hell, everybody and his brother knows about it that pays any attention.”

Compounding the problem, he says, is America’s own policies.

“We have not reformed our immigration policy. We’re getting fewer immigrants as we make stupid requirements to get a person into this country anymore. That’s backwards because immigrants are highly motivated people who work hard to succeed..

“We don’t tax the wealthy or anything like that. We don’t seem to have any ability to take a look at a good country in Europe and realize that those people pay much higher taxes than in the United States but they’re better educated, they’re happier, they have decent transportation systems, they have universal health care.”

He’s not sure the country has the will to do what’s right.

“I used to think of the United States as affinity. In the post-World War II era we dominated the world. One of my great disappointments is that we’re not leading the world, we’re responding to problems.”

Better sooner than later for him that America take action.

“I want it to happen now. What the hell, I’m 94.”

_ _ _

Holland Performing Arts Center

Dick Holland Responds to Far Reaching Needs in Omaha

©by Leo Adam Biga

Originally published in the New Horizons

When it comes to big time philanthropy in Omaha, a few individuals and organizations stand out. Richard Holland has become synonymous with king-sized generosity through the Holland Foundation he and his late wife Mary started.

If the 88 year-old retired advertising executive is not making some large financial gift he’s being feted for his achievements or contributions. In April he was honored in Washington, D.C. with the Horatio Alger Award “for his personal and professional success despite humble and challenging beginnings.” While his success is indisputable, how much adversity he faced is debatable. Closer to home Holland was presented the Grace Abbott Award by the Nebraska Children and Families Foundation “for his work in creating positive change for children through community.” No one questions his devotion to helping children and families, causes that legendary social worker Grace Abbott of Nebraska championed.

Several area buildings bear the Holland name in recognition of gifts the couple made, including the Holland Performing Arts Center in downtown Omaha and the Child Saving Institute in midtown. Mary was a CSI volunteer and benefactor. Her passion for its mission of improving the lives of at-risk children was shared by Dick once he saw for himself the pains that staff and volunteers go to in “restoring” broken children.

The couple made sharing their wealth, specifically giving back to their hometown, a major priority through the establishment of their foundation in 1997. Since Mary’s death in 2006 Dick, as he goes by, has continued using the foundation’s sizable assets, $60 million today and expected to be much more when he’s gone, to support a wide range of educational, art, health, human service and community projects.

True to his social justice leanings, Holland is a mover and shaker in Building Bright Futures. The birth-through-college education initiative provides an infrastructure of tutoring, mentoring, career advice and scholarship support for disadvantaged youth.

Like many mega donors he prefers deflecting publicity from himself to the organizations he supports. He makes some notable exceptions to that rule, however. For one thing, he vociferously advocates people of means like himself give for the greater good. For another, he believes in speaking his mind about issues he cares about and isn’t afraid to ruffle feathers along the way, even if those feathers belong to a political kingpin.

Just last March Holland took the occasion of accepting the NEBRASKAlander Award from Gov. Dave Heineman to criticize a stance by the conservative Republican leader.  Heineman publicly opposes renewal of government-funded prenatal services for low income immigrant women in America illegally. Holland, who supports the care, used the evening’s platform to editorialize.

“No one should be denied prenatal care in Nebraska,” he bluntly told the black tie audience and the governor. His comments were viewed as ungracious or inappropriate by some and as a strategic use of the bully pulpit by others.

Consistent with his Depression-era roots, Holland is not rigidly bound by the constraints of political correctness and so he doesn’t mince words or tip-toe around controversy when he talks. Neither does he hide his political allegiance.

“I’m a liberal Democrat and I underline that,” said Holland, a Unitarian who also prides himself on his free-thinking ethos.

Dick Holland

He recently sat down for an interview at his home, where he readily shared his frank, colorful, unparsed, unapologetic impressions on the state of America in this prolonged recession. Critics may say someone as rich as Holland can afford to be opinionated because he’s already made his fortune and therefore nothing short of a mismanaged investment portfolio can hurt his standing. Besides, dozens of organizations and institutions rely on his goodwill and they’re not about to object to his pronouncements.

Those who know him understand that Holland’s just being himself when he says it like it is, or at least the way he sees it. Most would concede he’s earned the right to say his piece because unlike some fat cats, he worked for a living. His proverbial ship came in only after he’d launched a highly successful business. It was after that he followed his gut and his head and became an early Berkshire Hathaway investor. The millions he accrued made him a Player, but he first made a name for himself as a partner in one of Omaha’s premier advertising agencies, Holland, Dreves and Reilly, which later merged with a Lincoln agency to become Swanson, Rollheiser, Holland, Inc.

All along the way, from young-man-in-a-hurry to middle-aged entrepreneur to mature tycoon, he’s been speaking his mind, only when you carry the clout and bankroll he does, and make the kind of donations he makes, people are more apt to listen.

The Omaha Central High graduate came from an enterprising family. His father Lewis Holland emigrated to the States from London, by way of Canada, where a summer working the wheat fields convinced him his hands were better suited for illustration than harvesting. Lewis settled in Omaha and rose to advertising director for Orchard and Wilhelm Furniture. He later opened his own ad agency, where Dick eventually joined him and succeeded him.

Before Dick became a bona fide Mad Man in the ad game, he began studies at Omaha University. Then the Second World War intervened and after seeing service in the chemical corps he returned home to finish school, with no plans other than to make it in business and study art. Indeed, he was all set to go to New York when he met Mary. Their courtship kept him here, where he found the ad world fed his creative, intellectual, entrepreneurial instincts. He built Holland, Dreves, Reilly into the second biggest agency in the state, behind only Bozell and Jacobs.

He was certainly a well-connected, self-made man, but by no means rich. That is until he started investing with fellow Central High grad Warren Buffett, who is 10 years his junior. Much like Buffett, he’s careful about where he invests and donates his money. When Holland sees a problem or a need he can help with, he does his homework before committing any funds.

“I’m not throwing money at it,” he said, adding that the best thing about giving is getting “results.” He said, “It’s always great to have ideas but somehow or other somebody has to pay, and pay big, in order to get something done.”

The socially-conscious Holland is keenly aware that in these financially unstable times the gap between the haves and have-nots has only widened, something he finds unforgivable in what is held out to be a land of plenty for all

“What has happened in the United States over the past 40 years has been to make a helluva lot of people poor and less wealthy and to make a few people much richer, and we’ve done that by taxation, by trade policies, by not controlling health insurance costs,” he said. “We increased poverty during this period by at least 35 or 40 percent, but the worst thing that’s happened is the middle class itself, which was coming along after World War II very well, suddenly starting making no gain, particularly when inflation’s  taken into account.”

He said the great promise of the middle class, that repository of the American Dream, has actually lost ground. The prospects of poor folks attaining middle class status and the-home-with-a-white-picket-fence dream that goes along with it seems unreachable for many given the gulf between minimum wage earnings and home mortgage rates

“It’s almost ridiculous,” he said. “We might as well say we’ve screwed ’em. I mean, it’s a really sad thing because this country is supposed to be a liberal democracy. The general idea is to provide an equal opportunity and life for almost everyone you possibly can. It sure as hell isn’t having huge groups of impoverished people going to prison and posing all kinds of social problems. All these things should be brought under control by education. It is not supposed to be a South American republic with wealth at the top and a whole vast lower class at the bottom, and we’re headed in that direction unless we make some serious changes in the way we approach this subject.”

When Holland considers the deregulated environment that led to unchecked corporate greed, the Wall Street bust, the home mortgage collapse and the shrinking safety net for the disadvantaged, he sees a recipe for disaster.

“We began to deregulate everything, thinking that regulations made things worse and deregulation would make everything better, and the truth is there are a lot of things that need to be regulated, including human behavior in the marketplace,” he said. “We just ignored that. In fact, it’s almost like saying our social system is every man for himself, and that’s crazy. It’s not every man for himself, we’re interdependent on one another on everything we do. This whole thing is wrong. We’re beginning to see we have to make some changes, but the changes I’ve seen so far are not nearly as drastic as I think they should be.

“I guess I sound like a doomsday guy, but I really believe unless we correct some of these things the United States risks its future.”

The health care reform debate brought into stark relief for Holland how far apart Americans are on basic remedies to cure social ills.

“Why can’t we get together more on this?” he asked rhetorically. “I have a hunch that part of it is misunderstanding, a growing ignorance among a large body of the populace, not recognizing just exactly what has happened. Talking about health care reform, poor people or middle class people objecting to it don’t seem to understand all the benefits they’re going to gain from it, they’re worried their health care won’t be as good as it was when it’ll be just as good,”

He said health care reform will help the self-employed and small business employees get the coverage they need but couldn’t afford before and will allow persons with preexisting conditions to qualify without being denied. Someone who will benefit from reform is right under his own roof.

“I have a helper who looks after the house. She has a preexisting condition. I pay her insurance, and it’s just over $1,300 a month,” an amount the woman couldn’t possibly afford on her own. “It’s absolutely wrong,” he said.He said the ever rising cost of health care under a present system of excess and waste drains the nation of vital resources that could be applied elsewhere.

“There’s no question in my mind that a nation as wealthy as the United States having to pay 17 percent of its gross national product for health care versus every other advanced country in the world sticking around 10 or 11 is just leaving several hundred billion dollars on the table that should be available for education, which at the primary level is in terrible shape.”Education has become the main focus of Holland’s philanthropy. Years ago he began seeing the adverse effects of inadequate education. He and Mary became involved in two local programs, Winners Circle and All Our Kids, that assist underachieving schools and students in at-risk neighborhoods. The couple saw the difference that extra resources make in getting kids to do better academically.

Dick and Mary Holland portrait by Debra Joy Groesser

He views education as the key to addressing many of the endemic problems impacting America’s inner cities, including Omaha’s. He wasn’t surprised by what a 2007 Omaha World-Herald series revealed in terms of African-American disparity. Blacks here experience some of the worst poverty in the nation and lag far behind the majority population in employment and education. He said he and other local philanthropists, such as Susan Buffett, were already looking into the issue and formulating Building Bright Futures as a means to close ever widening achievement gaps.

“I think one of the things we don’t really understand really well about cause is the effect of abject poverty,” said Holland. “Most people who have a decent life don’t understand that having no money, no transportation, not having an adequate diet or health care or stimulating opportunities for children in a very poor family is a straight line to prison and social problems. Those children, more than half of them, enter kindergarten not ready at all, with limited vocabularies of 400 words when they should have 1,200 to 1,500, and you can just go from there and it just all goes down hill.”

He said those critical of the job teachers do miss the point that too many kids enter school not ready to learn.

“That’s not because a bunch of teachers are dumb, that’s because there’s a bunch of kids that have not been looked after properly from the beginning. You can blame teachers until the cows come home, but I just say to you, How is a teacher going to teach a child who is that far behind? It’s almost impossible, and that’s the first great neglect. If we had been doing that differently, we would avoid an awful lot of this. In fact, we’d avoid most of it.”

When students enter school unprepared to learn, he said, there’s little that can be done.

“After they get into the grades, there again, there’s no family, no money, no reading, no looking after, no stimulation, no going places, and the net result is the child goes from 1st through 4th grade not catching up and instead starting to diminish. By the 7th and 8th grades they find out they can’t hack it and they get awfully damn tired of being regarded as dumb, and the net effect of that is dropping out.

“It’s as plain as the nose on your face this is what goes on and this is what we don’t do anything about. It’s a tragedy and one of the great national disasters.”

Things get more complicated for children who enter the foster care or juvenile justice systems. Teen pregnancy and truancy add more challenges. The entrenched gang activity and gun violence in Omaha, he said, has at its source poverty, broken homes, school drop outs, lack of job skills and few sustainable employment options.

He said the fact the majority of Omaha Public Schools students come from households whose income is so low they qualify for the free/reduced lunch program indicates how widespread the problem is. “When a child has to have a free lunch all you can say is something is terribly wrong,” he said.

To those who would indict an entire school district he points out OPS students attending schools in middle and upper middle class neighborhoods do as well or better than students in the Westside and Millard districts. He said the real disparity exists between students from affluent environments and those from impoverished environments.

“The way I sometimes put it to people is, ‘The kids make the school.’ It’s a funny thing how we don’t understand this. It’s very obvious to me,” he said, that on average children from “reasonable affluence” do better than children from poverty. He said Winners Circle and All Our Kids, two programs under the Building Bright Futures umbrella, are full of success stories, as is another effort he and Bright Futures endorses, Educare. Through these and other programs Bright Futures is very intentional in putting in place the support students need from early childhood on.

“We’re going to have a thousand kids this year in early childhood programs. We have organizations that are working in something like 12 or 14 schools. We’ve got five hundred volunteers of all kinds. And we actually have cases. From the very beginning it’s been shown that if we get a hold of a child, even after this bad beginning, and mentor him properly we can get him higher up in the education scale.  In All Our Kids we have 40 kids in college, 50 that have graduated, several with master’s degrees, and every one of those kids was a kid at risk. So we know what to do if we work hard enough on it. What we have to overcome is the kid who doesn’t think he’s so hot. At home an impoverished child often gets put down, diminishing his ego. We have to overcome that, and that’s one of the things we really try to do.”

Mary Holland recognized there must be a continuum of support in place all through a student’s development. Dick said that’s why she encouraged the merger between Winners Circle, whose focus is on elementary school students, and All Our Kids, whose focus is on junior high and high school students.

Image result for dick holland omaha

“We’re trying to take those kids all the way through the 11th grade, taking them every where and teaching them what college requires, what businesses are like, exposing them to the world,” he said. “Bright Futures is not a five or six year program, it’s a 15-year program. It’s gotta be done like that.”

The idea is to get kids on the right track and keep them there. Getting kids to believe in themselves is a big part of it. “If you don’t have a lot of self-confidence you don’t try things, and we try to overcome that. With some kids it works. Some find out, I’m better than I thought, I can do that.”

The goal is qualifying students for college and their attaining a higher education degree. Towards that end, Bright Futures works with students from 12th grade through college.

“We follow you there,” said Holland. “We’ve set up things in universities to help people. We’re still trying to bring it all together. It’s an effort to refresh, restore, make them understand what they have to achieve in order to do anything in life.”

Enough funding is in place that cost is not an issue for Bright Futures students.

“We have adequate scholarship money for thousands, we don’t even have to worry about that, and yet we don’t have enough people to take them that qualify. Just because you graduate from high school doesn’t mean you’re ready for college. Sometimes I think they (schools) get ‘em out of high school just to get ‘em out of high school.”

Holland has a better appreciation than most for the barriers that make all this difficult in practice. He and Mary mentored some young people through All Our Kids and they experienced first-hand how things that most of us take for granted can be stumbling blocks for others. He recounted the time he and Mary mentored a young single mother. Things started out promisingly enough but then a familiar pattern set in that unraveled the whole scenario. He said the young woman got a job, her employer liked her and her performance, but she stopped coming to work and she got fired. The same thing happened at another job. And then another. Each time, he said, the challenge of affording child care, getting health problems addressed and finding reliable transportation sabotaged both the young mother’s and the Hollands’ best efforts.

“She couldn’t hold a job, and we gave up,” he said. It’s not something he’s proud of, but he’s honest about the frustration these situations can produce. Other mentoring experiences ended more positively but still highlighted the challenges people face.

“You find out an awful lot about how tough this is because they don’t have the same kind of get up and go confidence like my daughters, who think that nothing is beyond them. You try to instill that, and when you see a little bit of it happening it’s worth the price of admission.”

He acknowledges that despite government cutbacks there’s still plenty of public aid to help catch people who fall through the cracks. But he feels strongly that a different emphasis is required — one that helps people become self-sufficient contributors.

“We have all kinds of government programs designed to grab these people as they fall off the cliff. The failure is to raise them so they can climb cliffs. There’s no question in my mind sooner or later it’s going to be a major government project. It has to be.”

Policies also need to change in terms of guaranteeing people a living wage, he said.

“Let me give you an idea of how we look at things,” said Holland. “We had a $2 (hourly) minimum wage in 1975 and that was adequate to get people out of poverty, it really was. But since the ‘80s the minimum wage has not kept pace with the cost of living and inflation. It’s kept people in poverty. The Congress of the United States, Republicans and Democrats alike, failed to really go after that. They failed to understand it.”

He said despite the minimum wage having increased to $7.25 in Nebraska and higher in other states, “it ought to be $10 or $11” to give families a chance of not just getting by but getting ahead. “We’re not looking at this problem the right way, we’re just creating it. There’s a dismissal of the problem by people that don’t have it.”

Similarly, he said early childhood programs must be learning centers not babysitting or recreational centers, that address the entire needs of children.

“We have a fractional help system. Somebody helps them after school, somebody sets up a club, somebody sets up something else over here. Some of those after school things make you feel better, they’re fun to go to, they’ve got cookies, but that doesn’t focus on their actual intellectual needs. There’s a lot of that that goes on.”

Holland calls for systemic change that comprehensively affects lives.

“I’m more and more positive it’s going to take a revolution. We’re going to have to stop what we’re doing and start doing something along the lines I’ve talked about. At various times there’s been various suggestions about poverty, but one thing that will help alleviate poverty a helluva lot is money, there’s no getting around it. If it takes 5 or 10 percent of the gross national product it will be a benefit over time because once you have a little money you begin to be able to do a few things, and then you begin to learn a few things, and your children do the same.”

A model approach in his eyes is Educare’s holistic early childhood education. “We’re (surrogate) parents there, that’s what we are,” he said, “and the people that bring their children there know what’s happening, they know that suddenly the whole world is opening for that child. When those kids enter kindergarten they’re ready, they’ve got these big vocabularies. We know it can be done, but we also know the price.”

To those who might balk at the $12,000-$13,000 annual cost of caring for a child in a state-of-the-art center, he said it’s but a fraction of what it costs to incarcerate someone or to navigate someone through the justice system or the foster care system.

Agree or disagree with him, you can be sure Dick Holland will continue putting his money where his mouth is and where his heart is.

– – –

Omaha is known as an unusually philanthropic community and the following story for Metro Magazine (www.spiritofomaha.com) charts how a venerable childcare institution found support for a badly needed new building from a circle of dedicated divers and why these well-heeled individuals contributed to the project. The result is that the drab, old and cramped institutional-looking structure was remade into a gleaming, new and expansive showcase. What a difference a few million dollars can make.

The new, redesigned Child Saving Institute

The Joy of Giving Sets Omaha‘s Child Saving Institute on Solid Ground for the Future

©by Leo Adam Biga

Originally published in Metro Magazine (www.spiritofomaha.com)

The Child Saving Institute has a brand spanking new home for its mission of “responding to the cry of a child.” CSI dedicated the new digs at 4545 Dodge St. in March, turning the next chapter in the organization’s 106-year history. The social service agency addresses the needs of at-risk children, youth and families.

The project was made possible by donors who saw the need for a larger, more dynamic, more kidscentric space that better reflected the organization’s expanded services and more comfortably accommodated staff and clients. A $10.7 million campaign secured funds for a complete makeover of the old building, which was stripped to its steel beams, redesigned and enlarged. An endowment was created.

The goal was soon surpassed and by the time the three-year campaign concluded, $12.2 million was raised.

Upon inheriting the former Safeway offices site in 1982 CSI officials knew it was a poor fit for the child care, emergency shelter and adoption programs then constituting the nonprofit’s services. The mostly windowless building was a drab, dreary bunker, its utilitarian interiors devoid of color, light, whimsy, fun.

The two-story structure was sound but lacked such basic amenities as an elevator. The day care and early childhood education classrooms lacked their own restrooms. Limited space forced staff to share offices. Inadequate conference rooms made it difficult for the board of directors and the guild to meet.

The drab, old Child Saving Institute

There were not enough dedicated facilities for counseling/therapeutic sessions. As CSI’s services have broadened to address youth, parenting and family issues, with an emphasis on preventive and early interventive help, more clients come through the doors.

Additionally, the organization’s outdoor playground was cramped and outmoded. Limited parking inconvenienced staff and clients alike.

“We were dissatisfied with the building,” CEO Judy Kay said. “It had at least been 10 years prior even to the decision to build that we knew we needed a different space.” She said CSI once explored new building options but “gave up, because, honestly, we all became so frustrated and we didn’t have the funds to do it.”

Enter philanthropists Dick and Mary Holland. The late Mary Holland was a CSI board member with a passion for the agency and its mission. At his wife’s urging Dick Holland toured the place Mary spoke so glowingly about. Two things happened. His big heart ached when he saw the children craving affection and his bad knees screamed from all the stairs he had to climb.

Holland pestered CSI to install an elevator. One day he and Mary summoned then-CEO Donna Tubach Davis and development director Wanda Gottschalk to a special meeting. “And at that meeting he said, ‘Ladies, it’s time to have an elevator. We’re going to get started on this project,’ and he handed us a very large check. It was for just under $3 million,” Gottschalk recalled.

He wasn’t done giving. After Mary passed CSI remembered her at a board luncheon. Upon accepting a plaque in her memory daughter Amy surprised CSI with a million dollar check from her father.

“I don’t think anybody in the city could hear anything more meaningful to them then to have Dick Holland say I will help you,” said Gottschalk.

Mary and Dick Holland, ©By Debra Joy Groesser

The CSI campus is named after Mary Holland. Dick didn’t want his name anywhere but conceded to the elevator being dubbed, “Dick’s Lift.” RDG Schutte Wilscam Birge’s redesign more than doubled the square footage, opened up the interior to create bright, spacious work areas, added multiple meeting rooms and provided vibrant colors and active play centers. The large lobby is awash in art and light.

CSI can now serve twice the number of children in its day care.

The Hollands’ generous donations launched the building-endowment campaign. A committee of past board presidents set about raising the remaining funds.

“We were very blessed with their help.” Gottschalk said. “These past board presidents obviously also had invested a lot in CSI and cared very deeply about it.”

She said donors become “total advocates” and ambassadors for CSI. As a result, she said, “we were able to raise the $12.2 million with about 30 people.” None of it may have happened, she said, had Holland not taken the trouble to see for himself why his wife was so moved.

“Mary had become an important participant and she got me interested in it,” he said. “Together we began to do whatever we could for the Child Saving Institute. It just became one of the loves of our life. It was a pleasure to work with them and we got all kinds of things done. We saw opportunities to do more things, bigger things, and in a decent environment.”

“He was truly then invested in child saving and what we do here,” Gottschalk said. “The passion that he has for kids just keeps coming through.”

The Hollands’ enthusiasm won over others.

“We got some of our friends interested in it,” he said.

Such links can pay big dividends.

“I think it’s always about the relationships,” Gottschalk said. “It’s a one-on-one relationship. It can be with any one of us on staff. A lot of times those relationships are through board members.”

CSI was delighted when Holland offered to loosen some well-heeled friends’ purse strings. Gottschalk accompanied him. “He’s very powerful. It’s very hard to say no to Dick,” she said. Sometimes the Hollands worked on their own.

“One of the donors asked to meet with just Dick and Mary,” she said. “They walked out of this gentleman’s house with a million dollar check.”

One friend the Hollands turned onto CSI was the late Tom Keogh. The retired architect volunteered there nurturing babies.

“He rocked, he cuddled, he wiped noses. He’d eat with the kids. He was phenomenal,” said CSI Developmental Child Care Director Kathleen Feller.

“It made Tom’s retirement very meaningful,” his wife Rae said.

When a weak immune system dictated Tom avoid the child care area he helped in other ways — filing, stuffing envelopes and serving on the board of directors.

“He also brought with him his architect’s mind,” said Kay, noting that Keogh shared with staff a book he read that urged connecting children to the outdoors. His enthusiasm set in motion a nature playground.

“Tom was very instrumental in helping develop that,” Kay said. “He worked with a young man he had mentored who helped design it.”

The playground became his sweet challenge.

“He solicited in-kind donations from nurseries, irrigation companies sod companies, stone companies,” Rae said.

Playground

Nature Explore Classroom at CSI

He didn’t stop there. “Tom went out and raised a lot of money and contributed himself,” Gottschalk said.

Rae said her husband rarely approached others to support his causes but in the case of CSI he did. “It had to be something that he was truly interested in before he would ask anybody else to contribute,” she said.

That same passion got Rae involved, too. Since Tom’s death she’s continued the family’s support.

She said before donating to an organization it’s vital “you get to know what their beliefs are and how they handle things. There’s no replacement for that personal contact.” CSI won the Keoghs over. “We got to know the staff and the operation,” she said. “We were very impressed by how they treated the children. They’re very careful with the care they give. It’s a very warm environment.”

For her, as it was for Tom, giving’s return on investment is priceless: “It’s very simple,” she said, “I think you gain more than you give. The personal joy I receive in giving is important to me.”

Former CSI board member Charles Heider, who contributed to the building-endowment, was long ago sold on the agency. “I saw the mission and how they were carrying out their good work,” he said. “I was impressed by their good management. It’s a very good organization.” When the building campaign got underway he didn’t hesitate.

“I was quick to respond when they asked if I wanted to be involved financially.”

It’s gratifying for him to see CSI realize its building and endowment goals.

“The satisfaction is that they are obviously moving forward. If they weren’t they wouldn’t have the new building,” he said. “The enthusiasm they have with this new facility is very evident. They built a very attractive building.”

Heider said behind the gleaming facade is a track record of substance and service.

“Buildings by themselves don’t satisfy the mission,” he said. “CSI has a marvelous record of assisting young people. My wife and I have enjoyed giving to it.”

The Paul and Oscar Giger Foundation that Janet Acker and her two siblings administer has long supported CSI.

“We’re just a little foundation,” Acker said. “We can’t support everything. We have to pick and choose and do little projects. We fund a lot of programs that affect kids and music. We’ve given pianos away all over Omaha.”

For CSI’s nature playground the foundation donated an outdoor xylophone in memory of Acker’s late aunt, Ruth Musil Giger. The instrument belonged to Giger, who was a piano/organ instructor. “This was a real match with Aunt Ruth’s interests in music,” Acker said.

Previously the foundation supported CSI’s emergency respite center and adoption program. While the foundation’s support can’t compare to the mega gifts of others, Acker said, “You need a lot of little donors to pull off a big project.”

Gottschalk said CSI depends on contributions from “our bread and butter donors” to help fund daily operations. Donors who give a few hundred dollars or even at the $25 or $10 levels are vital, she said, as major funds are often restricted for certain uses. If CSI’s to remain sustainable, she said, a safety net must secure donations of all sizes, from diverse funding streams, year-round.

Everyone has their own reason for giving. What’s the joy of giving for Dick Holland? “Results,” he said. In CSI he sees an organization helping undo the damage some children suffer and an agency needing a new space to further its mission. “We were in a position to put up enough funds to make some of the ideas a reality,” he said. “It’s always great to have ideas but somehow or other somebody has to pay, and pay big, in order to get something done.”

He said he makes his donations public because “I’ve learned I actually influence a few people. I’m sure if somebody hears I’m into a thing big they say, ‘Well, he’s not just playing around.’ I hope it’s true.”

_ _ _

Like any city of any size Omaha’s had all manner of presenting arts organizations, some small, some large, some financially well-endowed, some financially-strapped.  There have been organizations with sizable staff and there have been one-man bands.  Some have cast a wide net across the performing arts spectrum and others have been more narrowly focused on a particular niche or segment.  Most presenters have come and gone, never to be seen or heard from again, and a few disappear for a time, only to resurface again.  The following story for Metro Magazine  (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) is about today’s major Omaha Player in this arena, Omaha Performing Arts, the organization that both books and maintains the two principal performing arts venues in the city, the Holland Performing Arts Center and the Orpheum Theatre.  Befitting its well-heeled status, the organization is celebrating 10 years in a big way this fall with an October 16 gala and an October 17 Holland Stages festival.  These will be boffo, bring-the-house-down blow-outs that are as much a recognition of the rich programming that enhances the cultural fabric here as they are opportunities for OPA to say thank you to its patrons for the community to return the gratitude for all the great shows that come here on a year-round basis.

Omaha Performing Arts at 10: Rhapsody

Presenting organization serves as steward of major halls and brings Broadway and other world-class shows to town

©by Leo Adam Biga

Appearing in the August-September-October 2015 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

What a difference a decade makes.

In that relatively short period the Omaha arts and entertainment scene has blown up thanks to a critical mass of new organizations, venues and events. Together with the treasures already here, this cultural synergy’s transformed Omaha from sleepy flyover spot into dynamic destination place.

Leading the new arrivals is Omaha Performing Arts. The organization books world-class artists at the venerable Orpheum Theater and its state-of-the-art companion, the Holland Performing Arts Center. As the steward of these spaces, OPA’s charged with caring for them and filling their halls with high quality events that appeal to all demographics.

Growing the performing arts scene
Great halls are only truly alive when people inhabit them. OPA schedules year-round offerings that keep its spaces hopping to the tune of 3 million-plus patrons since 2005. All those folks, many from out of town, pump $40 million into the local economy each year.

By bringing the best of performing arts to town, OPA adds to the rich stew of the Blue Barn Theatre, the Rose, the Omaha Community Playhouse, the Great Plains Theatre Conference, the Omaha Symphony, Opera Omaha – all of which are thriving.

OPA president Joan Squires says, “Across the board the arts community has elevated attention and we’re seeing a lot of our colleagues doing well at the same time. So there’s been renewed energy downtown and in our community for people wanting to come to performances and there’s more options to select from than ever before. I do believe we contributed to had a lot to do with that sea change.”

Dick Holland, who with his late wife Mary made the lead gift for the Holland, has no doubt of OPA’s impact. “It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”

That’s on top of popular attractions such as the Old Market, College World Series, Omaha Storm Chasers, Joslyn Art Museum, Durham Museum, Lauritzen Gardens and Henry Doorly Zoo and Aquarium.

 

Celebrating a decade but looking ahead
OPA board chairman John Gottschalk says the public’s reception to the programming has “vastly” exceeded expectations and quelled any doubts Omaha could sustain two major performing arts centers.

This organization that never rests is pausing long enough this fall to commemorate its boffo first decade run. The October 16 Celebrate 10 Gala will feature Broadway star Kristin Chenoweth in a Holland spectacular. The October 17 Holland Stages will be a free daylong festival highlighted by diverse performing artists at the Holland.

“We’ve had a lot of milestones in a short period of time,” Squires says, “and we really want to use our anniversary to celebrate what everybody has done for the institution and to start looking forward to the next decade. I think it’s something Omaha as a community should really celebrate. It’s an extraordinary story and opportunity for us.”

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways,” Gottschalk says. “We’re a very healthy arts organization.”

OPA grew out of an initiative Gottschalk, Dick Holland, Walter Scott and others led to renovate the Orpheum and build the Holland. Gottschalk says much effort was made recruiting Squires from the Phoenix Symphony to oversee the Omaha facilities and “she’s done a wonderful job,'” Holland says, “I don’t think we’d have the same success without her. Joan is a perpetual motion machine looking after every single detail you can think of. She’s just plain marvelous.”

Investing in the community
Squires deflects accolades to others.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.

“The people involved in this organization are highly committed and passionate and that starts with our board of directors. John Gottschalk, who’s been our chairman since inception, certainly Dick Holland, and the entire board have been tremendously committed, generous and great stewards. Their leadership has been everything.”

The public’s done its share, too.

“The response by the Omaha community buying tickets and showing up at performances has been incredible. We can continue to get better and better shows because producers look at our ticket sales and results. Broadway shows come in here and report this is one of the best opening night audiences they have.”

She says the fall anniversary events are “our way to say thank you to everybody who’s a part of this,” adding, “The folks that started this institution made an extraordinary investment and you just have to stand back for a moment and say, ‘Bravo.'”

Getting to this point required a remarkable growth spurt for an organization that began with Squires, an assistant production manager, a desk and a computer in 2002. The Orpheum renovation was underway. The Holland was still in the planning stages. Heritage Services raised more than $100 million in private giving to complete the two projects and to help get OPA up and running.

That level of community buy-in is what attracted Squires to take the job and she continues to be impressed by the ongoing support that feeds her organization and to make enhancements at its venues.

“Omaha is known for the deep roots of its philanthropic community. The leadership behind this project was extraordinary. They were invested in its success.”

Then there’s the fact OPA filled a void left by arts impresarios and presenting organizations no longer around.

“There were no other major presenters in town, so I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

She says the support that coalesced around all this “is really about
a commitment to quality of life and making Omaha better for current and future generations.” She adds, “We couldn’t have done this without the partnership of Heritage Services raising the money to get the Holland up and open at the same time we were getting things started here. It’s another key why we were successful from the beginning. That partnership gave us an advantage coming out of the chute.”

Gottschalk says donors made substantial gifts “because they thought it would be good for Omaha and it was, and that’s really been the legacy of the community – we’ve been able to sustain that view – if it’s good for our community, let’s do it.”

 Joan Squires
JoanSquires 175
 Scaling up

The Orpheum renovations have allowed the theater to host the biggest Broadway touring shows (The Lion King, Wicked, Once) whose wildly popular runs make the venue one of America’s best draws. The Holland is home to the Omaha Symphony Orchestra and to a diverse slate of jazz, dance and specials that range from the Omaha Louder Than a Bomb poetry slam to the Hear Nebraska indie music showcase to the Salem Baptist Church holiday concert to Film Streams’ annual Feature event.

The buildings are rich in patron and guest amenities, the latest being the addition of Zinc restaurant just off the Holland courtyard.

Squires spent her first three years putting in place OPA’s infrastructure and branding, including the Ticket Omaha service it operates. She now has a full-time staff of 50 with another 50 part-time staff, plus a volunteer corps of more than 500.

“I’m really delighted with the administrative team here. They are passionate, committed, and talented. They drive so much of this business. We’re lucky to have our volunteer Ambassadors and Presenters. There are hundreds of people involved who are passionate and committed about Omaha Performing Arts.”

With its $18 million operating budget OPA is the state’s largest arts organization. It’s growth, even programmatically, has been gradual.

“You can’t be everything to everybody the day you open the doors,
so you phase it in in stages,” Squires says. “Also by the nature of presenting we’re continuously experimenting in what works or what doesn’t. One of the challenges our very first year is that the Orpheum schedule didn’t allow for much touring Broadway productions. When the symphony moved to the Holland the schedule opened up to allow us to build that Broadway market. That took time and now we’re having tremendous success. This next year is probably going to be our most successful yet. We’re having a wonderful response with subscriptions.”

The mixing and matching OPA does to serve different tastes is always a work in progress but Squires says, “We really have hit our stride in the series we offer. Broadway is one of the biggest draws but we get great responses to our jazz, dance, family and showcase series. New last year was the National Geographic Live Series. The 1200 Club has a following.

“Our mission is to bring in breadth, so we want to really provide a good cross-section to reach lots of segments and to grow audiences.”

The search for new headliners never ends.

“We always have opportunities to bring new shows in but sometimes when they’re touring we may not have availability, so we’re always juggling the schedule. It’s a complex and complicated process to book every year. It’s one of the biggest jigsaw puzzles you can imagine. It takes a lot of coordination to get it all put together.”

Image result for dick Holland omaha, ne
Dick Holland

More than numbers
She says while OPA depends on earned revenue for 75 percent of its budget, ticket sales are not the only barometer for success.

“For some types of performances, a thousand people is just great because that’s what we expected and budgeted.”

The experience people have is more important than anything.

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience,” she says. “You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.

“The arts have that capacity to move people in ways I think nothing else does.”

In addition to the performances it books OPA has a growing education and community engagement mission piece that brings school-age students together with visiting artists and recognizes area youth arts.

“It’s a real important initiative for us,” Squires says. “It’s a chance to reach the community in new ways and have them connect to the arts in ways they may not have a chance to otherwise.”

OPA’s implemented anti-bullying and social justice programs around certain shows and organized master classes with top artists. Its Nebraska High School Theater Awards program is going statewide.

She appreciates how OPA is increasingly seen as an arts leader.

“We’re becoming more and more respected nationally because of the success we’ve had, the quality of the programs and the quality of the buildings. Omaha’s on the map for the kind of work we’re doing.
Artist management companies recognize this is an important tour stop. We’ve been asked to be on some national symposiums and organizations, where we didn’t have that seat at the table in the past.”

Mario Garcia Durham, president and CEO of the Association of Performing Arts Presenters (APAP), says, “Running a large arts program and arts center is extremely challenging. The best nationally recognized arts organizations have the equally daunting tasks of presenting the very best artists available and truly engaging with their respective communities. These endeavors take years of dedicated commitment and experience. Kudos to Omaha Performing Arts and the Holland Performing Arts Center for their well-deserved success.”

A solid foundation and a bright future
Squires says OPA will continue building on what it’s done.

“There’s always more to do and more money to raise. That never stops. We never rest on our laurels. There’s always new opportunities for people to make a difference by giving to our institution. The philanthropic side, we’re always working. Nothing is ever a given.

“For the future we have set up the planned giving Marquee Society. Those gifts will go into a permanent endowment.”

She feels OPA’s proven itself a worthy recipient of planned gifts.

“We had to attract people in large numbers and financially we had to show we’re responsible by meeting our budget numbers every year, which we have done. If people have confidence in the organization then you can start to talk about the future so they can leave legacies that will continue to sustain these programs and facilities. These legacy gifts will ensure the longer term future of this institution.”

“We’ve started down that road and I think it’s going to be well-supported,” Gottschalk says of the endowment.

With a decade under its belt, Squires says OPA is squarely focused now on “where do we go from here, how do we build on our success and how do we continue to evolve and grow to continue to touch the community.”

Gottschalk says, “I think there’s more growth ahead for us in terms of amenities and facilities and programming.”

For event or ticket info, visit http://www.omahaperformingarts.org or http://www.ticketomaha.com.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.”

“…I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience. You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.”
-Joan Squires

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways. We’re a very healthy arts organization.
-John Gottschalk

“It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”
-Dick Holland

Omaha Performing Arts at 10: Rhapsody

August 5, 2015 Leave a comment

Like any city of any size Omaha’s had all manner of presenting arts organizations, some small, some large, some financially well-endowed, some financially-strapped.  There have been organizations with sizable staff and there have been one-man bands.  Some have cast a wide net across the performing arts spectrum and others have been more narrowly focused on a particular niche or segment.  Most presenters have come and gone, never to be seen or heard from again, and a few disappear for a time, only to resurface again.  The following story for Metro Magazine  (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/) is about today’s major Omaha Player in this arena, Omaha Performing Arts, the organization that both books and maintains the two principal performing arts venues in the city, the Holland Performing Arts Center and the Orpheum Theatre.  Befitting its well-heeled status, the organization is celebrating 10 years in a big way this fall with an October 16 gala and an October 17 Holland Stages festival.  These will be boffo, bring-the-house-down blow-outs that are as much a recognition of the rich programming that enhances the cultural fabric here as they are opportunities for OPA to say thank you to its patrons for the community to return the gratitude for all the great shows that come here on a year-round basis.

Omaha Performing Arts at 10: Rhapsody

Presenting organization serves as steward of major halls and brings Broadway and other world-class shows to town

©by Leo Adam Biga

Appearing in the August-September-October 2015 issue of Metro Magazine (http://www.spiritofomaha.com/Metro-Magazine/The-Magazine/)

What a difference a decade makes.

In that relatively short period the Omaha arts and entertainment scene has blown up thanks to a critical mass of new organizations, venues and events. Together with the treasures already here, this cultural synergy’s transformed Omaha from sleepy flyover spot into dynamic destination place.

Leading the new arrivals is Omaha Performing Arts. The organization books world-class artists at the venerable Orpheum Theater and its state-of-the-art companion, the Holland Performing Arts Center. As the steward of these spaces, OPA’s charged with caring for them and filling their halls with high quality events that appeal to all demographics.

Growing the performing arts scene
Great halls are only truly alive when people inhabit them. OPA schedules year-round offerings that keep its spaces hopping to the tune of 3 million-plus patrons since 2005. All those folks, many from out of town, pump $40 million into the local economy each year.

By bringing the best of performing arts to town, OPA adds to the rich stew of the Blue Barn Theatre, the Rose, the Omaha Community Playhouse, the Great Plains Theatre Conference, the Omaha Symphony, Opera Omaha – all of which are thriving.

OPA president Joan Squires says, “Across the board the arts community has elevated attention and we’re seeing a lot of our colleagues doing well at the same time. So there’s been renewed energy downtown and in our community for people wanting to come to performances and there’s more options to select from than ever before. I do believe we contributed to had a lot to do with that sea change.”

Dick Holland, who with his late wife Mary made the lead gift for the Holland, has no doubt of OPA’s impact. “It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”

That’s on top of popular attractions such as the Old Market, College World Series, Omaha Storm Chasers, Joslyn Art Museum, Durham Museum, Lauritzen Gardens and Henry Doorly Zoo and Aquarium.

 

Celebrating a decade but looking ahead
OPA board chairman John Gottschalk says the public’s reception to the programming has “vastly” exceeded expectations and quelled any doubts Omaha could sustain two major performing arts centers.

This organization that never rests is pausing long enough this fall to commemorate its boffo first decade run. The October 16 Celebrate 10 Gala will feature Broadway star Kristin Chenoweth in a Holland spectacular. The October 17 Holland Stages will be a free daylong festival highlighted by diverse performing artists at the Holland.

“We’ve had a lot of milestones in a short period of time,” Squires says, “and we really want to use our anniversary to celebrate what everybody has done for the institution and to start looking forward to the next decade. I think it’s something Omaha as a community should really celebrate. It’s an extraordinary story and opportunity for us.”

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways,” Gottschalk says. “We’re a very healthy arts organization.”

OPA grew out of an initiative Gottschalk, Dick Holland, Walter Scott and others led to renovate the Orpheum and build the Holland. Gottschalk says much effort was made recruiting Squires from the Phoenix Symphony to oversee the Omaha facilities and “she’s done a wonderful job,'” Holland says, “I don’t think we’d have the same success without her. Joan is a perpetual motion machine looking after every single detail you can think of. She’s just plain marvelous.”

Investing in the community
Squires deflects accolades to others.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.

“The people involved in this organization are highly committed and passionate and that starts with our board of directors. John Gottschalk, who’s been our chairman since inception, certainly Dick Holland, and the entire board have been tremendously committed, generous and great stewards. Their leadership has been everything.”

The public’s done its share, too.

“The response by the Omaha community buying tickets and showing up at performances has been incredible. We can continue to get better and better shows because producers look at our ticket sales and results. Broadway shows come in here and report this is one of the best opening night audiences they have.”

She says the fall anniversary events are “our way to say thank you to everybody who’s a part of this,” adding, “The folks that started this institution made an extraordinary investment and you just have to stand back for a moment and say, ‘Bravo.'”

Getting to this point required a remarkable growth spurt for an organization that began with Squires, an assistant production manager, a desk and a computer in 2002. The Orpheum renovation was underway. The Holland was still in the planning stages. Heritage Services raised more than $100 million in private giving to complete the two projects and to help get OPA up and running.

That level of community buy-in is what attracted Squires to take the job and she continues to be impressed by the ongoing support that feeds her organization and to make enhancements at its venues.

“Omaha is known for the deep roots of its philanthropic community. The leadership behind this project was extraordinary. They were invested in its success.”

Then there’s the fact OPA filled a void left by arts impresarios and presenting organizations no longer around.

“There were no other major presenters in town, so I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

She says the support that coalesced around all this “is really about
a commitment to quality of life and making Omaha better for current and future generations.” She adds, “We couldn’t have done this without the partnership of Heritage Services raising the money to get the Holland up and open at the same time we were getting things started here. It’s another key why we were successful from the beginning. That partnership gave us an advantage coming out of the chute.”

Gottschalk says donors made substantial gifts “because they thought it would be good for Omaha and it was, and that’s really been the legacy of the community – we’ve been able to sustain that view – if it’s good for our community, let’s do it.”

 Joan Squires
JoanSquires 175
 Scaling up

The Orpheum renovations have allowed the theater to host the biggest Broadway touring shows (The Lion King, Wicked, Once) whose wildly popular runs make the venue one of America’s best draws. The Holland is home to the Omaha Symphony Orchestra and to a diverse slate of jazz, dance and specials that range from the Omaha Louder Than a Bomb poetry slam to the Hear Nebraska indie music showcase to the Salem Baptist Church holiday concert to Film Streams’ annual Feature event.

The buildings are rich in patron and guest amenities, the latest being the addition of Zinc restaurant just off the Holland courtyard.

Squires spent her first three years putting in place OPA’s infrastructure and branding, including the Ticket Omaha service it operates. She now has a full-time staff of 50 with another 50 part-time staff, plus a volunteer corps of more than 500.

“I’m really delighted with the administrative team here. They are passionate, committed, and talented. They drive so much of this business. We’re lucky to have our volunteer Ambassadors and Presenters. There are hundreds of people involved who are passionate and committed about Omaha Performing Arts.”

With its $18 million operating budget OPA is the state’s largest arts organization. It’s growth, even programmatically, has been gradual.

“You can’t be everything to everybody the day you open the doors,
so you phase it in in stages,” Squires says. “Also by the nature of presenting we’re continuously experimenting in what works or what doesn’t. One of the challenges our very first year is that the Orpheum schedule didn’t allow for much touring Broadway productions. When the symphony moved to the Holland the schedule opened up to allow us to build that Broadway market. That took time and now we’re having tremendous success. This next year is probably going to be our most successful yet. We’re having a wonderful response with subscriptions.”

The mixing and matching OPA does to serve different tastes is always a work in progress but Squires says, “We really have hit our stride in the series we offer. Broadway is one of the biggest draws but we get great responses to our jazz, dance, family and showcase series. New last year was the National Geographic Live Series. The 1200 Club has a following.

“Our mission is to bring in breadth, so we want to really provide a good cross-section to reach lots of segments and to grow audiences.”

The search for new headliners never ends.

“We always have opportunities to bring new shows in but sometimes when they’re touring we may not have availability, so we’re always juggling the schedule. It’s a complex and complicated process to book every year. It’s one of the biggest jigsaw puzzles you can imagine. It takes a lot of coordination to get it all put together.”

Image result for dick Holland omaha, ne
Dick Holland

More than numbers
She says while OPA depends on earned revenue for 75 percent of its budget, ticket sales are not the only barometer for success.

“For some types of performances, a thousand people is just great because that’s what we expected and budgeted.”

The experience people have is more important than anything.

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience,” she says. “You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.

“The arts have that capacity to move people in ways I think nothing else does.”

In addition to the performances it books OPA has a growing education and community engagement mission piece that brings school-age students together with visiting artists and recognizes area youth arts.

“It’s a real important initiative for us,” Squires says. “It’s a chance to reach the community in new ways and have them connect to the arts in ways they may not have a chance to otherwise.”

OPA’s implemented anti-bullying and social justice programs around certain shows and organized master classes with top artists. Its Nebraska High School Theater Awards program is going statewide.

She appreciates how OPA is increasingly seen as an arts leader.

“We’re becoming more and more respected nationally because of the success we’ve had, the quality of the programs and the quality of the buildings. Omaha’s on the map for the kind of work we’re doing.
Artist management companies recognize this is an important tour stop. We’ve been asked to be on some national symposiums and organizations, where we didn’t have that seat at the table in the past.”

Mario Garcia Durham, president and CEO of the Association of Performing Arts Presenters (APAP), says, “Running a large arts program and arts center is extremely challenging. The best nationally recognized arts organizations have the equally daunting tasks of presenting the very best artists available and truly engaging with their respective communities. These endeavors take years of dedicated commitment and experience. Kudos to Omaha Performing Arts and the Holland Performing Arts Center for their well-deserved success.”

A solid foundation and a bright future
Squires says OPA will continue building on what it’s done.

“There’s always more to do and more money to raise. That never stops. We never rest on our laurels. There’s always new opportunities for people to make a difference by giving to our institution. The philanthropic side, we’re always working. Nothing is ever a given.

“For the future we have set up the planned giving Marquee Society. Those gifts will go into a permanent endowment.”

She feels OPA’s proven itself a worthy recipient of planned gifts.

“We had to attract people in large numbers and financially we had to show we’re responsible by meeting our budget numbers every year, which we have done. If people have confidence in the organization then you can start to talk about the future so they can leave legacies that will continue to sustain these programs and facilities. These legacy gifts will ensure the longer term future of this institution.”

“We’ve started down that road and I think it’s going to be well-supported,” Gottschalk says of the endowment.

With a decade under its belt, Squires says OPA is squarely focused now on “where do we go from here, how do we build on our success and how do we continue to evolve and grow to continue to touch the community.”

Gottschalk says, “I think there’s more growth ahead for us in terms of amenities and facilities and programming.”

For event or ticket info, visit http://www.omahaperformingarts.org or http://www.ticketomaha.com.

“The generosity of the donors here has made this possible. We can have all the vision and passion we want but without that support none of this would have happened. Their continued commitment and philanthropy behind all this has been absolutely key.”

“…I felt there was an opportunity to bring to the community some of these great art forms and artists that didn’t have a place to perform or anybody to take charge of that. It felt like the puzzle pieces were all here to really make this organization a success. Everybody wanted this to succeed and I felt if we could put this together the right way we really could give Omaha something pretty special.”

“My favorite thing is to stand in the back of the theater and to watch a performance both for the quality of what’s happening on the stage and for the response of the audience. You do all this work behind the scenes, booking the shows, selling the tickets and raising the money to make that happen and then you get the satisfaction of seeing those performances touch people.”
-Joan Squires

“For a very young center we’re really advanced in terms of audience, finances, facilities and other ways. We’re a very healthy arts organization.
-John Gottschalk

“It’s added enormously to the luster that this is a great city through new events, new opportunities, new shows that bring in a pile of people from out of town.”
-Dick Holland

GRAMMY-WINNING JAZZ VOCALIST CASSANDRA WILSON TO CELEBRATE BILLIE HOLIDAY AT HOLLAND CENTER

February 24, 2015 Leave a comment

CW_final_2 (2)

 

Don’t miss this must-see concert!

GRAMMY-WINNING JAZZ VOCALIST CASSANDRA WILSON TO CELEBRATE BILLIE HOLIDAY AT HOLLAND CENTER

Omaha Performing Arts presents jazz vocalist Cassandra Wilson performing Coming Forth By Day: A Celebration of Billie Holiday at the Holland Performing Arts Center on Saturday, March 7, at 8 p.m.

Tickets start at $20, and are available at TicketOmaha.com, 402.345.0606 or at the Ticket Omaha Office inside the Holland Center, 1200 Douglas St. Wilson is part of the 2014/15 Jazz Series.

@OPerformingArts

@OmahaPerformingArtsOrg

@Omaha_Performing_Art

 

Cassandra Wilson 1 Credit Mark Seliger

 

She is a jazz musician, vocalist, songwriter and producer from Jackson, Miss. Critic Gary Giddins describes her as “a singer blessed with an unmistakable timbre and attack who has expanded the playing field” by incorporating blues, country and folk music into her work. Her performance in Omaha celebrates legendary jazz vocalist Billie Holiday (born Eleanora Fagan on April 7, 1915) on the 100th anniversary of the singer’s birth. The album, Coming Forth By Day: A Celebration of Billie Holiday, is slated to be released in April. While in Omaha, Wilson will teach a jazz vocal workshop at the Holland Center.

Wilson began playing piano at 6, guitar by the age of 12 and was working as a vocalist by the mid-’70s, singing a wide variety of material. After moving to New York City in the early ‘80s, she met saxophonist Steve Coleman and became one of the founding members of the M-Base Collective. She signed with Blue Note Records in 1992 and released a landmark album titled Blue Light ‘Til Dawn, which would pave the way for a new generation of jazz singers seeking an approach and repertoire that challenges the supremacy of the American Standard songbook.

Wilson has continued interpreting in fresh and creative ways vintage blues, country and folk music up until the present day. Her awards include: Two Grammys®, the Django D’Or, The Edison Music Award, a marker on the Mississippi Blues Trail and the 2012 Echo Award for Jazz. She also performed one of the leading roles in Wynton Marsalis’ Blood on the Fields, the first jazz work to receive a Pulitzer Prize.

Her Omaha performance is sponsored by Robert H. Storz Foundation and Children’s Hospital. Hospitality sponsor is Hotel Deco XV.

 

Tiempo Libre Kicks Off Jazz on the Green at Midtown Crossing in Omaha

July 4, 2011 1 comment

One of the neat things about being a journalist covering arts and cultural happenings is the opportunity it provides to intersect with emerging or rising talents. In the case of this article for El Perico I got to speak with Jorge Gomez, the leader of the breakout Latin band  Tiempo Libre, who kick off this season’s Jazz on the Green at Midtown Crossing series in Omaha. The timba-jazz infused, Miami-based group performs July 7, and the series featuring regional and national jazz acts runs through August 11. If you haven’t heard of Tiempo Libre, as I hadn’t, you’ll soon learn why you should take notice in the space of my short article. First of all, the group has only been together 10 years and yet they’ve already earned three Grammy nominations. They’e opened for and collaborated with some world class artists. Their music draws from many different sources and influences. These musicians are highly skilled and steeped in a classical foundation. They are also inventive enough to blend their native Cuban rhythms with all manner of musical styles. And they have a great story of what fired their imaginations in Cuba and of living out their dream now as a headline act around the world.

 

 

 

Tiempo Libre Kicks Off Jazz on the Green at Midtown Crossing in Omaha

by Leo Adam Biga

As soon to be published in El Perico

Growing up in Cuba members of the hot Miami-based Latin band, Tiempo Libre, studied classical music at Havana conservatories. Popular music, especially American, but even their native timba, was deemed subversive and thus forbidden. Hungry for what they were denied, the players clambered atop roofs at night with homemade antennas to pick up faint Miami radio broadcasts.

The staticky sounds of Michael Jackson, Chaka Chan, Stevie Wonder, Gloria Estefan, Manhattan Transfer and Earth Wind and Fire filled the tropical air. “It was fuel for our dreams. It opened a new door for us,” says Jorge Gomez, Tiempo Libre lead vocalist, keyboardist and musical director. “We listened, we recorded and during the day we put the music on and everybody in the neighborhood came to my house. We danced and sang and played dominos, everything. It was a new hope for us.”

Today, Gomez and his Grammy-nominated bandmates are touting their new Afro-Cuban fusion album, My Secret Radio, and its celebration of those clandestine raves. Fresh from performing at an Italian music festival, Tiempo Libre opens the Jazz on the Green at Midtown Crossing season Thursday. Their pulsating rhythms begin at 7 p.m. at Turner Park (31st and Dodge Streets).

The band describes their gigs as parties rather than concerts, says Gomez, “because by the end of the show everybody’s going to be singing and dancing with us. It happens all the time, and that’s the whole idea — to have fun. It’s all about the energy people are going to feel. That’s the best reason to play music .”

The free performance kicks off the weekly series that runs through August 11.

This is Tiempo Libre’s first Omaha show but the group’s well known for breakout recordings on Sony Masterworks and high profile appearances on Dancing with the Stars and the Tonight Show and at Jazz at Lincoln Center. Their genre busting work includes collaborations with classical artists Sir James Galway and Joshua Bell and Venezuelan composer Ricardo Lorenz.

 

 

The band first made a splash in 2002 opening for Cuban music legend Celia Cruz.

Formed a year before, Tiempo Libre only came together after its seven members separately fled Cuba. Their individual journeys included long stays in other countries before their paths merged again in 2000 in Miami. They were all working with different artists then “and in our free time we came together to make the band, ” says Gomez, hence the name Tiempo Libre or “free time.”

He’s proud the band has disproved predictions timba cannot thrive outside Cuban-centric Miami. “It’s fantastic the way people respond to it,” he says. Playing before enthusiastic audiences around the world, he says, “it’s incredible how beautiful the music can be between people who don’t even speak the same language.” By mixing timba with other styles, Tiempo Libre breaks down artificial barriers, as in the live orchestra work Rumba Sinfonica and the album Bach in Havana.

“Timba style is a mix between jazz and Cuban music. For example, if you put Buena Vista Social Club with Chic Corea, that’s timba style,” he says. “The harmony’s going to be deeper in the jazz roots but the rhythm is going to be, of course, Cuban rhythms, like rumba, ch-cha-cha, bolero. We play a mix of everything — timba, jazz, classical.”

Gomez says as the band’s exposed to ever more diverse musical influences, the more there is to blend with Cuban rhythms, including a new Placido Domingo Jr. album they’re collaborating on.

“We are living our dream playing all the music, all the mix that’s in there, adding a lot of Cuban flavor.”

 

 

Noted for their rigorous musicianship, yet free-spirited manner, Gomez says, “the way we’re playing now is so different from the beginning. We feel so secure. Now it’s all about how to enjoy yourself and transmit that energy to everybody around you. It’s unbelievable, the sensation. It’s a beautiful life.”

Now that Cuba’s more free, Gomez expects Tiempo Libre will perform back home.

“That’s part of our dream, too,” he says. “We want to play there in our neighborhood, for our friends.”

And perhaps inspire others to live their dreams. “Exactly, that’s the idea,” he says.

Jazz on the Green features other Latin-style bands this summer, including Incendio on July 14.

Visit jazzonthegreenomaha.com.

Follow

Get every new post delivered to your Inbox.

Join 6,679 other followers

%d bloggers like this: