Vic Gutman and Roberta Wilhelm have individually and collectively made a positive impact on Omaha and together they form one of the most influential power couples in Omaha. Read about them in my New Horizons cover story.
Alone or together, Omaha power couple Vic Gutman and Roberta Wilhelm give back to the community
©by Leo Adam Biga
Now appearing in the New Horizons (http://www.database.to/assoc_admin/assocviewfile2.asp?53V9875VT96=1969&AP3126=9&C885I0=536&pagecase=2)
Two of a Kind
Vic Gutman and Roberta Wilhelm each own such strong public identities for their individual professional pursuits that not everyone may know they comprise one of Omaha’s most dynamic couples.
Married since 1998, they were colleagues before tying the knot. After both went through a divorce they became friends, then began dating and now they’re entrenched as a metro power duo for their high profile work with organizations and events that command respect. Between them they have five children and one grandchild.
He’s founder-manager of the Omaha Summer Arts Festival, which celebrates 40 years in 2015, and of the popular Old Market and Ak-Sar-Ben Village farmer’s markets. He has deep event planning roots here. He also heads his own nonprofit management and consulting firm, Vic Gutman and Associates.
She’s past executive director of The Rose Theater and the longtime executive director of Girls Inc. of Omaha.
Their work usually happens separately but when they collaborate they have a greater collective impact.
Even though they’re from different backgrounds – he’s Jewish and she’s Christian, he trained as an attorney and she trained as an actress – they share a passion for serving youth, fostering community and welcoming diversity.
He’s involved in the Tri-Faith Initiative that seeks to build an interfaith campus in Omaha. She’s always worked for nonprofits. “Neither of us has been particularly motivated by money,” Gutman says.
Their paths originally crossed through consulting he did for the theater.
For transplants, they’ve heavily invested themselves in Omaha. He moved here in 1974 from Oak Park, Mich., a suburb of Detroit. She came in the early ’80s after graduating from the University of Kansas. Kansas was the end of a long line of places she grew up as the daughter of a career Army father.
Like many young men in the early ’60s Gutman heeded the call to serve issued by President John F. Kennedy. JFK signed into existence the Peace Corps as a program for Americans to perform international service. Kennedy’s envisioned domestic equivalent formed after his death as VISTA (Volunteers in Service to America). Gutman was an idealistic University of Michigan undergrad when he signed up to be a VISTA volunteer. A year passed before he got assigned to Boys Town, whose first off-campus programs – three group homes – he managed.
“I really only planned on staying one year and 40 years later I’m still here,” he says.
He gained valuable experience as student organizations director on the massive Ann Arbor campus and as an arts festival organizer. He flourished in college, where he found free expression for his entrepreneurial and social progressive interests.
“I was at the university from ’69 to ’74. Ann Arbor was a hotbed for anti-war protests. SDS (Students for a Democratic Society) started there. Its founder, activist Tom Hayden, went to school there. I would go to these demonstrations,” recalls Gutman,
At 19, he’d impressed university officials enough that they asked him to organize a campus arts festival. Little did he know it was the beginning of a four-decade run, and counting, of being Mr. Festival.
“We called it the Free Fair. We charged next to nothing to get in. It was very idealistic. We ended up having 400 artists from all over. Then we expanded from the campus to the main street downtown six blocks away. We had 700 artists my last year and 1,500 people belonging to the guild we started. The fair and guild are still going strong today.”
He started other arts festivals, including one in Detroit, as well as a crafts fair in Ann Arbor. The success of that first arts festival so impressed him that it changed his life.
“Before my eyes a community of 400 artists in a period of several hours just blossomed in front of me, and then all these people came over a four-day period to enjoy the art. It was like, Wow, this is really cool, I have to do this the rest of my life. It just touched something in me that I could create a community that would bring people together. That’s what really interested me.”
Only a year after moving here he launched the Summer Arts Festival because he saw a void for events like it going unfilled. However, he found local power-brokers skeptical about his plans even though the city was starving for new entertainment options.
“All there really was was the Old Market, at least from a young person’s perspective. There wasn’t much here. At that time this community did not embrace creativity and young people doing things. There was no young professionals association.”
The then-22-year-old was treated like a brash upstart. Nearly everywhere he went he got a cold shoulder. “It was like, ‘Who are you? What right do you have to do this?’ That was the mindset.”
Complicating matters, he says, “the city didn’t really have an ordinance to allow these events to go on downtown.” He had to get permits.
He moved the event to where the Gene Leahy Mall was being developed and the public came out in “huge numbers.” He saw the potential for Omaha adding similar events and branding itself the City of Festivals. The Chamber of Commerce rejected the notion.
In 1978 the fest moved to what’s been its home ever since – alongside the Civic Center and Douglas County Courthouse. He says Mayor Al Veys and City Attorney Herb Fitle threatened closing it after it’d already started. That’s when Gutman suggested he’d go to the media with a story putting Omaha’s elected leadership in a bad light.
“I said, ‘How would it look that we have artists from all over the country and tens of thousands of festival-goers having to go home because the mayor shut us down?’ Ultimately they let us stay open.”
If Gutman were less sure or headstrong there might not be the tradition of Omaha festivals and markets there is today. He also originated the Winter Art Fair and was asked to do the Holiday Lights Festival, Omaha 150, the Greek Festival and many more. He’s retained close ties to his native Detroit, where in 2001 he organized that city’s tricentennial celebration, Detroit 300. Two-years in the making, with a $4 million production budget, the grand event took place on the riverfront, in Hart Plaza, with a cast of thousands.
“We brought in for one free, outdoor concert all these Detroit performers – Stevie Wonder, The Temptations, Take Six, The Spinners. Stevie Wonder did two hours. Unbelievable. People did The Hustle in the streets. A 900-member gospel choir performed with the Detroit Symphony Orchestra on a stage 30-feet off the ground. We had historic sailboats on the river. Fireworks. Food. It was incredible. ”
Planning it, he wondered if he’d taken on more than he could handle.
“It was so hard to put that together I told Roberta, ‘I’m going to regret this, it’s not going to work, it’s not going to come together,’ and it ended up coming together and it was so great.”
She jokes that Vic neurotically worries his events will fall flat, even though they always turn out.
In the ’90s Omaha stakeholders listened after surveys and media reports revealed young folks couldn’t wait to leave a city they viewed as boring, hidebound and unsupportive of fresh, new ideas.
“What started the change in the city is when the Omaha Community Foundation’s Del Weber hired this consultant. She did a report that talked about Omaha needing sparkle and the creative spark and that it should accentuate fun. That’s what Omaha by Design came out of. That’s when the city started embracing young professionals.”
Gutman, whose youthful enthusiasm belies his age, 62, likes the vibrant creative class and entertainment scene that’s emerged. This new Omaha’s made the timing right for a long-held dream of his: a year-round indoor public market. He’s secured the site, an abandoned postal annex building on South 10th Street, that will take $10 million to create. He’s raised part of the money.
The market will feature local food businesses and the building will house other activities to help make it “a destination” and “anchor.” He’s banking it will catch-on the way his farmer’s markets have.
“The farmer’s markets have been hugely successful and they’ve been a huge boon for local growers. We hope this becomes the same thing – a place people want to come to in order to socialize, support local businesses and add to the vitality of the community.”
“The thing about Vic is he always has multiple dreams on the horizon and he gets them done and they’re all things that make the community better and stronger,” says Roberta.
Creating-managing events is not the only way he engages community. There’s the work he does with nonprofits. Then there’s the work he does with youth. Following his Boys Town stint he earned a law degree at Creighton University. After passing the bar he was a public defender in the juvenile court system, where he represented troubled teens.
“It’s not supposed to be but it’s a bit of social work and a bit of law. I think it has to be almost.”
He despaired at what he found in that arena.
“Everything wrong with the juvenile justice system now was wrong then. It’s been broken forever. We were putting kids in 30-day psychiatric evaluations because it was better than having them sit in the youth center, which was even a worse place than it is now. Kids who committed no crime – status offenders – would be in the youth center longer because there were even fewer places to put them. I had one kid who committed no crime in the youth center for almost a year.
“They were placing kids in boys ranches out west where they were being abused.”
He encountered countless youth from broken families where alcohol and drugs, physical-sexual abuse and parental neglect were present.
“Some of their stories broke my heart.”
The gang problem was just emerging when he left in 1986.
“My biggest regret is I was so aware of how dysfunctional the juvenile court system was and no one was advocating for change, If I thought law was going to be my career – and I never thought it would – that’s what I would have done. I would have put my energy into advocacy. I made a lot of noise but I was never working to change the system.”
Gutman’s also done mentoring, as Roberta has, and now they’re doing it together.
“I have mentored Arturo, age 14, for four years, first through Teammates and then through Big Brothers/BigSisters. I have mentored Elijah, age 12, for two years through Teammates. Roberta and I have become legal guardians of Arturo and his two brothers and they have lived with us since June 2nd.”
All the while Gutman’s served youth he’s continued doing festivals and consulting nonprofits. As his business and roster of clients have grown, so has his company, which employs 12 people.
He says early on he concluded “I never want to work for a corporation,” adding, “I wanted what I do in the community with projects and with my own company to be a reflection of what I feel the world should be.”
Finding a Home in the Theater and Omaha
His vision of a just world is similar to Roberta’s, whose work at The Rose and Girls Inc. has been community-based. Her many dislocations as an Army brat made settling down in one place an attractive notion.
“I moved almost every year of my life – I lived in Kentucky, Virginia, New Jersey (when her father was in Vietnam), New York – until high school, when I was in Iran three years. I went to the American School in Tehran.”
This was before the Shah’s fall and the Aaytollah Khamenei’s rise .
“When I was there it was relatively tame and calm. There were occasional incidents and American kids were told to keep a low profile,
but for the most part we went everywhere we wanted in the city, in the country with no problems. It was a really great experience. I loved being there.”
At the American School she did plays at the urging of her mother, a drama teacher who took Roberta to Broadway shows back home.
After her father was posted to Fort Leavenworth (Kansas), Wilhelm finished high school and majored in theater at KU in Lawrence. It’s where she met her first husband, playwright-director James Larson. When Larson came to Omaha to research his Ph.D. dissertation on the Omaha Magic Theatre’s Megan Terry, Wilhelm followed, working there a few months. She was not a happy camper.
“I told James, “We’re going to get the hell out of here.’ That was the plan. But then I ended up working at the children’s theater under Nancy Duncan and Bill Kirk and that really changed everything. I loved it. I changed my tune – I really liked Omaha, I wanted to stay.”
She enjoyed a classic rise through the ranks at the theater.
“I was hired as the assistant to the receptionist and the assistant to the bookkeeper. They fired the receptionist, so then I was the receptionist and the assistant to the bookkeeper. I was a very bad receptionist.”
She wasn’t much better at bookkeeping.
Wilhelm proved a quick read though. “I learned a lot. I loved being in the theater, even when I was the receptionist. I had a degree in theater but it was all very academic, so to be in a place actually producing theater was great. When I started, I didn’t know what a nonprofit was. I remember asking Nancy (Duncan), ‘Can I sit in on a board meeting?’ I wanted to know who were these people and what was it they do, I learned a lot about marketing, computers, mailing lists,”
From the start, she acted in plays there, too. She soon joined the artistic staff as a teacher and actor. “Being on the artistic staff was really great,” she says. “That was a lot of fun.”
Larson wound up being the artistic director. When Nancy Duncan left Mark Hoeger came in as executive director. In that transition, Wilhelm says, “Mark asked me to be the managing director and I said, ‘No, I really don’t want to do that.’ He said, ‘Well, just give me two years because I need you to help me through this transition.’ I accepted. It ended up a lot longer than two years. That took us into the renovation of the old Astro-Paramount into The Rose and our moving there.”
The former Emmy Gifford Children’s Theater had long outgrown its space at 35th and Center. When the Astro, a former movie house, was floated as an option, the theater’s leadership expressed interest. But Wilhelm and Co. needed the OK of Nebraska Furniture Mart founder Rose Blumkin, who owned it. Decades earlier her daughter Frances Batt won a talent show there singing “Am I Blue?” and so, Wilhelm says, “the building held a special place in her heart.”
Mark Hoeger and Susie Buffett, a good friend of Wilhelm’s, sought Mrs. B’s approval. She granted it and her family donated a million dollars.
“Mrs. B put her blessing on the project,” Wilhelm says.
Susie Buffett’s investor legend father, Warren Buffett, who by then owned the Mart, matched the gift.
Wilhelm will never forget moving to the new digs in 1995. The night before the theater held a rally at the new space to enlist volunteers for the pre-dawn move.
“One of our resident actors, Kevin Erhrhart, leapt up on a mantel at The Rose and recited the “St. Crispin’s Day” speech from Henry V,” she recalls. “He whipped everybody into a frenzy with, ‘You’re going to be there and you’re going to be glad you were there to do it.'”
The requisite 100 or so volunteers were there the next morning.
Wilhelm says Frances Batt had promised that if the theater “got this done” then she’d sing “Am I Blue?” at the opening gala. Hearing this, Warren Buffett promised to accompany her on the ukulele.
“So at the gala he strummed and she sang and it was like a Fellini movie,” Wilhelm says. “It was so other-worldly. Just an odd little moment. But very cool. That was one of those peak nights. It was a stunning transformation (the restoration). We worked so hard for this.”
“It was great,” says Vic, who was there because he’d already been advising the theater.
Roberta admits she was less than thrilled when Vic began working with the theater. She says she actually tried talking Mark Hoeger out of hiring him even though she’d never met him at that point.
“I said, ‘I’ve seen his name on things around town. I have a bad feeling about him, I think he’s a slimy, not-to-be trusted guy. You can hire him but I’m just telling you I’m going to tell you I told you so.'”
She and Vic smile about it now. He says he was oblivious to her suspicions then. Her perception changed when she saw how good his ideas were and how much he cared. There was an event he tried talking the theater out of doing but they went ahead and it was a bust.
“He was so pained by it. He was more pained than I was, and I was pained. He takes things so personally. He was a consultant but he didn’t have that distance. It was his event, his failure.”
Another time, Gutman, who’s known to be intense on the job, was doing a work performance review with a female staff member when she broke down crying. Wilhelm chastised him for upsetting her.
“I remember he felt really bad. He didn’t mean to make her cry and he sent her flowers.”
“She now works for me,” Gutman says of that former theater staffer.
Roberta says he was so intense she couldn’t imagine being romantically involved with him at the time. That changed as she got to know him and as he mellowed. He still has high expectations and standards he holds people accountable for. Roberta acknowledges the theater lacked a certain professionalism he instilled.
“We were ragtag,” she says.
“It had transitioned from almost all volunteer. They didn’t have an experienced marketing and development staff and they were just resource poor,” he says. “They worked on a very small budget.”
“Mark Hoeger used to say we were like a bumble bee that scientifically shouldn’t be able to fly, but flew,” she says.
As his changes took root, Vic became part of the theater family, though staff were not above teasing him as “our highly paid consultant.”
“They trusted me, they were extremely supportive. I never felt like I was a consultant and I don’t feel that way with most of the clients now,
but especially the theater,” says Gutman, whose association has continued long after Roberta’s leaving.
When they were together at the theater, the couple made a formidable team, along with James Larson.
“When Mark left I really wasn’t that hot to be the executive director but I also wasn’t really that hot to be the right-hand person to someone new. I enjoyed working with Mark very much and really was sad to see him go. I wasn’t sure I wanted to do this for someone else, I had to think about moving up or moving on. I finally put my hat in the ring for the position and I got the job,” she says.
By then, she was divorced from Larson. The two continued working together without problems, she says. The situation mirrored that of Carl Beck and Susan Baer Collins at the Omaha Community Playhouse, who were married, then divorced, but successfully worked as co-artistic directors. When Roberta and Vic married and Larson stayed on, the trio made what could have been an awkward situation comfortable. Vic says, “We still got along just fine.”
Realizing its potential
The little-theater-that-could became a major arts organization locally and a big deal among children’s theaters nationally. Its budget and membership expanded with its reputation.
“It grew so fast. It was sort of explosive,” Wilhelm says. “There were a lot of planets that aligned. Mark was really good for the theater. He networked really well. James had a lot of educational vision for the organization and was very good packaging programs for schools.”
The theater attracted big name guest playwrights (James Still, Mark Medoff, Joe Sutton, Robert Bly) and produced world-premiere shows (Mufaro’s Beautiful Daughters, Where the Red Fern Grows). It developed a national touring program and cultivated a diverse pool of youth participants. The theater was recognized with a national achievement award from its peer professional alliance.
Not to be forgotten, Wilhelm says, was the “really great ensemble of performers there” who formed a tight-knit cadre. “It was kind of a cult,” she adds. “You don’t need sleep, you don’t need money, you don’t need worldly goods – you live off the passion. It was very fun, intense, A lot of hard work. The people were dramatic, melodramatic, storming in-and-out of offices, spilling their guts out.”
Vic got swept up in it, too, even relaxing his buttoned-down demeanor.
“The theater’s just an amazing place and honestly it’s the people who make it. The people were so interesting and passionate. I just loved being there. To this day I love the theater.”
He even found himself on stage, in costume and makeup, in a singing and dancing pirate role in Peter Pan. He was in some good company. His director, Tim Carroll, is now a Broadway director. His then-child co-stars included Andrew Rannells, who’s gone on to be a Tony nominee and Grammy winner, and Conor Oberst, now an indie music star.
Both Vic and Roberta say it was exciting being part of the theater’s transformation.
Moving on, Serving girls
Roberta wasn’t necessarily looking to exit the theater when an opportunity she decided she couldn’t pass up suddenly came open.
“A good friend suggested the position at Girls Inc. She said she thought I would be good at it and that I should give it strong consideration. She then told me they were closing the application process ‘tomorrow at noon,’ so I didn’t have very long to think about it. I think I was ready for a life change.
“One of the things I enjoyed most about the theater was the accessibility of the programming to children regardless of their ability to pay and partnering with community agencies to help make that happen. Through that work, I grew to know about Girls Inc. I had been directing the all-girl production Broken Mirror at The Rose for several years. I liked working with girls. It seemed like a logical progression.”
When she left the theater and her replacement didn’t work out, Vic assumed the E.D. role himself. He stepped down after three years having built its community outreach and membership-donor base. He’s continued consulting ever since. He says it’s a different organization today “but the most important thing about The Rose is the continued emphasis to make the theater accessible to everyone, whether you can afford to pay or not. That started under James, Mark and Roberta. Not all children’s theaters are. But that is in the DNA of this theater.”
Leaving The Rose wasn’t easy for Wilhelm.
“I do miss the camaraderie of theater and the family that is created through the production process. I made great friends there and I had amazing experiences. I feel very lucky to have had the chance to do what I did at the theater.”
She’s found a new family at Girls Inc., where she’s been since 2003. Some of the girls come from situations like the ones Vic experienced as a public defender.
“We have girls who have a lot of serious challenges, who have behaviors that might get them expelled from school. Twenty-two percent are in the foster care system. Some are involved in the juvenile justice system. We also have girls who don’t have any of that – they’re honors students. But its a place where all girls can go and find support.
“There are a lot of heartbreaking stories, but there’s also a lot of success stories and good things that happen.”
When Roberta started only three alumnae were in college. Today, there are dozens as well as several college graduates.
Girls Inc. Omaha won the outstanding affiliate award from its national parent body and thanks to Roberta’s connections, she’s brought in a who’s-who of guest speakers for its Lunch with the Girls gala: Barack Obama, First Lady Michelle Obama, Madeleine Albright, Archbishop Desmond Tutu, Warren Buffett, President Clinton, Secretary of State Hilary Clinton and Chelsea Clinton. This year’s event, on October 29th, features sisters Barbara Bush and Jenna Bush Hager.
Just as her hubby has a dream project in the works with his public market. Wilhelm’s overseeing construction of a $15 million addition to the Girls Inc. north center. It will feature a wellness focus with a gym, clinic, yoga-palates fitness room, elevated track and kitchens for health cooking-culinary arts training. She says it fits the organization’s holistic approach to produce girls who are, as its motto reads – “strong, smart and bold” – or as she puts it, “healthy educated and independent.”
Her husband led the fund drive for the addition. “It was an easy sell because the funders in this community have such high regard for Girls Inc. and what they do and for what Roberta does,” he says.
Another dream project of Gutman’s, the Tri-Faith campus, is one he’s been reticent about until recently he says because “I absolutely can feel for the first time it will be a reality.”
“It’s one of the more complex things I’ve ever been involved with because we have three faiths – Jewish, Muslin, Christian – and very idealistic people. The odds of it succeeding are hard. The politics are hard. You have to build relationships and trust. You really want every one moving together along the same path. It’s never happened before where there’s been an intentional co-locating. We’re building a campus together and we have to overcome prejudices and cultural differences.”
Gutman, a self-described “practical, by-the-numbers guy,” says the project’s “actually a spiritual thing for me – it comes from the heart or else I wouldn’t put this much effort in. For me, idealism is not passe.”
Temple Israel Synagogue, which he belongs to, has already built its new home at the proposed campus in the Sterling Ridge Development. The American Institute for Islamic Studies and Culture is next in line. Gutman, a Jew, heads up fund-raising for the mosque.
“We have $6 million raised and of that $5.2 million came from Christians in this community,” he says. “What other city in the country could say that? That’s special about this community.”
Roberta agrees Omaha’s “very generous” and gives to things it believes in.
Countryside Community Church is weighing being the Christian partner in the interfaith troika.
“I do believe it will be built but the story is yet to be told because it’s what happens afterwards. That’s going to be the interesting thing,” Gutman says.
“It will be like a blended family,” Wilhelm observes. “We’ve been there – it’s hard.”
The couple’s tackled many hard things in realizing legacy projects that have their imprint all over them. Their ratio of success to failure is high.
How are they able to get things done?
“Passion, persistence and some luck,” Gutman says. “We’re very fortunate. In the years we’ve been here we’ve developed a lot of relationships. If we weren’t committed to what we were doing and we didn’t have the skills to do it then there are certain people who would never have believed in us and it would never have been possible. If you take some people out of our lives we couldn’t do everything we want to do, that’s just the truth.”