Omaha performer Brenda Allen recalls her friendship with Johnny Cash
Ring of Fire pays tribute to iconic singer-songwriter
Here’s another piece that didn’t make it into print, and so I’m publishing it here. It’s the story of how beloved Omaha performing artist Camille Metoyer Moten used social media as a communnication and connection point to share her odyssey with cancer and her reliance on faith for getting through the illness. On my blog you can find other stories I’ve done on Camille, who is an inspiration through her work and her life.
When cancer struck beloved Omaha performer Camille Metoyer Moten, she shared her odyssey and faith on Facebook
©by Leo Adam Biga
Popular singer-actress Camille Metoyer Moten is a fun-loving, free-spirited soldier of faith.
That faith got tested starting with an April 2012 breast cancer diagnosis. After treatments and surgeries over two years she gratefully proclaims, “I am healed.” Anyone unfamiliar with her spiritual side before discovered it once she began posting positive, faith-filled Facebook messages about her odyssey and ultimate healing, which she attributes to a Higher Power.
Her frequent “Fabulous Cancer-Free Babe” posts gained a loyal following. Many “Facebook Prayer Warriors” commented on her at-once intimate, inspirational and humorous musings. One follower quipped, “Your posts are like going to church at the Funny Bone.”
Metoyer Moten decided cancer was an experience she couldn’t deny.
“When you perform your whole thing is pulling people into this artistic moment with you. When I got the cancer and started posting about it I thought, Well, this is my song, this is the song I have right now and I want people to feel everything I’m feeling, the good parts and the bad parts, and at the end I want them to see the glory of God in it.”
The humor, too. She described the asymmetry of her reconstructed breasts. While losing and regaining hair she called her bald head “Nicki MiNoggin,” then once patches came back – “Chia Rivera.” She’s since dubbed her swept-back scraggle, “Frederick Douglass.”
“I wrote it as I saw it. If it struck me funny, that’s what it was. I will talk about anything, I just will. I’m just like this open book.”
That extended to shares about weight gain and radiation burns
Mainly, she was a vehicle for loving affirmations in a communal space.
What support most touched her?
“Probably just the amount of prayer,” says Metoyer Moten, whose husband Michael Moten heads One Way Ministry. “Every time I said, ‘Please pray,’ there were people right there and sometimes they would put their prayer right on the post, which was awesome. Some of the encouraging things they would say were really special. The Facebook people really did help to keep me lifted and encouraged and they said I did the same for them.
“It almost never failed there were things I read I needed to hear. We had this beautiful circle going of building each other up.”
The sharing didn’t stop at social media exchanges.
“The thing I loved were the personal notes I got from people asking me to write to loved ones going through something, and I wrote to them just to encourage them because that was the whole purpose – to tell people who you go to in time of trouble.”
She’s writing a book from her Facebook posts.
“My goal is to encourage people and to glorify God and to talk about how social media can be a meaningful thing.”
Camille being Camille, she went beyond virtual sharing to invite Facebook friends, all 2,000-plus of them, to “chemo parties” at Methodist Estabrook Cancer Center. “I usually had about 12 to 15 people. The nurses were very sweet because sometimes we’d get too loud and people would bring food. Other patients sometimes joined the party, which was kind of my point – to liven it up. We just had a ball.”
It wasn’t all frivolity.
“We would pray on the chemo machine that the chemo would affect only the cancer cells and leave the good cells alone. Once, a woman rolled her machine over for us to lay hands on hers as well. It was just a beautiful testimony.”
Cancer didn’t stop Metoyer Moten from cabaret singing or acting
“Even though I had a little harder time every now and again it didn’t stop me from doing anything.”
She even believes she came out of it a better performer.
“I’m not a very emotional person but sometimes to connect spiritually you have to have a little more emotion involved. I think now the stuff I’m doing on stage is better because I think I’ve connected to myself better emotionally. I think I had stuffed things down a long time ago. This made me realize it’s okay to have some emotions.”
Fellow performers David Murphy and Jill Anderson walked with her on her journey. Now that they’re battling their own health crises, she’s
there for them.
She’s glad her saga helps others but doesn’t want cancer defining her.
“A long time ago I decided there’s no one thing that’s the sum total of your entire life. I’m happy to talk about what God did for me during this experience, but I’m not going to dwell on the cancer bit forever.
“I don’t want people to look at me and say, ‘Cancer.’ I want them to look at me and say, ‘Healthy…healed.'”
Here’s the story I wrote for The Reader (http://www.thereader.com/) about the African Culture Connection and its founder-artistic director Charles Ahovissi in advance of their Dec. 8 production at the Omaha Community Playhouse. Pam and I went to that show expecting we would be thoroughly entertained having seen the company perform before and if anything our expectations were surpassed. There may be more positive energy and life-affirming love in a single ACC show than there is in a season’s worth of shows by other troupes. Combine that with the fact that there just isn’t anything else like what the ACC does in these parts and you have the makings for a singular experience that as my story tries to communicate is a rich cultural immersion not to be missed. It was a packed auditorium and those of us in the audience returned the energy and love received with our own warm, good vibes. By the way, the ACC show on the 8th was part of an alternative programming series the OCP offers. The programs are free and a welcome change of pace from the usual.
Charles Ahovissi brings West African culture to the Heartland
African Culture Connection uses dance, music to tell indigenous yet universal stories
©by Leo Adam Biga
Originally appeared in The Reader (http://www.thereader.com/)
Art often expresses culturally-specific stories but until the Omaha-based African Culture Connection surfaced in 2006 West African tales were rarely if ever explored here.
Led by Benin, West Africa native and veteran dancer-choreographer Charles Ahovissi, ACC’s dedicated to presenting the vibrant rhythms, movements, colors and costumes of African tribal tradition and culture.
In upcoming appearances he and his troupe will enact lively interpretations of African proverbs through song, music and dance. On Friday they perform during the Ethnic Holiday Festival at the Durham Museum. On Saturday they offer dance instruction at the South Omaha Library. On Monday they present the story of the Iroko tree in the Omaha Community Playhouse’s Alternative Programming Series.
Alternative well fits ACC, whose programming nearly stands it alone among area arts groups. As a Nebraska Arts Council (NAC) touring artist, Ahovissi brings his cultural showcase to schools and youth serving organizations, where African studies are negligible.
“It is a very unique program,” he says. “You don’t see it in this state. You cannot get what we teach kids in a library. In schools kids barely get the cultural activities we provide them. That’s why it’s very unique, very special and engaging.”
Omaha Girls Inc. executive director Roberta Wilhelm says, “Charles has helped our girls learn about Africa in ways they simply never would in a classroom or from a textbook. The girls connect to the lessons in a very visceral way. He and his team help the girls ‘feel’ Africa when they drum and dance. They prepare and taste African food, create printed fabric to wear while they dance and hear African stories. They also learn lessons about creativity, collaborative work, self-expression, delayed gratification, responsibility and pride of accomplishment.”
At the free 7:30 p.m. Playhouse show the featured Iroko dance imparts a lesson through a cautionary parable about the dangers of putting self before community and not respecting nature. In West Africa the Iroko tree is held sacred for supposed mystical powers and medicinal properties. In the dance a young woman ignores a prohibition to cut the tree and goes mad as a result. After being saved by the village’s purification ceremony she vows never to violate the Iroko again.
Ahovissi says, “”There’s a reason why we do any traditional dance and drumming. Every life aspect in Africa has a specific dance, rhythm, music, so at the same time I’m teaching a dance I’m also teaching the culture, the tradition, the story behind that dance and music. For example, when it comes to farming in Africa there is preparation and celebration. How we pick the fruit, why we pick that fruit is dance movement that has a story.
“Another example is the special music and dances we do for the initiation of youth in a village. When I’m teaching kids here the initiation dance I’m also teaching this story, this culture, this way we do things.”
Between the beating drums and the whirling dancers the energy rises to a fever pitch at ACC performances. The nonprofit’s on quite a roll, too. In late 2012 it became one of only a dozen organizations in the U.S. that year and the first ever in Neb. to receive the National Arts & Humanities Youth Arts Award. It’s a major honor for any group but particularly one as new as ACC.
Ahovissi, ACC’s ebullient founder, president and artistic director, accepted the award from First Lady Michelle Obama at the White House. Additionally, ACC received a $10.000 grant to support and expand its programming. This came on top of winning the Nebraska Governor’s Arts Heritage Award.
Even Ahovissi finds it hard to believe his organization did what none of the state’s larger, more established arts programs managed doing.
“I just don’t know how we got here,” he says. “It was surprising.”
NAC director of programs Marty Skomal says, “No other arts group in Neb. has succeeded in demonstrating ACC’s masterful combination of high artistic quality with genuine and significant community engagement. Each time I see the troupe perform, I am impressed by the level of dedication, attention to detail and commitment. It becomes contagious. Kids can sense this authenticity, and respond to it instantly. ACC is able to do what its name implies – make a connection.”
Ahovissi appreciates the positive feedback he gets from teachers, administrators and program directors about the immersion experience he provides. He says the glowing evaluations “confirm that after we work with kids they learn how to respect and how to behave and some kids who were shy become engaged in the classroom,” adding, “All the teachers tell us thank you for making a big impact on kids’ lives.”
He says the rituals and lessons taught have deep, universal meaning.
“We say it takes a whole village to raise a child. From generation to generation we pass on the culture. In Africa everything kind of ties together.”
In a real sense he’s carrying on traditions handed down to him in Benin, where dance and drumming were part of his growing up..
“My mom took me from village to village to the ceremonies,. I just picked it up from that.”
In his early teens he joined a local arts group. “They taught me how to be more professional,” he says. He then won a competition that enabled him to perform with the National Ballet of Benin beginning in 1984 at age 16. “That allowed me the opportunity to travel and perform with that company. I was very honored to be selected.”
Later he joined the Super Anges dance troupe. He was touring the U.S. with that company when he met his wife. The former Karen McCormick, an Omaha native, did a Peace Corps stint in Africa, including service in Ahovissi’s native country, Benin. In Omaha she volunteered with the La Belle Afrique presenting group that brought Ahovissi’s dance company to Omaha in 1999. The two met, fell in love and married. They have two children together. Ahovissi moved to Omaha in 2000 and became an NAC touring artist in 2001.
He conducts NAC residencies around the state.
“I know all the cities and towns in Neb. I just pack my car with my costume and drum and travel one week, two weeks at a time. I cannot count how many places I’ve been to. I’m grateful for that because I do love teaching, performing and sharing my culture.”
He trains teaching and performing artists to join him at some venues.
His multicultural troupe present African music and dance and the stories behind these traditions. He feels American children need to expand their knowledge of diverse cultures in this ever shrinking world.
“It is so important for them to learn about other cultures. They have to open their minds, they have to allow themselves to appreciate other cultures, they have to accept their friends who are not like them. Since Omaha is becoming more diverse we need to be more diverse, too. We all need to be together and move forward.”
He says as Omaha’s welcomes migrant populations from around the world “there is a need for global understanding in our community. It’s not just African culture – we need to be learning about all these different cultures. You teach me about your culture, I teach you about mine, and we share it. That’s how we become open-minded and free and live in a peaceful way.”
Ahovissi’s still deeply tied to Benin, so far spared from the raging Ebola epidemic. He sends money back every month to his large family living there. “I’m they’re hope,” he says. They’re his roots and inspiration.
Depending on the crowd or circle you travel in, bring up opera in conversation and expect a glassy-eyed look on some people’s faces because they can’t or won’t get past some cliched notions they have about this form being tired, overstuffed, and irrelevant. Opera is in fact a living, breathing performing art every bit as vital and universal as any other, drawing as it does on the most urgent human emotions, inspirations, and themes for its bigger-than-life brand of music theater. Opera is not just one thing or the other either, it is alternately grand and spare, traditional and experimental, contemporary and classic. In the spirit of celebrating opera’s qualities, Opera Omaha, a company with a national reputation for its bold approach, has re-imagined its annual fundraising gala to give audiences an immersive experience inside the power and drama of ioera’s music, acting, and design. My story below for Metro Quarterly Magazine (www.spiritofomaha.com/Metro-Magazine/The-Magazine/) describes the new take Opera Omaha took with its Agrippina gala a year ago. An upcoming story in the next issue of the mag will discuss Opera Omaha’s plans to further these push the boundaries at the 2015 A Flowering Tree gala event.
Breaking the mold: Opera Omaha re-imagines the gala
©by Leo Adam Biga
A version of this story now appearing in Metro Quarterly Magazine (http://www.spiritofomaha.com/)
Hidebound event transformed to mirror opera’s dramatic, theatrical world
If being adventurous counts for anything, then Opera Omaha’s doing what it can to be the pertinent music theater company that general director Roger Weitz envisions. From commissioning designs by world-renowned artist Jun Kaneko to teaming with elite opera companies to presenting a full range of works, it’s making waves here and beyond.
“At the National Opera Conference in San Francisco this summer there was a bit of a buzz about what’s happening here,” Weitz says. “I think the word on the street in Omaha is also positive.”Part of the excitement was generated by last year’s gala that teased a production of Handel’s Agrippina. Everything from the nontraditional Omar Baking Building site to the outside-the-box immersive-interactive approach marked a stark departure from the norm.”The standard format of a gala is you go to a hotel ballroom, you have cocktails and dinner, there’s some speeches and maybe a performance,” Weitz says. “That’s a gala that could fit for anybody. But we’re an opera company that produces music theater, so I thought why not have our gala be like an opera? That’s how we can have it reflect the work we do. We shouldn’t have a gala that could be replicated by a hospital. It needs to be theatrical, it needs to be special.”
An opera sampler
With Los Angeles director James Darrah and his production team already in tow to mount the little-known baroque opera Agrippina, Weitz decided to have them produce the gala as well. Thus, lighting designer Cameron Jaye Mock, set designer Emily Anne McDonald, costume designer Sarah Schuessler and projections designer Adam Larsen brought Agrippina to life both for the site specific gala performance and for the main-stage Orpheum production.”I wanted to give guests a preview of what Agrippina was going to feel and look like from the team designing the production. What James and his team bring is innovation. He has both total fidelity to the music, to the composer’s intentions, and to the librettist’s intentions. What he brings to that is storytelling that can make even an opera hundreds of years old feel modern and relevant. At the end of the day that’s what I want this company to be – relevant.
“To me, opera is not a dusty museum piece, it’s a living, breathing, growing dynamic art form that a lot of young composers and artists are excited about and interested in creating. My vision for Opera Omaha’s mission is to make sure this community receives a balanced program that represents the repertoire. That means we’re going to do the classic greatest hits of opera – we’ll always have one of those every year – but we’re also going to do early, contemporary and new opera.”
With programming open to that full spectrum, he says, “it enables the company to take artistic risks and also to do things that are exciting possibilities with the potential to grow and build audiences.” For Weitz, there’s no gain without taking risk and to his delight he’s finding audiences are right there with him.”We’re taking a bold step that is not cautious. Every year I think we go a little bit further and every year the response has been all the more positive and enthusiastic.”
Opera Omaha supporters Paul and Annette Smith, who chaired the gala, appreciate Weitz’s daring.
“He’s taking a very fresh and exciting perspective to opera. He knew we needed to break some boundaries and to try some things that hadn’t already been done,” Paul Smith says.
Up close and personal
Though an 18th century work, Agrippina has enough sex, violence and politics to resemble a modern soap or news scandal. It’s why Weitz opted to hold the gala previewing it at a restored former bakery in the inner city. Darrah’s team crafted a surreal and intimate environment inspired by the retro industrial digs and the historical opera. A banquet table served as the “set” centerpiece. Screens acted as visual markers and breaks.
“We created a combination of live performance with installation art visuals amid dinner, drinks and conversation to immerse people,” Darrah says. “We had shot video portraits of the entire cast in slow motion closeup against a black background, which Adam Larsen then edited into video projected on transparent screens throughout the space. So you had characters from the opera walking on screens that would disappear and reappear on the other side of the room.
“It was all about illusion.”
Playing off the opera’s story of the emperor Nero and his mother Agrippina fiddling away in circles of deceit while Rome burns, Darrah and Co. created a neoclassical setting in which non-costumed actor-singers suddenly broke into dramatic song during dinner. These live pop-up scenes plunged audience members into the thick of performers enacting lusty, blood-thirsty, full-throated action.
“The vision for the evening was always very exciting and unconventional,” Smith says. “But at its core, James wanted every person at the event to taste a bit of the Agrippina experience and to want to be at the opera when it opened. He worked to create an engaging, exciting space where we all felt like we were intimately close to the opera. Ultimately we were so close that the characters seemed very real to each of us.
“It was very exhilarating to have the performers from Agrippina perform a piece from the opera on the middle of our table with such amazing vigor, as if they were literally on stage, ripping flowers from the vases and angrily throwing them with no regard to the ‘audience’ seated only a foot or two away. It truly felt as if you were experiencing the anger and malice of Agrippina directly.”
Smith says the experience had the desired effect Darrah sought.
“It helped us understand how incredibly exciting opera can be and it made us want more. Others we talked with told us that after the gala they wanted to experience more opera.”
It’s all part of Opera Omaha’s aim to shake up people’s ideas about what the art form is or can be. Darrah says that effort begins with Weitz giving artists like himself the freedom to interpret a shared vision.
“He lets the creative people he hires do their job, He puts a lot of trust in the team, which is an incredibly great thing to feel as artists.”
He also likes that Weitz brings the company and the community together through accessible events.
“He brings you to the community to do work and introduces you to people in the community and supports you as part of the community.”
Once more with feeling
Fresh off the success Darrah and his team enjoyed last year Weitz has brought them back to design the January 16, 2015 gala to be held at another unexpected site, the Crossroads Mall. It will be a tantalizing sampler of an original production of the John Adams opera A Flowering Tree at the Orpheum in February. For the gala the team is transforming the mall’s atrium into the opera’s mythological, nature-filled landscape. A world-class soprano, two leading pianists and top dancers will join featured cast members in fleshing out this romantic fairy-tale.
That gala and production are sure to attract attention the same way the Agrippina gala and production did. The opera world’s taken notice for some time. San Francisco Opera admired Jun Kaneko’s Madame Butterfly so much they put together a team of five companies, including Opera Omaha, to build his The Magic Flute. That led to this season’s new co-production of Rigoletto, a collaboration between Boston Lyric Opera, the Atlanta Opera and Opera Omaha,
“Weitz says, “When you have opera companies of that magnitude wanting to collaborate creatively with Opera Omaha that’s a really good indicator we’re a presence making our mark on the opera field.”
Opera Omaha plans to keep folks wanting more.
“We have to keep surprising and delighting people and keep raising the bar,” Weitz says. “I think James and his team set a pretty high bar last year and I told them this year we must raise the bar again.'”
Supporters Cindy and Mogens Bay, who chair the 2015 gala, are taking the cue, “Opera Omaha’s gala last January was unique and truly special. It exceeded our expectations,” Cindy Bay says. “We’re delighted the same innovative artists are coming back this year to take on a new event with even more ambitious plans.”
A music and dance filled after-party for a younger crowd will follow the gala.
For tickets, visit http://www.operaomaha.org.
A not-so-funny-thing-happened-on-the-way-to Jill Anderson organizing the Joslyn Castle Literary Festival this year: strange, unsettling, and often debilitating symptoms began appearing out of nowhere and after many tests, a mis-diagnosis and many more tests she found out the culprit: multiple sclerosis. In true trouper fashion she has carried on and “the show” is indeed going on in her capable hands. It is ironic perhaps that her life-altering disease should come in the year the festival explores the permutations of Bram Stoker’s classic transmutation novel Dracula. Her festival, Shadows at the Castle: Bram Stoker’s Dark Vision, runs Oct. 17 through Nov. 1 and uses art, music, drama, film, literature, and more to explore the themes bound up in the Stoker work and the superstitions and cultural traditions that influenced his creation. Read about Jill, her perseverance, and her festival in this story for The Reader (http://www.thereader.com/).
Artist facing life-altering disease makes Dracula subject of literary festival
Jill Anderson and friends explore Bram Stoker’s dark vision
©BY LEO ADAM BIGA
Now appearing in The Reader (http://www.thereader.com/)
When Jill Anderson made Bram Stoker’s dark transmutation novel Dracula the theme for the 2014 Joslyn Castle Literary Festival she never imagined her own life would be marked by fear-inducing, life-altering transformation.
In February the founder-artistic director of the annual festival, now in its fourth year, suffered the sudden onset of debilitating ailments initially attributed to a stroke. After rounds of invasive testing the stroke idea was laid to rest. Instead, she was diagnosed with multiple sclerosis, an inflammatory disease affecting the nerve cells of the brain and spinal chord. As the Omaha singer-actress has shared via Facebook posts, she’s dealt with endless doctor visits and frequent bouts of fatigue yet maintained a busy professional schedule. Even during the worst of it, plagued by nausea, double vision and vertigo, she fulfilled many performing obligations. She even made an out-state tour – with the help of friends and family.
“My mom literally went on tour with me, stayed in the hotels, made sure I got fed, It’s weird at age 47 to be like the invalid and having your mom as your caretaker,” she says.
Her indefatigable spirit’s hardly wavered, at least not on social media sites, where her humor shines through. In one post she compared her tour experience to Weekend at Bernie’s because she was nearly dragged from place to place like the corpse of that film comedy, only to be propped up at the mic to perform.
The emergence of her disease is still so new that she’s far from knowing yet what her long-term prognosis is.
“It hits everybody differently, there’s no way to predict how it’s going to affect you. One person might end up in a wheelchair and somebody else – no issues, no problems, or very little. So you have to figure out how quickly and aggressively your case is progressing and there’s no way to know that other than through observation over a number of years.
“I’ve heard stories from a handful of people about someone in their family who has MS and is in dire condition. Those have been the days that have been the hardest for me – hearing about the MS stories that are not triumphant and hopeful. You can’t have a chronic degenerative disease and not have the thought occur to you – What if I get hit really hard at some point in my life and there’s no one around to help me? I’ve had blue days with those kind of thoughts.”
Despite personal challenges, this trouper made sure the literary festival, whose proceeds benefit the Joslyn Castle Trust, was never in doubt. Much like her treatment of past subjects the Bronte sisters, Oscar Wilde and F. Scott Fitzgerald, Shadows at the Castle: Bram Stoker’s Dark Vision is a multifaceted event informed by her curiosity and wit. With the Durham Museum, the University of Nebraska at Omaha and other collaborators, the fest explores its theme through cinema, lecture, drama, dance and music.
“Every new project I do is a whole new world of discovery, especially the literary festival because it requires a lot of research,” she says. “I love to have an excuse to research my butt off. One of the neatest things about what the festival has become is this sort of melting pot of artists and scholars. Visual art is always involved. Drama is always a centerpiece.”
“There’s really no group in town doing exactly this,” she says. Indeed, the downtown Omaha Lit Fest has a contemporary focus. In theater circles she says “Brigit St. Brigit certainly does a great job with the classics, but they’re doing the drama aspect without exploding that out into all these other facets.” What distinguishes her event, she says, is its examination of “what inspired these much loved classic stories that still fire people’s imaginations.” That niche, she adds, has found “a passionate audience and we want to find more people who get it and dig it and are looking for a thought-provoking, intellectually-stimulating, interactive, exploratory approach to this literature.”
Then there’s the singular setting of the Scottish Baronial castle at 3902 Davenport Street. Built in 1903, the imposing four-story structure is the closest thing to a Count Dracula lair as you’ll find in the metro.
“The castle is gorgeous. An incredible, historic venue. It has a built-in ambience. So it’s really like a perfect marriage between this great literature from past periods and that evocative building.”
Anderson says as she filled out the Stoker festival with programming everything she needed fell into place but one element: authentic Transylvanian folk art from the 19th century.
“It’s been the festival of ultimate syncronicity because when I most need something it magically materializes. One thing I wanted for sure was an exhibit of Transylvanian folk art and lore because it informs a lot of things in Dracula. Stoker was a great consumer and enthusiast of folk lore, he was constantly studying it and speaking to people who knew about it and taking it facts and information. I also wanted to get some actual artifacts – a traditional Transylvanian costume from a hundred years ago.
Searches on eBay only turned up things she couldn’t afford.
“I was beginning to despair and then a friend and I were walking around in the Brass Armadillo antiques store, where I interacted intermittently with a shop clerk with a strange and unidentifiable accent.
My friend and I found this kitsch cross but I said, ‘It will never work for Dracula,’ and the clerk said, ‘I am related to him.’ My friend said, ‘Van Helsing?’ ‘No.’ With a real live relation to Dracula or more accurately to the inspiration for the vampire legend, Vlad the Imapler, standing next to her, she did what any red-blooded girl would do.
“I leaped on him,” she says. The object of her enthusiasm, George Mihai, is not only a Transylvania native but a Romanian cultural studies expert with a personal collection of period artifacts from his home country, including many from his family.
“What are the chances?” asks Anderson, whose own powers of seduction or persuasion has Mihai loaning artifacts for display and delivering a lecture.
Where does a popular entertainer like Anderson fit into all of this?
“I would never be pretentious enough to say I bring any level of academia to this programming. I like to think I bring the juice to it.”
For 2014 she sought “something classic, completely indelible, that everyone knows and is irresistibly popular and sexy to the American public.” With fellow creatives she’s concocted an eclectic look at Dracula. The schedule:
Movie Night, 7 p.m.
Nosferatu on the Green
F.W. Murnau’s silent film classic Nosferatu gets projected outdoors against the castle’s north facade. Audience members can throw down blankets on the lawn. Tiki torches and fire pits add to the mood. A UNO scholar comments on Dracula’s rich screen and stage history. An American Red Cross blood drive precedes the event with a bloodmobile taking donors from 2 to 7 p.m.. “Isn’t that fun?” Anderson says.
•October 23 through November 1
Exhibit, 10 a.m. to 3 p.m. daily
Durham Museum at the Castle: Vampires and Victorians
Victorian ways and Romanian folk art take center stage in this exhibition drawn from the Durham’s permanent collection and from the personal collection of Tranyslvania native George Mihai, respectively. Victorian funerary customs and the rise of female emancipation are sub-themes in Dracula. Mihai’s family artifacts go back many generations.
•October 23-26 and 29-30
Drama Duet, 7 p.m.
Kirk Koczanowkski delivers a one-man performance of Dracula: The Journal of Jonathan Harker. Anderson, who’s directing, says, “This brilliant actor played our Oscar Wilde two years ago and just was dazzling. He’s young but sort of timeless and ageless. He’s transmutable, He can shape shift into anything you want him to be.”
Paired with that show is a staged reading of The Jewel of Seven Stars, a Stoker story about an attempt to reanimate an Egyptian mummy. Omaha theater artist Laura Leininger wrote the adaptation.
The two shows take place in the castle’s atmospheric attic full of turrets, nooks and crannies.
Double Lecture, 6 p.m.
The Man Behind the Monster
Life and Afterlife in Romanian Mythology
Stoker expert BJ Buchelt (UNO) speaks about the author’s life before the iconic novel. Stoker was bedridden as a child. He managed the Lyceum Theatre in London, where he was also personal assistant to England’s preeminent theater personality, Henry Irving. His wide travels in Eastern Europe and his studies of its folk tales prepared him to write Dracula.
Transylvania native and Romanian cultural studies expert George Mihai of Omaha shares what Anderson describes as “absolutely fascinating stories” about Vlad the Impaler, a historical figure whose reign of terror helped inspire vampire mythology, and about that area’s deeply rooted and peristent native superstitions.
Vampyre Ball, 7 p.m.
This “big blowout party on Halloween night will feature tarot readers, palm readers, fire spinner dancers, performers enacting vampiress bride scenes live readings by actors and a costume contest. Plus, lots of food, drink, music and revelry.
Music of the Unknown, 7 p.m.
Hal France conducts a chamber ensemble of vocalists Anderson, Sam Swerczek and Terry Hodgesand and cellist David Downing performing period folk, operatic and popular stage music that deals with the supernatural.
Anderson, a much beloved and versatile artist equally adept at performing cabaret, Irish music, Shakespeare, Sondheim, high drama and broad comedy, makes sure music is always a part of the festival. The power of music has taken on new import for her.
“My ability to perform music, to use music to soothe and help other people is an incredible thing for me. I’ve gone to care facilities and sung from bedside to bedside for people and it does have an immediate affect on people. I’ve gotten thank you letters from people who’ve seen me in a cabaret show or some musical production saying they brought their father to the show and they hadn’t seen him smile since his wife died. That’s the letter you save for a lifetime. Music did that. Live performance did that.”
Then there are the unexpected, unscripted moments when music’s transformative power takes hold. In a September 9 post she wrote about one such moment at the Mayo Clinic in Minneapolis, where she spend a couple weeks undergoing tests.
“On the lowest level of the big open atrium there is a grand piano. It is open to anyone who feels inclined to tickle the ivories. Most days from 10 to Noon a seasoned old pro of a piano player, a woman who can play pretty much any request, sits at the piano and accompanies anyone who wants to stand up and sing…Yesterday, a barrel-chested surgeon in full scrubs walked up to me with his big baritone booming and, taking me by both hands, sang ‘Climb Every Mountain’ straight to my face.”
“It was totally surprising and wonderful,” Anderson says now in reflection. Never too shy to to break into song herself, at various times she did Mayo solos of “Stardust,” “Amazing Grace,” “Softly” and Tenderly” and “How Great Thou Art,” no doubt moving onlookers with her performances. Having the shoe on the other foot was an eye-opener for her.
“Music is and always has been the great healer. I’ve usually been on the providing side of that equation. It’s interesting to be on the receiving end as well.”
The solace of music is always available to her. Her health problems surfaced in the middle of planning the literary festival, which complicated things but also allowed her to lose herself and her woes in the work. She says organizing the event is an “all-consuming feat” she values now more than ever.
“It’s easy to feel like your identity is becoming the disease and I don’t want that to be the case. It’s great to have something like the literary festival to pour my creative passion and energy into. It’s something that pumps me up and keeps me moving forward.”
She’s having fun, too, going goth, fangs and all, in promos.
The public knows her best as a performer but she also directs and she’s looking forward to helming Dracula: The Journal of Jonathan Harker at the fest.
“This Dracula I’m directing is really going to be outside-the-box. It’s a one-man Dracula with a single actor who morphs from one character to another, so that requires tremendous theatrical invention to come up with how do we make that happen, how do we make it clear when you go from one character to another.”
Directing is something she expects to do more of.
“I’ve done more performing than directing but I’ve been directing for years and now I’m feeling I really want to steer my ship in the direction of directing more,” says Anderson, who concedes dealing with stamina and fatigue issues is part of that deliberation going forward.
She owns long associations with the Blue Barn Theatre, the Omaha Community Playhouse and the Nebraska Shakespeare Festival. She and Tim Siragusa had Bad Rep Productions together. She’s left Omaha to make a living doing cabaret and regional theater in places like New York City and Los Angeles, but she’s always returned home.
She’s grateful for the outpouring of care she’s received here in the wake of her diagnosis from extended family and friends. She says the “incredible love and loyalty” she’s received has meant a lot to her as she’s navigated this “scary stuff.”
She’s grateful to for the generosity others have shown. Fellow performers staged a May benefit that paid her way to the Mayo Clinic.
“This big beautiful event went off without a hitch. There was so much heart in all of it – it was overwhelming. It’s almost impossible to describe what it feels like when your friends step in and just support you.”
She was also gifted with a long dreamed of trip to her ancestral homeland of Ireland.
These experiences, she says, have given her “new insight” into her many blessings and a new appreciation for life.
“I think people are never brought closer to the essence of who they are than when they’re facing scary illness. When you’re sick, the bullshit goes away, you see things very clearly for what they are and in a way you’re hypersensitized. It brings you face-to-face with a lot of truths.
As an actress, Anderson’s called to be in the moment but she says she has just as much trouble achieving that state as most of us do.
“Oh God it’s hard to do. I think people’s ambition and drive put their head down the line instead of right here, right now.”
There’s nothing like a devastating health scare to get you to slow down, be still and surrender to the here and now
“All the weird stuff that’s happened medically has really snapped me into the moment, to being able to be fully and deeply touched by experience. To have sensual and delicious moments I’m actually enjoying and am involved in. I wasn’t able to do that before, not really. My head was always somewhere else. It was very hard to slow down and focus in before.”
In an April 5 post she shared, “Here are the things I noticed today: Spring is here. The magnolia tree outside my parents’ house is in glorious blushing bloom. Sprinklers were sending glistening droplets into the air. Lilac buds were packed and purple on the bush in my south garden. The air had a balmy feel. My sweet potato tasted incredible…I sang my guts out at a rehearsal for a gig and loved the feeling of making musical sounds.”
That ability to be in the moment, she says, “is the best thing that’s come out of it (her health crisis).” It’s why when people ask how she’s doing she can honestly say, “I’m taking it one day at a time.”
For prices and tickets, call 402-595-2199 or visit http://www.joslyncastle.com.
Here’s my Reader (http://www.thereader.com/) cover story on famed rock photographer Janette Beckman, whose images of punk and hip-hop pioneers helped create the iconography around those music genres and the performing artists who drove those early scenes. She’s been visiting Omaha for a residency at the Bemis Center for Contemporary Arts, working on a portrait of the city. An exhibition of her photos of hip-hop pioneers and Harlem bikers is showing at the Carver Bank here through the end of November.
Rock photographer Janette Beckman keeps it real;Her hip-hop and biker images are at Carver Bank in Omaha, where she’s doing a Bemis residency
©by Leo Adam Biga
Now appearing in The Reader (http://www.thereader.com/)
Photographer Janette Beckman made a name for herself in the 1970s and 1980s capturing the punk scene in her native London and the hip-hop scene in her adopted New York City.
Dubbed “the queen of rock photographers,” her images appeared in culture and style magazines here and abroad and adorned album covers for bands as diverse as Salt-N-Pepa and The Police. Weaned on Motown and R & B, this “music lover” was well-suited for what became her photography niche.
She still works with musicians today. She’s developing a book with famed jazz vocalist Jose James about his ascent as an artist.
Her photos of hip-hop pioneers along with pictures of the Harlem biker club Go Hard Boyz comprise the Rebel Culture exhibition at Carver Bank, 2416 Lake Street. Beckman, documenting facets of Omaha and greater Neb. for a Bemis residency, will give a 7 p.m. gallery talk on Friday during the show’s opening. The reception runs from 6 to 8.
The Bemis Center for Contemporary Arts stint is her first residency.
“This is a new experience. It’s very refreshing. It’s kind of nice to get away from your life and open up your mind a little bit,” says Beckman, who describes her aesthetic as falling “between portrait and documentary.” “I truly believe taking a portrait of somebody is a collaboration between you and the person. I really like taking pictures on the street. I don’t want hair stylists and makeup artists. I don’t tell people what to do. I want to document that time and place – that’s really important to me. I want it to be about them and their lives, not about what I think their lives should be.”
Carver features a personal favorite among her work – a 1984 photo of Run DMC shot on location in Hollis, Queens for the British mag Face.
“They were just hanging out on this tree-lined street they lived on. I said, ‘Just stand a little closer,’ and they did. I love this picture because it expresses so much. It’s a real hangout picture and such a symbol of the times, style-wise. The Adidas with no laces, the snapback hats, the gazelle glasses, the track suits. It just expresses so much about that particular moment in time. And I love the dappled light on their faces.”
Salt-n-Pepa, ©Janette Beckman
She made the first press photo of LL Cool J, complete with him and his iconic boom box. She did the first photo shoot of Salt-N-Pepa while “knocking about” Alphabet City. In L.A. she shot N.W.A. posed around cops in a cruiser just as the group’s “Fuck tha Police” protest song hit.
She says her hip-hop shots “bring up happy memories for people because music is very evocative – it’s just like a little moment in time.”
The early hip-hop movement in America paralleled the punk explosion in England. Both were youthful reactions against oppression. In England – the rigid class system and awful economy. In the U.S. – inner-city poverty, violence and police abuse.
“Punk really gave a voice to kids who never really had a say. Working-class kids and art school kids all sort of banded together and started protesting, basically by being obnoxious and writing punk songs that were kind of like poetry, expressing what their lives were like. There was the shock factor of wearing bondage apparel and trash bags, putting safety pins in their noses. Really giving the finger to Queen and country and all that history. It was like, ‘Fuck you, it’s not that time, we’re fed up and we’re not going to take it anymore.'”
Her introduction to hip-hop came in London at the genre’s inaugural Europe revue tour.
“No one knew what hip-hop was. It was just the most amazing show. It had all the hip-hop disciplines. So much was going on on that stage – the break dancers and the Double Dutch and Fab 5 Freddy, scratching DJs, rapping, graffiti. All happening all at once. It blew me away.
“I met Afrika Bambaataa, who’s pretty much the father of hip-hop.”
Weeks later she visited NYC and “there it all was – the trains covered in graffiti, kids walking around with boom boxes, people selling mix tapes on the street. I got very involved in it.”
“New York was broke. Politically it was a mess. These kids had no future. Hip-hop gave this voice to the voiceless. They were singing ‘The Message’ (by the Furious Five). Where I was living there really were junkies in the alley with a baseball bat. It was no joke. You could see it unfolding in front of you and yet there was this vibrant art scene going on. Graffiti kids stealing paint from stores, breaking into train yards at night and painting trains in the pitch dark to make beautiful art that then traveled like a moving exhibition around New York. It was just fantastic. A real exciting time.”
She got so swept up, she never left. When big money moved in via the major record labels, she says. “everything changed.” She feels hip-hop performers “lost their artistic freedom and that almost punk aesthetic of making it up as you go along because you don’t really know what you’re doing. They were just experimenting. That’s why it was so fresh.” She expected hip-hop would run its course the way punk did. She never imagined it a world-wide phenomenon decades later.
“In the ’90s with Biggie and people like that it got massive. People are rapping in Africa and Australia. Breakancing is bigger than ever now..”
While capturing its roots she didn’t consider hip-hop’s influence then. “I was just in it doing it. I was just riding the wave.”
Portraying folks as she finds them has found her work deemed “too raw, too real, too rough” for high style mags that prefer photo-shopped perfection. “I don’t really believe in stereotypes and I don’t believe in ideals of beauty.” She’s even had editors-publishers complain her work contains too many black people.
Go Hard Boyz biker club pic, ©Janette Beckman
Beckman’s surprised by Omaha’s diversity and intrigued by its contradictions. She’s shot North O barbershops, the downtown Labor Day parade, her first powwow, skateboarders doing tricks at an abandoned building and a South Omaha mural. She’s looking forward to taking pics at a rodeo and ranch.
She came for a site visit in July with one vision in mind and quickly had to shift gears when she began her residency in August.
“I wanted to photograph people on the street in North Omaha and I found there’s nobody on the street, so I had to try to wiggle into the community.”
Her curiosity, chattiness and British accent have given her access to events like the Heavy Rotation black biker club’s annual picnic at Benson Park. That group reminded her of the Ride Hard Boyz she shot last summer in New York.
“I was riding in the flatbed of an F-150 truck driven by one of the guys down this expressway with bikers doing wheelies alongside, All totally illegal. It was the most exciting thing I’ve done in years. Although it’s rebel in a way, the club keeps kids off the street and out of drugs and gangs. They’re the greatest guys – like a big family.”
The end of Sept. she returns to the NewYork “bubble.” An exhibit of her photos that leading artists painted on, JB Mashup, may go to Paris. She’s photographing a saxophonist. Otherwise, she’s taking things as they come.
“I try not to make too many plans because they tend to get diverted.”
Rebel Culture runs through Nov. 29.
View her Omaha and archived work at http://janettebeckman.com/blog.
I dare say there’s not a more instantly recognizable voice than that of the late Johnny Cash. You hear that deep Southern molasses growl and it’s unmistakably him and no one else. When I got wind of a Cash tribute show playing Omaha, I immediately thought of Omaha performer Brenda Allen because she’s the only entertainer in these parts that I know of who counted Cash as a friend. She also jammed with him and appeared on the same bill as him. Allen’s her stage name. Her real name is Brenda Allacher. I’ve interviewed Brenda before, once for a story about the play A Piece of My Heart which dramatizes the real life experiences of American women who were in the Vietnam War as nurses, aid workers, and entertainers. Brenda went there as part of an all-girl band. More recently I wrote an in-depth profile of Brenda that revealed her Cash ties. Both those stories can be found on this blog. For this new story I recount some of Brenda’s priceless Cash recollections, including an amusing, can’t-make-up-this-kind-of-stuff anecdote about the perculiar way they met. I also aounded out some admirers of Cash from the local music scene. Additionally, Ring of Fire cast member Erika Hall shared her thoughts about the man and his music and how adaptable his songs are to women interpreters like herself. The story appears in The Reader (www.thereader.com).
NOTE: Ring of Fire: The Music of Johnny Cash concludes this weekend at The Waiting Room in Benson.
Omaha performer Brenda Allen recalls her friendship with Johnny Cash
Ring of Fire pays tribute to iconic singer-songwriter
With impresario Gordon Cantiello’s new tribute show The Ring of Fire: The Music of Johnny Cash at The Waiting Room, it’s only natural to consider what makes the singer-songwriter of the title so enduring.
The king of hard-scrabble, honky-tonk infused with gospel, country, folk, blues and rock, became a living legend with his Man in Black and Folsom Prison Blues persona. His soulful music fit his wayfaring life. In his last decade Cash enjoyed a renaissance among artists and fans across the musical spectrum. The Reader solicited local musicians and music lovers to reflect on his work and found many admirers, but only Brenda Allen, aka Brenda Allacher, counted him as a friend. She also jammed with Cash and played on the same bill as the late star.
As a young vocalist-guitarist Allen was befriended by Cash, whose generosity she fondly remembers. Their memorable first meeting happened in 1958 when she auditioned for a guest spot on ABC-TV’s Ozark Jubilee at the Jewell Theatre in Springfield, Mo. She was 18 with some modest credits. Cash was 26 and already an established star.
“I did my audition and they said I could stay and see the show, which was starting in about an hour. My girlfriend and I were looking at three guys sitting in front of us. They weren’t regulars on the show.”
A dark-featured man in a black shirt caught Allen’s eye.
“I said, ‘God, he’s good looking,’ and my girlfriend said, ‘All three of them are good looking.’ Yeah, I wonder who that is?”‘
In the meantime the Jubilee’s version of a Hee-Haw couple, Uncle Cyp and Aunt Sap Brasfield, were rehearsing. A live elephant was part of the act. The animal did some tricks. Then the beast decided to pee.
“It sprayed 20 rows out. All the performers were in their costumes already. Everybody got hit. We were soaked,” Allen recalls. “We dived under the seats and I saw these long legs go running over top and I said, ‘Is he done yet?’ And this deep male voice said, ‘No, you better stay down there,’ and he went on by me. Finally I peeked up and they were putting saw dust all over the place, wiping seats down and I heard that same voice say, ‘Well, how high is the water, mama?’ I said, ‘It’s two feet high and rising.’ It was Johnny Cash.
“I popped up and said, ‘Are you staying across the street?’ ‘Yeah,” he said. ‘We’re staying there, too, you want me to bring you a shirt?’ ‘Hell, yes,’ and he gave me the key to his room and I got him a clean shirt.
“We sat and played guitars that night and talked about country music. That’s what started it. He was a perfect gentleman.”
After returning to her home in Lincoln, Neb. Allen stayed in touch with Cash. “I wrote him a letter and I got a letter back. I set him a picture of myself with my Fender Telecaster and he sent me his first song book. Without me even knowing it he sent my picture to Fender. That’s the kind of guy he was. Fender offered me a contract to model.”
She never signed. Instead, she landed with Marty Martin, who gained fame as Boxcar Willie. In 1962 the Marty Martin Show Featuring Brenda Allen opened for Cash at Lincoln’s Pershing Auditorium and Omaha’s Ciivc Auditorium. Later, as part of the Taylor Sisters, she was on the same program with Cash at a 1964 Wichita, Kansas show also featuring June Carter, Minnie Pearl, the Statler Brothers and Lefty Frizzell. “I’d say we were in damn good company.”
“Wonderful,” is how she describes sharing the stage with Cash. “He had such a charisma about him. You just felt there was something special about this guy.”
Brenda, circa 1970s-1980s
Brenda with Cash in his later years
Ad promoting a show she was in
His interest in her career continued. “I told him I was looking to join a band and he said, ‘Why not get your own band together?’ He told me, ‘You’ve got a damn good voice.’ He and his lead guitar player Luther Perkins sat me down and said, ‘Brenda, stick with country music, you’re going to make it.'” The elephant anecdote always connected Allen and Cash.
As for his troubled personal life, she says, “Around the time June Carter entered the picture I started noticing things about John from when I first him. I knew of the wildness.” Depression and addiction took their toll in “the bad years.” Allen’s been there. At 74 the recovering alcohol is a karaoke regular. She sings some Cash tunes. His melancholy, redemptive ballads work well with female interpreters. Just ask Erika Hall, who performs Cash standards in Ring of Fire.
“He was real, he was gritty, he was flawed, he spoke for all of us who make mistakes, who feel pain, and he had a very unique gift of being able to tell that story through music,” Hall says. “He gives us something to grab onto when we feel like we are alone in our pain. I find it interesting how well some of those songs do transfer to a female singer. It just shows you how much emotion was present in that music.”
Hall, who essayed Patsy Cline in a recent Cantiello-produced show, says the Cash canon lives on because “he was able to speak to multiple generations in the same way.” She adds, “Pain is pain, joy is joy – those emotions don’t change from generation to generation and Johnny Cash was able to send those emotions through his music in a way every human can identify with. He spoke to us. That’s his legacy.”
That legacy cuts across boundaries performer Billy McGuigan (Rave On) says.
“There are very few artists who ascend above the labels used to classify artists. We love to say Elvis is the King of Rock, Michael Jackson is the King of Pop, Hank Williams and Waylon Jennings are undeniably country. But The Man in Black? He’s above all that. He started as an early rock artist, became a country icon, a television personality and influenced the undertones of rap music.
“There’s something about that voice. That deep baritone resonates the soul and goes beyond his just singing a song. Add in the driving rhythm of the Tennessee Three and you’ve got a magical formula.”
“The legacy of Johnny Cash stretches across seven decades,” Pacific Street Blues host Rick Galusha says. “His influence was felt at the onset of rock and roll at Sun Studios and into the new century with his historic American recordings with Rick Rubin. Any artist able to stay-on-top while maintaining a high level of artistic integrity is bound to be influential.”
“Who hasn’t been inspired by Mister Cash?” asks Rainbow Recording studio owner and Paddy O Furniture band leader Nils Anders Erickson, “He wrote and sang about what he knew and you believed him. It wasn’t just a song, it was the truth. Love the man, love the music.”
The Ring of Fire cast also includes Sue Gillespie Booton, D. Kevin Williams, Thomas Gjere and Zach Little. Cantiello directs with musical direction by Mark Kurtz and Vince Krysl.
The show’s remaining play dates are Saturday, August 9 at 1, 5 and 8 p.m. and Sunday, August 10 at 1 and 5 p.m. The Waiting Room is at 6212 Maple Street. For tickets, call 402-706-0778.
For details, visit performingartistsrepertorytheatre.org.
I don’t know what it is, but I keep winding up doing stories about cabaret singers. One of the latest I’ve profiled is Mary Carrick, whose new CD Let’s Fly is an interesting collaboration with J. Gawf, a pianist who serves as Opera Omaha resident music director and chorus master. Carrick got to know Gawf while performing in the Opera Omaha Chorus. Impressed with her versatile voice, he began coaching her on the side. Impressed with his musical acumen, she asked for advice about who could help her with a new CD she had in mind to do fresh takes on American Songbook standards and other tunes across the music spectrum. He suggested himself and that’s how he became artistic producer and arranger for her Let’s Fly. Here is my Omaha Encounter Magazine story on Carrick and her collaboration with Gawf on that CD project. By the way, on this blog you can find my profiles of other Omaha cabret artists, including Camille Metoyer Moten and Anne Marie Kenny.
If the late soul master James Brown was the hardest working man in show business, then singer Mary Carrick is Omaha’s hardest working woman in entertainment.
When the Nebraska Arts Council touring artist isn’t performing her own cabaret act, she’s singing in the Opera Omaha chorus or acting in a musical theater production. She also does special events like the Omaha Press Club Show and Omaha Creative Institute Spring Fling.
In addition to her rehearsals and vocal exercises she attends cabaret workshops. All this comes on top of working a full-time marketing job, being married and raising two small children. Yet she’s made time to create her debut CD, Let’s Fly, with artistic producer and arranger J. Gawf, a pianist whose day job finds him serving as Opera Omaha resident music director and chorus master.
The album, available on iTunes. Amazon.com and CD Baby, showcases Carrick’s big voice, wide range, and eclectic tastes. The 10 tracks about love and desire include the Harold Arlen-Johnny Mercer standard “Come Rain or Come Shine,” Cole Porter’s “So in Love,” the Hank Williams classic “I’m So Lonesome I Could Cry,” Barry Manilow’s bath-houser “Man Wanted,” and the Jon Mitchell hit “Both Sides Now.” There’s even Leonard Cohen’s edgy “Dance Me to the End of Love.”
The project’s an intriguing collaboration between a versatile singer deeply rooted in the Great American Songbook and a multifaceted musician immersed in opera. Carrick, who can sing anything, has a voice with operatic qualities, and Gawf, who can play anything, is well-versed in popular music. He’s also Carrick’s primary vocal coach and the two have developed an aesthetic kinship and personal friendship.
Gawf has worked with world-class singers and is a great admirer of Carrick’s vocal instrument.
“It’s crystalline clear, it’s shiny, it’s got shimmer,” he says. “She has such a range to go from the high register, which I think is a beautiful part of her voice, to the low register.”
Then there’s what Carrick can do with a song.
“Well, she’s a storyteller, number one,” he says. “She comes from a theater background and she can tell a story like nobody’s business.”
Carrick’s found a niche in cabaret performances that often find her teaming with pianist-vocalist Todd Brooks.
“There’s so much artistic freedom in cabaret,” she says. “There’s really no rules. I can program whatever I want. I can do songs that are traditionally sung by men and make them my own. I can infuse myself and my own experiences into the songs. There’s a very intimate connection with the audience that I love very much. I can talk and tell stories throughout my show. I love that audience-to-singer energy that happens in the room. It’s exhilarating.”
She’s been recognized by the Omaha Entertainment and Arts Awards and the Theatre Arts Guild for her cabaret shows as well as productions of her own Broadstreet Theatre Company.
When Carrick broached the concept of her album, Gawf wanted in and says the chance of “doing something I’d never done” appealed to him. “Mary gave me free license.”
The songs on “Let’s Fly” have been covered many times by other artists, but Gawf was intentional in taking a new slant.
“I pride myself on not listening to other artists before I tackle something because I don’t want to get preconceived ideas of how something should be. I like to take the song off the page and then re-imagine it. After we got our arrangements together I listened to what other people did to see where ours fit in, and we’ve got some unique things. Half the fun was coming up with what works for us.”
Carrick feels she’s in good hands with Gawf.
“I put my trust completely in him. It’s just been an awesome match. I think we work in tandem really well. He totally gets me. He can tell when I’m not giving as much as I need to. There was one session where he said, ‘I don’t feel like you’re giving you’re all to me,’ and he was right. I know where he’s at, he knows where I’m at. We can sort of feel where we’re going, where things aren’t working.”
Carrick says she most enjoys “the creative process,” and with the CD she’s pleased to have gone to “a real vulnerable place in being completely true to the material. It’s a scary place to go if you really want to be an honest singer, but I think we achieved that .”
For the album Gawf assembled musicians he’s worked with before, including three Omaha mainstays in percussionist J.B. Ferguson, bass player Mark Haar, and accordion player Kate Williams. Jazz pianist Eric Andries joined the ensemble from his home in Baton Rouge, La.
The CD marked the inaugural project for Dreamtree Recording, a new studio operated by Omaha musician and sound engineer extraordinaire Marty Bierman.
The recording sessions became Gawf’s playground to have the musicians try different rhythms and tempos – adding, subtracting, mixing, matching various sounds.
“It was true experimentation all the way around,” he says. “It was fun to be able to do that, to not take it straight from the page and to work with such great instrumentalists.”
Carrick says the CD was both “a fascinating” and “massive undertaking” that “organically developed.” Don’t be surprised if she and Gawf re-team for a new project.
Follow the singer at marycarrick.com.