Tag Archives: Hairspray

Kathy Tyree Channeling Her Inner Diva

February 14, 2014 by
Photography by Bill Sitzmann

The term “diva” has taken a bit of a hit in recent years, suggesting to some a haughty I-want-it-all-and-want-it-now scene chewer who treats other humans like varmints.

For most, though, the word remains untarnished. The diva is still the shining star, the bigger-than-life glory who commands a room while displaying elegance and charity beyond the bright lights.

Kathy Tyree is most certainly the latter type of diva.

So, too, was Ella Fitzgerald, the legendary jazz diva who Tyree will shape-shift into for Ella, which opens at the Omaha Community Playhouse on February 28.

“Ella Fitzgerald was every bit the good diva, a marvelous performer,” Tyree says during an interview at a mid-town coffee shop. “My job is to channel my inner diva. But I think I’ve earned my diva stripes. It’s an immense challenge, but I feel I’m up to the challenge.”

“She brought the house down in Hairspray. She’s going to bring the house down again.”
— Susie Collins

Tyree has more than earned those stripes in 30-some years of powerhouse singing throughout the region. She is arguably Omaha’s premier cabaret singer. Among numerous other roles, she played Aretha Franklin in Beehive, widely considered the longest-running show in the city’s history.

That show’s director, Gordon Cantiello, says he’s confident that Tyree is “by all means a big-time diva in the good way.

“The other girls in Beehive had to work hard to keep up with her,” Cantiello says. “She commands a room. She’s 110 percent all the time. She’s a director’s dream.”

Susie Collins, who will be directing Ella, agrees and adds that Tyree “has a very special, powerful way of expressing herself through her music.”

“It actually goes deeper than the biographies that have been written about her. There are just some topics you didn’t talk about back then that are discussed more openly now.”
—Kathy Tyree

And yes, she said, Tyree can command a room like a true diva. She did just that in a Playhouse production last summer. “She brought the house down in Hairspray,” Collins continues. “She’s going to bring the house down again.”

Ella is a new challenge for Tyree in that, for one, “there are an immense number of lines to learn.” The one-woman musical is “a very honest and open look at her life.” The musical goes far beyond the music.

Set in Nice, France, in 1966, Fitzgerald’s manager suggests she engage in more banter with her audience—a fashion for singers at the time. Her conversations on and off the stage through the musical increasingly delve into deeply personal topics, including the sexual abuse she suffered at the hands 
of her stepfather.

“In shows like this you can get a script that’s kind of glued in there—that’s very forced,” Collins explains. “You have a very skilled playwright here [Jeffrey Hatcher]. The script is just excellent.”

“It actually goes deeper than the biographies that have been written about her,” Tyree says. “There are just some topics you didn’t talk about back then that are discussed more openly now.”

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At the show’s heart, though, is the music and the larger-than-life voice and presence of the diva.

“The diva develops her own style out of her own personality,” Tyree says. “Ella Fitzgerald was uniquely Ella. A diva is the only person who sounds the way they do. You know immediately who is singing when you hear the voice.”

Tyree has built her own personal style from many influences. In some cases, she’s standing on some unlikely shoulders.

You might guess she was first inspired by the towering voices and personalities of Diana Ross and Lena Horne. Aretha Franklin, sure. Cher, who Tyree loves for her versatility. Luther Vandross. So smooth.

But Mick Jagger? Really?

“He’s always going—so passionate,” she says. “I love what he does with a song.”

And Rod Stewart?

“I love performers who are sincere and real,” she says. “That passion is authentic.”

Ella Fitzgerald, she says, was one of those sincere, genuine, authentic, and passionate singers who brought her best each night to her performance and her audience.

That’s what Tyree wants for every second she spends on stage as Ella Fitzgerald.

“I’d like to think I have my own style, so it’s interesting to work to channel Ella Fitzgerald—try to take on her unique style,” Tyree says. “What’s not at all different is that burning desire to give the audience everything you have. Ultimately, a diva wants to give the audience something to remember. So we’re going to work to give the audience something to remember.”

Courtney Stein

November 25, 2012 by
Photography by Bill Sitzmann

If all the world’s a stage, then 25-year-old actress, dancer, and choreographer Courtney Stein is definitely a player.

While performing in the musical Once On This Island at the tender age of 5, Stein, who was born and raised in Omaha, says she got “the itch” for theatre. “I grew up in the Ralston Community Theatre, taking part in numerous summer musicals throughout my adolescence,” she adds.

After she graduated from Ralston High School, Stein headed out to southern California for a year to join the Young Americans, a touring performance and music education outreach program. She then returned to Omaha to study vocal music education at the University of Nebraska-Omaha. Shortly thereafter, she went to New York University, where she created her own program of study in various culture, dance, theatre, and music, but then returned home once more to graduate from UNO in 2010 with an individualized degree in interdisciplinary studies—specifically, anthropology with a focus on music, dance, and theatre.

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Today, Stein earns her living as a freelance choreographer and dance instructor, and she also teaches yoga, tai chi, and tap dancing at Bellevue Senior Center. Beyond her freelance work, Stein is involved with several nonprofit organizations, including WhyArts? and Arts for All, Inc. “I teach at a multitude of elementary schools in the metro, through both the Artery’s Dancing Classroom program and through the Omaha Community Playhouse’s educational outreach program. I [also] choreograph several area high school musicals and show choirs, as well,” she says.

But just teaching performance wasn’t enough for Stein; she wanted an outlet to continue the passion for performance her 5-year-old self had felt so long ago. That’s when she looked into the community theatre scene in her hometown.

“We don’t act for the money, we don’t sing for our supper, and we don’t dance for a dime.”

“Omaha is special,” she says. “It is home to so many artists—starving and otherwise, who are lucky enough to share their passion in a welcoming environment…We are privileged to have such wonderfully diverse yet mutually supportive theaters.”

One such theater is the Omaha Community Playhouse, the largest community theatre in the nation. The theater opened in the 1920s after a group of Omahans—including Alan McDonald, architect of the Joslyn Art Museum, who later became president of the Playhouse—wanted stage performances to return to a community increasingly dominated by the rising popularity of films. In April 1925, the Playhouse’s very first play, The Enchanted Cottage, opened and was directed by Greg Foley, starring Dodie Brando, mother of actor Marlon Brando. The theater later saw the acting debuts of Henry Fonda (father of actress Jane Fonda), Marlon Brando, Dorothy McGuire, and Julie Wilson. For Stein, having the chance to stand on the stage where these legends once stood was an aspiration.20121031_bs_1664-Edit copy

“The first show I auditioned for at the Playhouse was Urinetown, and I actually wasn’t cast.” But Stein was stubborn and auditioned for the Playhouse’s next big musical, Thoroughly Modern Millie, in 2007, where she was cast as a tap-dancing stenographer. During that role, Stein believes she must have done something the directors liked because she was then cast in the next show, A Christmas Carol, as fun-loving and energetic party girl Lucy.

Though she’s played Lucy for the past five years, this November and December, Stein plays Millie. “[Millie] is married to Scrooge’s nephew, Fred,” Stein explains of her character. “This is the first year since I have been a part of the Carol that I will not be Lucy, [who] is the slightly crazy, very energetic younger sister of Millie.”

Stein is slowly building a solid performance reputation with the Playhouse, as she has been involved in at least two musicals/plays each year. Her list thus far includes:

  • Thoroughly Modern Millie (as stenographer), 2007
  • A Christmas Carol (as Lucy), 2007-2012
  • The Cocoanuts (as Polly Potter), 2008
  • Batboy (as Ruthie/Ned), 2009
  • Joseph and the Amazing Technicolor Dreamcoat (as chorus member), 2009
  • All Shook Up (as Lorraine), 2010
  • Fiddler on the Roof (as Chava), 2010
  • Footloose (as Wendy Jo), 2010
  • Nunsense (as Sister Mary Leo), 2011
  • Hairspray (as Amber Von Tussle), 2012

This past year, Stein was even nominated for the Omaha Theatre Arts Guild’s awards for her supporting actress role as Amber Von Tussle in Hairspray. Though it was exciting, Stein says she was somewhat shocked about the nomination. “I’ve played several sweet, ingénue-type roles and never received as much recognition. But I was cast as Amber in Hairspray, a horribly mean-spirited—albeit charming and funny—young girl and WHAM! I’m nominated for a TAG award and an OCP award!” she laughs. “Perhaps I’m not as innocent as I thought!”

Though she has been nominated for several other awards for her performances in Fiddler on the Roof, All Shook Up, and The Cocoanuts and received the Charles Jones Director’s Award from the Playhouse in 2010, Stein feels humbled by awards and tries not to put too much stock into them, as the performance is her true honor.

During her time with the Playhouse, Stein has developed a new ambition beyond just acting, singing, and dancing in the shows—she also wants to work behind the scenes as a choreographer.

Stein as Amber Von Tussle in the Omaha Community Playhouse's production of Hairspray.

Stein as Amber Von Tussle in the Omaha Community Playhouse’s production of Hairspray.

Last year’s Carol was the first year that Stein was asked to co-choreograph the play with Michelle Garrity. “[We] used a divide-and-conquer strategy to teaching the choreography. The show is such an institution at the Playhouse, and the choreography has remained true to the original, so it was intimidating to say the least.” And this past summer, Stein helped choreograph Hairspray with Kathy Wheeldon. “It was a wonderful experience to see some of my own original choreography onstage at such a prominent theater,” she adds, hoping she’ll have more opportunities to have her choreography in Playhouse shows.

Although it may seem like a career in performance is difficult to get with all of the fierce competition, Stein feels like community theatre doesn’t work that way. “We don’t act for the money, we don’t sing for our supper, and we don’t dance for a dime. In fact, we sacrifice time, energy, and sanity for one reason—an undying passion to tell a story, to convey a message, to leave the world a little different than before. We want to reach an audience.

“In the whirlwind of everyday chaos, theatre provides an outlet for release, a platform for expression, and a vehicle for social commentary. I believe that arts education is essential to the growth of a well-rounded human being and community.”

A Christmas Carol runs from Nov. 16 through Dec. 23 at the Omaha Community Playhouse (6915 Cass St.) and will be followed by Yesterday and Today, which runs from Dec. 7-31, and Deathtrap, which runs from Jan.18 through Feb. 10. For more information, visit omahaplayhouse.com or call 402-553-0800.