60 Plus Omaha - July/August 2020

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Gwen Lemke Mom, Entrepreneur, and Saleswoman Extraordinaire My mom, Gwen, is retiring from Omaha Publications. She has worked the past 69 years of her life, starting at age 15 as an elevator girl for the Blackstone Hotel. My mom has set an example of discipline and work my entire life. And what a successful and varied work life example she has given to me and my brothers. She taught dance lessons, owned an insurance agency, and owned one of Omaha’s largest real estate companies, before spending 20-plus years at Omaha Magazine. Mom lives in Plattsmouth, but was usually the first to arrive and the last to leave. She taught us “work comes first.” I grew up in an entrepreneurial family where I was encouraged to take chances and live by the golden rule. Mom never offered excuses, only opportunities. I remember when Mom wanted to retire after her real estate days, but I approached her with needing help selling small ads in high school sporting programs. Without hesitation, she said yes, and turned into one of our top, and most consistent, salespeople, producing sales across nearly all of our 20-plus publications. Thank you, Mom. Many of you know my mother for her passion and compassion when helping companies with marketing—whether it was print display space, emails and web ads, or programmatic advertising. She tackled each new project with an open mind, curiosity, and vigor. Mom was our associate editor for this section called “60-Plus in Omaha,” and she conceived and coordinated our popular “Prime Time” section every January. I was often asked “Todd when do you plan to retire?.” My answer was always the same, “I can’t. How would it look to retire before my mom?.” These last several years Mom lost my father, Ray, and my youngest brother, Tyler, yet remained positive and engaged. She misses them both immensely, but also knows she must stay active and connected. Mom is always there for every family member. She has been the example of compassion and encouragement. Mom you have paid your dues, job well done. You have set the bar high, and now is the time to take some time for yourself.

Todd Lemke

Publisher

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�ever Too �ld to �ream Theater Newcomer Wows Omaha Arts Community 60+ ACTIVE LIVING // STORY BY JOSEFINA LOZA // PHOTOGRAPHY BY BILL SITZMANN // DESIGN BY DEREK JOY

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ome might say time is humans’ most precious commodity. If people are living longer than ever before, and retiring younger than ever before, one would want to fill that time with activities that heighten his or her quality of life.

“I’ve always tried to be a people-pleaser by putting on an act,” she joked. “I never thought of myself as an actress. I didn’t want to be a movie star, nor did I ever believe that something like this would happen to me.”

Yet, so often, people dedicate so much time to their daily routines; they forget their passions and the importance of learning new skills.

Karen spoke of how quickly she went from being a student to earning a lead role in a local production after taking one acting class.

Theater newcomer Karen Fox of Bellevue said people should find a hobby that nurtures their interests. Most importantly, they should try new things, even if they are reluctant at first.

Her straight-laced career had been focused in her role as an administrator. Her last position, until her 2016 retirement, was working for a housing management company. A typical retirement day for Karen was filled with friends and social engagements. More often than not, she spent the day at her friend’s beauty shop gabbing about random things to make the time pass.

Her daughter, Krystal Fox, urged Karen to explore her hidden talents. She invited Karen to skydive. That was a no-go. She invited her to the gun range. Nope, not for Karen. “She’s very insistent,” Karen said. Finally, she took an Omaha Community Playhouse acting class with her daughter. Karen, who is 62 and had never been on stage before, enjoyed attending productions. But to be the center of attention? “Whoa,” she exclaimed. This was going to be new. Acting was never something Karen dreamed of doing.

That is until Krystal encouraged her to shake up her routine, which eventually led to the acting class they took together. “If anything,” Krystal would say, “think of it as an experience.” “I had so much fun,” Karen stated. “The teacher was so complimentary and supportive.” She did not think anything more of the class after it concluded. Krystal was impressed with her mother’s talent and began sending her audition announcements as a way of urging her to try out for parts that seemed right.

“The process seemed a bit overwhelming,” Karen said. A year passed, and one day she heard a play announcement for A Raisin in the Sun. A special role in the production caught her eye. “It has somebody my age,” she said of the character. “Let me go try out, I thought. I was just going to think of it as an experience and go for it.” She debated whether she was good enough. She wondered if she would make the right impression. She worried she wouldn’t get the part. After much internal discussion, she decided, why not? Why not take a chance? What’s the worst that could happen? The audition day came. Karen didn’t tell a single person where she was going. Nothing to fear now. Secretly, she attended the Omaha Community Playhouse audition for the role of Lena Younger, the matriarch of a South Side Chicago family in the 1950s. In the production of A Raisin in the Sun, the Youngers have received an insurance payout they know can enhance their lives, but the family debates how the money should be spent. Karen was attracted to the role because she fit the age range and had a historical perspective.

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She was raised by a modest family in Denver. “We grew up kind of poor, close to the projects,” she explained. “By the time I was going to school, we moved into a different area in town. “We were one of the first black families in Park Hill,” she continued. “We were one of the first black families to go to school there when districts began integrating students in the 1960s. “At the time, we didn’t know we were paving a path for others,” she said. “My older brother probably did. He took the brunt of it because he has darker skin. I was too young to understand or be affected by [racist attitudes].” She recalled a time when a man accused her older brother of peeping in his family’s window. Her father worked as a window washer and had her brother alongside him that day, so he knew the man was lying. The frightful accusation opened dialogue in her family to have tough conversations about race. Reflecting on the play, Karen said it was beautiful and helped people understand certain things. Some of the material involved in the theatrical—racism, red lining, poverty, and more—were sometimes tough to digest. “With Karen being kind of like the seasoned one of the group, she had those personal experiences that she was able to translate on stage in a way that everyone could relate to,” said Omaha actor David Terrell Green, who played Walter in the production. During the audition, Karen reflected upon her lived experiences and read the lines provided to her. Tears welled in the corners of her eyes because the emotions and memories were all too real. Days later, she received a callback to read a few more lines and was subsequently offered the role as Lena Younger. “I thought they were going to call me to let me down easy, but instead the offered it to me,” she said. “I screamed [with delight] over the phone.”

In her first production, she landed a signature role, an achievement in which her entire family took pride. She furthered her theater education with director Tyrone Beasley, who selected her for the callback because she was “such a natural.” “Tyrone always encourages [people] to be natural and authentic with the acting,” Karen said. Green said she was perfect for the part. “She is graceful, [and] has a very warm presence about her,” he said. Her supportive family—daughter Krystal, and sons Jason, James, and Ja Keen—celebrated the accomplishment. In fact, they have been supportive of everything that Karen has done. Karen’s voice raised a few octaves as she spoke of her husband, James. The couple met in 1983 on Lowry Air Force Base in Colorado, where James was stationed. “It was a whirlwind romance,” she said. Shortly after the couple met, James received orders that he would be transferring. They didn’t want to be apart. So, in 10 days of knowing one another, he proposed and she accepted. “We met and fell in love,” she explained. “We’ve been married for 37 years. Let’s just say we had a lot of getting to know one another.” The couple moved to Bellevue in 1992. “James is very supportive of me,” Karen said. “When he saw me acting, he said, ‘I didn’t know you could do that.’ Ha! Neither did I.” Her 63-year-old husband drove her to rehearsals, which were eight hours a day, six days a week. The couple never missed a day. She enjoyed acting because she was, “In a character that really was not me,” she said. “A lot of it was but a lot of it wasn’t. I’ve never been that wise nor could I entertain people the way that she did.”

IN HER FIRST PRODUCTION, SHE LANDED A SIGNATURE ROLE, AN ACHIEVEMENT IN WHICH HER ENTIRE FAMILY TOOK PRIDE. SHE FURTHERED HER THEATER EDUCATION WITH DIRECTOR TYRONE BEASLEY, WHO SELECTED HER FOR THE CALLBACK BECAUSE SHE WAS “SUCH A NATURAL.” // 64 //

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But entertain she did those early January dates in 2020. Although she didn’t get stage fright, she said there were a few moments while performing that she was caught off guard. “The only time I had a problem is if I looked directly out and saw someone’s face in the audience. But I didn’t want to throw myself out of this play and into reality. So, I avoided looking at the crowd until I became more comfortable on stage.” “I think it’s no secret that a lot of people were shocked that this was her first time acting,” Green said. “The way she was able to dominate on the stage you’d think she was a veteraness. It was incredible to sit back and watch her as a fan.” Lena Younger was a pivotal character, as she was the pillar of strength that held her family together. She was loving, but not in a mushy way. More like in a tough-love, straightforward kind of way. Karen is the matriarch of her family and continues to care for them in the same loving manner as Lena. She said of her four adult children, three still live at home. Karen hopes to continue acting, but only if the right part comes along. She suggested other retirees open their minds and hearts to the idea of trying their hand at the creative arts. “It’s going to keep your brain and body active, especially being around people in our retirement age,” she said. She said those who are physically capable should, “be around people, and young people at that. Don’t just sit around at home and wait until you can’t move anymore. Get out there and find something you like and that interests you. Who knows? It might even lead to you helping other people.” Green agreed with Karen’s advice. He said: “Get out of your head. You have to get out of your head. A lot of times we stop ourselves from jumping in to have these amazing experiences and from growing. There are plenty of success stories from people who were considered ‘too old.’ If you’re willing to do [or] learn something new, just do it. Who says that because you reach a certain age you have to just sit down?” Visit omahaplayhouse.com for more information about future performances.


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60+ HEALTH // STORY BY JENNA GABRIAL GALLAGHER // PHOTOGRAPHY BY BILL SITZMANN // DESIGN BY DEREK JOY

In Tune With Her Clients

Music Therapist Connects with Older Adults to Help Chronic Conditions hen Emily Wadhams’ audience W falls asleep while she’s performing for them, she considers the gig a success. “Honestly, it means I’ve done my job,” Wadhams said. A board-certified music therapist and founder of Omaha Music Therapy, she has worked with clients age 2 months to 103 years, using music to achieve nonmusical goals. With older adults, those goals can include pain management, tremor-calming, memory recall, relaxation, mood and quality-of-life enhancement, coordination and balance improvement, and an increase in general engagement. Wadhams said that music therapy reaches people in a way that drugs often can’t, citing an experience with a patient who has Parkinson’s disease and Alzheimer’s. “He loves his Joni Mitchell and his Bob Dylan and when I come in, he recognizes me because of my guitar,” she recalled. “A nurse was in his room doing an assessment on a recent visit. She said that he’d been trembling uncontrollably before I arrived, and his tremors stopped almost completely the moment the music started.” Music therapy evolved into a profession in the 1940s when the first music therapy college training programs were created. Since then, numerous studies have shown the benefits of music therapy for people of all ages and with practically every conceivable condition. “Music uses and stimulates every part of the brain and changes it to make connections that weren’t there before or have been lost,” Wadhams explained, noting that, in addition to esoteric academic research, there are hundreds of videos on YouTube that illustrate this in research labs and care facilities all over the world. “You can practically see the different areas of the brain lighting up when it hears music.” Monica Tvrdy, director of patient and family services at Hillcrest Hospice Care, said her team finds music therapy particularly helpful in enhancing quality of life for patients with issues of depression, // 66 //

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isolation, anxiety, agitation, and falling. “For example, we had one patient who was often anxious, but had a love for Elvis. After the initial assessment, Emily told me this patient was talking to her and answering questions during the music therapy session. The sessions are the one time the patient is truly verbal and able to communicate how she is feeling.” Of this patient, Wadhams added, “Besides Elvis, she loves hymns, and sometimes angry girl music like [the song] ‘These Boots Were Made for Walking.’ As soon as I walk in, she goes from over-the-top anxious to her whole body calming down. I love pulling out new music and seeing what she will respond to.” Wadhams chooses different instruments for different needs. “If my client likes to play guitar or sing, we can really jam out. It’s great for lung capacity and fine motor skills. But, if someone is no longer ambulatory, maybe I’ll put a drum under their feet, and the movement of their feet helps them engage in the session,” she said. “Also, for those with Parkinson’s, drumming can help provide a successful musical experience without the patient having to worry about their tremors. Or for traumatic brain injury and stroke patients, establishing and maintaining a rhythm can help them regain some of those brain connections that had been lost.” Wadhams said it’s always about meeting clients where they are. Even when she and her staff can’t do it physically. During the COVID-19 quarantine, Omaha Music Therapy, which has clients as far away as Grand Island, has expanded their remote therapy capabilities. “We definitely find ourselves being creative in ways that we weren’t before. We’ve done hallway music therapy because we couldn’t go into the rooms of clients due to social distancing. We’ve done therapy over the phone or via Zoom with a bucket and a spoon. It’s just a matter of thinking outside the box.”

With a couple of exceptions (such as Frank Sinatra, whom she prefers to play from iTunes—after all, when a client wants to hear Ol’ Blue Eyes, nothing else will do), Wadhams will sing and play any genre from any decade: from classical to country, from spiritual to soul. “Johnny Cash is a big favorite,” she said with a tender smile, recalling one of her early hospice patients who was quietly slipping away. “I played ‘Ring of Fire’ for her and she opened her eyes and smiled, and told me and her son that she’d gone to see Johnny Cash and Jerry Lee Lewis in concert when she was 14 years old. After that, whenever I played Johnny Cash, she would open her eyes and give us these little snippets of her life.” Tess Fogarty, whose aunt Nancy Fogarty, Ph.D., was a longtime client of Omaha Music Therapy following her Alzheimer’s diagnosis, said that sometimes her aunt would fall asleep to the music, while other times she got involved. “Nancy always had a smile on her face, but when she saw Emily, she had an extra smile. My daughter used to say that her eyes would get glittery.” Fogarty said that music therapy was as beneficial for the family as it was for Nancy. “Emily was a critical member of the care team. She would email us after each session and let us know what Nancy was responding to and what she wasn’t. She helped Nancy in 1,000 different ways, but she helped us, too.” Sometimes, that help comes in unexpected forms. Wadhams recalled one such time, playing at the bedside of a hospice patient, surrounded by the lady’s family who were passing around tissue boxes and crying. “I had never met this patient and I didn’t know anything about her, so I asked if they could tell me any of her favorite songs. One of her kids said, ‘Do you know “Purple People Eater”?’ It told me so much about her. [The patient] was someone who loved to laugh and wanted there to be laughter in her final moments. So that’s what we sang.” Because laughter and music are medicine.


“A NURSE WAS IN HIS ROOM DOING AN ASSESSMENT ON A RECENT VISIT. SHE SAID THAT HE’D BEEN TREMBLING UNCONTROLLABLY BEFORE I ARRIVED, AND HIS TREMORS STOPPED ALMOST COMPLETELY THE MOMENT THE MUSIC STARTED.” Emily Wadhams


“As far as my music, I am just going to throw it out there and if people like it I’ll be very happy. If they don’t like it that is cool too.”

Grover Lipkins


60+ PROFILE // story by Liz Stevens // photography By Bill Sitzmann // design by Derek Joy

Just Keep Groovin’ T

GROVER LIPKINS ANSWERS THE CALL TO MUSIC

here aren’t many days where local music legend Groovin’ Grover Lipkins isn’t playing one of his Fender Stratocaster guitars. The instruments call to him, Lipkins said.

Lipkins first heard the call to play music at age 7, when his brother brought home a Custom Craft six-string electric guitar. Lipkins was mesmerized by the instrument and would sneakily practice on his brother’s guitar until acquiring his own at age 9. From there, Lipkins taught himself how to play—and he’s never stopped.

“I HAVE FRIENDS WHO LIKE WHAT I DO—I AM NOT AN EGOTISTICAL CAT—I AM JUST A GUY WHO LIKES TO PLAY GUITAR AND I JUST HAPPEN TO BE GOOD AT IT BECAUSE I’VE INVESTED A LOT OF YEARS IN IT.”

GROVER LIPKINS

Lipkins owns his craft by mastering different music styles and perfecting his technique. Playing countless shows from Omaha to Las Vegas, the songwriter continues to pull inspiration from a variety of music genres, but he is mainly influenced by Jimi Hendrix.

In the late 1970s, his path crossed with local musician Nathaniel Bray. At the time, Bray was familiar with Lipkins’ family. One day, Lipkins’ older brother walked up to Bray with a boom box over his shoulder and played Bray a recording of Grover playing the guitar. “Immediately, I went to his house and met Grover. I thought, ‘I’m going to get this young cat in my band.’”

“I listened to a lot of different music because there wasn’t a particular soul station,” Lipkins said. “I ended up listening to a little bit of everything. Rock and roll was the first thing that made me want to play because the guitar stood out— and I had one.”

Lipkins was a high school student at the time, so Bray discussed the idea with his father. “That day Grover was working in the garden outside the house. I’m responsible, in a lot of ways, for him putting down the [gardening tools] and picking up the guitar,” Bray said.

Lipkins said his first performance was in sixth grade at a school contest, where he performed music from the Jackson 5, dance moves and all, with a few of his friends.

To this day, Bray and Lipkins continue to make time to play and perform together. “One big prerequisite—there had to be a spiritual component that had to be part of all the musicians I worked with or it wouldn’t last. Meaning that the love and respect among the people that was family. That spiritual component is a part of Grover as well.”

“IMMEDIATELY, I WENT TO HIS HOUSE AND MET GROVER. I THOUGHT, ‘I’M GOING TO GET THIS YOUNG CAT IN MY BAND.’”

NATHANIEL BRAY

The most challenging part of being a musician is simply waking up every day, Lipkins said. Truly, there is always something new to learn. When it comes to writing music or recording a song, Lipkins makes what he likes.

“As far as my music, I am just going to throw it out there and if people like it I’ll be very happy. If they don’t like it that is cool too,” Lipkins said. “You never know if you have anything until you put it out there. My stuff is not as modern sounding as the music you hear today. It still has an old-school kick to it. I don’t use a lot of musical tricks, you know, a lot of sound. “It all starts with practicing, practicing, practicing,” he continued. “You have to start there first. You can’t be afraid of failure in order to be successful, because not everyone is going to like everything you do, no matter how good it is. You’ve got to be able to accept that and be happy in your own skin.” Lipkins is recording his own music. He plays every instrument on the track. He said some of the more technical tracks can take up to a year while others can be done in a week. There are moments where every musician considers giving up, Lipkins said. In those times, he just picks up his guitar and starts playing. “I am hooked on the thing,” he said. The coronavirus brought his live performances to a standstill. Normally, Lipkins said he plays in bands and will occasionally do duets with a friend. His favorite moments happen when everything comes together on stage and the music jells. “I have friends who like what I do—I am not an egotistical cat—I am just a guy who likes to play guitar and I just happen to be good at it because I’ve invested a lot of years in it,” Lipkins said. “I appreciate people who appreciate what I do—they’re my friends not fans.”

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60+ FEATURE // STORY BY RYAN BORCHERS PHOTOGRAPHY BY BILL SITZMANN // DESIGN BY DEREK JOY

Omaha’s Got Talent Local Radio

Theater Group Engages With

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Kent Garlinghouse


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“Every show we’ve done has had amazing audience reaction. Even regular theatergoers, when they come see our shows, come up and say, ‘Oh my! I’ve never seen anything like this before!’” - Stephanie Kidd

Radio Theatre Omaha

Together, Garlinghouse and she make up the whole of RTO’s regular staff. Garlinghouse writes scripts and Kidd directs and recruits acting talent. RTO produced its first show, a piece written by Omaha author Jamie Taylor called The Ballad of Anna the Brave, in November 2018 with 10 voice actors, two sound effects people, and live music. The show, held at Gallery 1516, was attended by 130 people. Others that followed also went over well, Kidd said. “Every show we’ve done has had amazing audience reaction,” Kidd said. “Even regular theatergoers, when they come see our shows, come up and say, ‘Oh my! I’ve never seen anything like this before!’” RTO typically produces a quarterly event at OutrSpaces with two scripts performed back-to-back. The script is generally “G-rated,” somewhere in the realm of 5,000 words–including cues for music and sound effects–and about 30 minutes long. And all the performers, Garlinghouse and Kidd said, get paid.

isn’t just about radio theater. It’s all about Omaha.

“We’ve been very committed to paying everybody in the cast and crew,” he said. “An artist must be paid for their gift.”

“We’re committed to local,” said Kent Garlinghouse, founder and artistic director of RTO. “We are using scripts written by local authors, local voice actors, local sound effects people, and local musicians.

Garlinghouse said audio dramas have made something of a comeback in roughly the last 25 years with the rise of mobile phones and earbuds. The popularity of podcasts has also helped.

“There’s so much talent here. There’s no reason to go beyond the area.” RTO produces audio dramas, which, simply put, are scripted stories told entirely through recorded audio. One of the most well-known audio dramas was Garrison Keillor’s Prairie Home Companion, which was recorded live on stage and broadcast on American Public Media. Garlinghouse got involved with radio theater when he lived in western Minnesota, where he worked with Lakes Area Radio Theatre for 10 years as a voice actor, writer, director, and sound effects guy. He moved to Omaha four years ago to be closer to family, and even though audio dramas were not then being produced in the area, he piqued some fellow creatives’ interest in the form. “Theaters do readings of plays, that happens in town,” said managing director Stephanie Kidd, who has acted in Omaha since 1997 and works as an adjunct professor at Iowa Western Community College. “But to do audio drama is very different.”

“Joggers, people working out in gyms, people going for a walk, students studying, everybody’s listening to their phone, or to [their] iPad, or to something,” he said. “There’s kind of a built-in audience already.” Listening to an audio drama is one thing, but attending the show as it is being recorded offers another kind of experience. Kidd said, for example, if a character in the story walks across a floor, the audience gets to see a sound effects person put his or her hands in a pair of shoes and mimic the sound of steps against a table.

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Like many organizations these days, RTO has seen its activities and projects disrupted by the COVID-19 pandemic. Garlinghouse said they’ve developed a workaround and will broadcast the shows via video conferencing. “I think that we will work at doing relatively regular performances again, but via Zoom or something like it,” Garlinghouse said. RTO produces several genres of stories and is putting together shows about local history. One such project is an adaptation of author Ted Wheeler’s book Kings of Broken Things, a novel that depicts the Omaha race riot and lynching of Will Brown outside the Douglas County Courthouse in 1919. “I spoke with Kent Garlinghouse after he read my novel and expressed some interest in adapting it to the radio play format, as he also is passionate about telling stories about Omaha,” Wheeler said. “I’m intrigued to see what RTO does with the historical material and expands the story. There are so many choices that are made while writing a novel, having a chance to hear a production with the same starting point is an exciting prospect.” RTO is interested in finding more writers, but one need not have experience writing audio dramas in order to submit. “It’s my conviction that virtually anybody can write a successful audio drama,” Garlinghouse said. That includes beginning writers and people who have never put together a script, though experience helps. “It just is a matter of learning sort of the boundaries of what works,” Garlinghouse continued. “We have the talent, right here,” Garlinghouse said. “We don’t have to apologize for being in Nebraska.” Visit @radiotheatreomaha for more information.

“That, to me, is one of the neatest things that our audience can really participate in,” Kidd said. “Especially

“We have th e talent, right here. We don’t have to apologize for being in Nebraska. ” -Kent Garlinghouse

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kids, but adults, too, really like to come up to the table and watch and then make those sounds themselves.”


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