Mother/Daughter Institutional Titans

For more than two decades, the Shelton family has been an integral part of the magic of A Christmas Carol at the Omaha Community Playhouse, embodying a true family tradition both onstage and behind the scenes. Jeanne Shelton and her daughter Nora Roberson have dedicated countless hours to ensuring the production runs smoothly, shaping the experiences of both cast and audience alike.

Memories from Jeanne Shelton

My first year working on A Christmas Carol was, I believe, the year 1978 when I began working backstage along with my then-fiance, Mike. I worked as deck crew and fly crew. During the following years, I continued to work crew positions. I was behind the Scrooge fireplace (which was a totally separate set piece in those days), the Scrooge bedroom window, the back wall of the Crachit house, and behind shops. I also worked props, which was a one-person job back then. I’m uncertain what I took over as Assistant Stage Manager. Back then, the Stage Right wagon was not automated, so when the Crachit table went out onstage, it was at the end of a long T-bar that had to be pushed and pulled on & off the stage. My first year as Stage Manager was 2011, which was the same year that “From Casting Call to Curtain Call” was filmed. I spent my first year as Stage Manager with a camera in my face until the end of Opening weekend.

At the time that I started working on Props for ACC, there was no permanent staff position for that. I believe Marilyn Hanson may have been the person who originally set up all the props, and they just got pulled out & set up again every year. For several years, I would volunteer to come in on the Saturday before Tech Sunday to set all the props up, do repairs and get them all fluffed up & pretty for the show. Charles Jones had an iron roaster pan that he would bring in for the Crachit’s goose. My husband, Mike, had a little white rocking horse that his father had made for him when he was young, and we would bring Horsey in every year for the show (but only after the Tours had left; in those days, the Tour prop people weren’t above robbing the Mainstage props) and stick a big red bow on him for the show. In fact, the current rocking horse that is used is made from a template that a past prop person made based on our Horsey, so that we wouldn’t have to keep bringing him in.

I have memories of catching the bed at Stage Left, just after the top of Act 2. In those days, Scrooge flew to the top of the bed; which then exited Stage Left & we had to drag an A-frame ladder over to get Scrooge Present and assorted decorations off the top of the bed, before we dressed it for the Future.

I have memories of crouching on the steps downstairs, while pumping the fogger, as we sent Tom Wees, as Marley up, and then down, through the trap door. In later years, especially since I was working on Stage Left anyway, I would assist the dressers in getting Dick Boyd undressed into his nightgown, and then dressed again near the end of the show, and we frequently had to fend off the Counting House set piece, which came all the way offstage left, in those days. The set piece was heavy, and it had a tendency to drift downstage as it moved.

I have memories of dear Jerry Longe, as I was working as Assistant Stage Manager. At the top of each show, he would go into the stage left proscenium to start the applause, as the curtain rose to reveal the picture postcard that was (and is) our opening tableau. Later on, after I became Stage Manager, we would have conversations about how the show was going as he waited to go back onstage for Fred and Millie.

Nora Roberson, Jeanne’s daughter, literally grew up at the Playhouse. She was part of the children’s ensemble for several years, learning the ropes backstage from her mother and father. Nora’s talent eventually led her to onstage roles, such as in Swing! in 2005, and she has since performed in or assisted backstage on over 25 productions, including Jesus Christ Superstar and Hello, Dolly! Today, she continues to support A Christmas Carol from behind the scenes, often stepping in to help wherever needed.

Together, Jeanne and Nora have created a legacy of dedication, care, and holiday magic that extends far beyond the stage. For their family, the Playhouse is more than a workplace, it is home. Jeanne says, “I feel so lucky to be a part of OCP for these many years. We have made so many lasting friendships here.” Nora echoes this sentiment, noting, “I don’t know anything else but the Playhouse. It has been my life!”