Tim Siragusa is equally at home amid the theatrics of the stage as he is in the confines of restaurant dining rooms and kitchens. Like many a thespian, the actor-playwright-director has long made ends meet waiting tables and washing dishes. He was a popular server at the Boiler Room. When not choreographing front of house service, he may be performing at Bluebarn Theatre or The Rose.
Tim Siragusa is equally at home amid the theatrics of the stage as he is in the confines of restaurant dining rooms and kitchens. Like many a thespian, the actor-playwright-director has long made ends meet waiting tables and washing dishes. He was a popular server at the Boiler Room. When not choreographing front of house service, he may be performing at Bluebarn Theatre or The Rose.
With his background in acting he could charm any table. It was almost as if dinner service was another performance for him,โ said Boiler Room executive chef Tim Nicholson. โ[He was] always dressed for the part and ready for the show. He had several regular tables that would come back time and time again to have him make their dining experience special.โ
An Omaha Creighton Prep and Creighton University graduate, Siragusa is also a published journalist, essayist, short story writer, and poet. As a visual artist, heโs made internationally exhibited mail art [a populist artistic movement centered on sending small scale works through the postal service], done art photography, and created jewelry. Before the COVID-19 scare closed restaurants, he worked at Acadian Grille in Dundee.
After years going on creative tears and suffering bouts of depression, heโs reassessing. This self-reflective gesture predates the winter-spring health crisis with its quarantine strictures that left many workers unemployed.
โAt present, I see myself as someone who has stepped back in order to recharge my batteries,โ he said. โI donโt have any paint on my fingers, I closed my studio, I gave away all my drawing pads and tools. I donโt audition. I donโt have a script in my bag, I am strictly taking stuff in right now.โ
He senses revitalization on the horizon.
โOccasionally youโre at crisis points. It means things are going to change really quickly and you better be ready for it,โ Siragusa said.

Though an extrovert when orchestrating table service or enacting a part on stage, heโs an introvert by nature.
โIโm perfectly happy talking to 500 people in telling them a story,โ Siragusa said. โIn reality, Iโd rather just be by myself with a book. The arts life is very isolating. Thereโs me, and thatโs about it.โ
If nothing else, Siragusa knows himself. Enneagram tests confirm his core traits. โI have high creativity, high intelligence. Iโm able to make big decisions and learn things very quickly. I have all these different skills. Iโve been called a chameleon. I can be anything I need to be in an hour.โ He chalks up the fact that all that has translated into โlow income, low social statusโ to โhow the world works.โ
While his sarcasm and impulsivity burn bridges, his authenticity and generosity earn the trust of fellow theater geeks and foodies.
Teri Fender acted alongside him on Siragusaโs original musical Psychobilly Jamboree.
โTim was and is wildly creative and hilariously funny. You never really know what medium Tim will be working in next, but you can always be sure it will be like nothing else you have ever seen,โ Fender said. โMostly, Tim has been a loyal and caring friend.โ
Former collaborator Jill Anderson calls him โone of the sharpest and most off-the-wall creatives I have ever known.โ She admires his โsubversive styleโ and wicked sense of humor.
โHis presence in a room is similar to that of Oscar Wildeโthe celebrated wit of any occasion,โ Anderson said.
Then thereโs Siragusaโs big heart.
โIf a dishwasher was having a rough go at life,โ Nicholson says, โit was not uncommon for Tim to present him new shoes.โ
โOne of the qualities many arts people have is high empathy,โ said Siragusa, who grew up poor and knows firsthand the challenges of working low-wage jobs and hustling for tips.
โSome of my favorite people are those who got their GED and had a kid when they were in high school. Those are my tribe.โ
In his art, Siragusa doesnโt presume being a social conscience.
โIt is not the artistโs job to tell people how to live their lives,โ he said. โA real pitfall is pretending you have received the plate of liberal ideas from the heavens to impart to the masses.โ
He enjoys the โautonomyโ visual art affords, though its creation depends on pricey supplies. Writing is more economical. โThe nice thing about writing is that it doesnโt take a lot of resources,โ he says. โYou can just do it, and you can put your writing out on the web.โ Finding a voice and an audience is another matter. โWriting is one of those things where you have to just keep punching at the wall and hope you break through.โ
โOne of my real passions is supporting the Omaha Public Library. Every month [patrons] can suggest five purchases, and I always go to indie publishers and young writers. If you can give some writer your attention for the span of one short story, then youโre bringing things forward and helping support the arts. Thatโs important to me.โ
There is an art to serving food patrons he takes seriously.
โIโm able to use my theater skills to motivate a crew. A fine-dining table service looks like a danceโeveryoneโs cooperating and moving in rhythm, silently communicating. Iโve trained a lot of servers. I train them on being attuned to whatever patrons need.
โMaking diners feel comfortableโhave a seat, take a load offโis something constant.โ
Heโs sensitive to the marginal place many food workers occupy.
โSome donโt speak English. Some are undocumented. Nobody has insurance. If someone injures himself on the job, you canโt send him to the emergency room for stitches. Not everybody is in work situations where it gets real like that.โ
Compensating for the long hours is getting paid in cash. โThat is addictive,โ he said. Flexible schedules allow taking off weeks for a project.
Just as most Omaha chefs donโt have the pressure of a national eye on then, he says the same is true for most Omaha artists, โand itโs very freeing.โ
โOmaha has something else valuable to artistsโabundant, low cost space where you can work, like the Hot Shops, which is a hidden gem. Itโs been integral in my identity.โ He moved his practice of mixed media-collage mail art from home to there.
He hit upon mail art when things slowed in theater. โThe slings and arrows of the theater world often mean not getting the gig,โ he said, โYou will go insane trying to figure out why.โ He sent or delivered postcards to theater friends, family, and old college chums.
The studio he kept for 16 years served as a salon for art, education, yoga, discussion, rehearsal, chilling out, and community.
Siragusa remains here in part due to โthe cultural transformation Omahaโs gone through,โ adding, โOmaha was not just a boring place to live up until about 15 years ago, but s----y.โ He embraces the things that have created a more livable, dynamic burg.
In this precarious time, heโs confident he will thrive again. โI know how to tell stories and I can do it at another point when I want to.โ
This article first appeared in the June 2020 issue of Omaha Magazine.
