top of page
Search

Wheelhouse Captain’s Log: Navigating a Year of Screens, Stages, and Stories

If you look at the Wheelhouse manifest for 2025, the numbers are staggering: more than 60 events, thousands of miles on the road, countless feet of cable laid down, and many new friends. There is so much for which to be grateful. But looking back, it wasn’t just about the gear or the logistics. It was about the stories we helped tell—whether on a silver screen, a festival stage, or a wedding dance floor.


Here is a look back at where 2025 took us.



Life on Location: The Film World

This year, I spent a lot of time behind the wheel and behind the console, working alongside some true heavyweights of cinema.


On the set of "The Lowdown" (streaming now on FX and Disney), I worked as a Transpo Driver. It’s hard work moving miles of cable to power a set, but the moments in between made it worth it. I had the chance to chat with Ethan Hawke, who is a genuinely golden human being, and watched Tim Blake Nelson play guitar outside his trailer. For the pilot, I was the one hauling Ethan’s trailer from set to set—literally keeping the production moving. I'm always honored to be a part of a Sterlin Harjo project.


I also drove transpo for "Pretty Babies," which included a memorable visit to the famous Panavision facility in Dallas, and for "Rooster Prince," featuring Shia LaBeouf and Jackson White. That job was an education in itself. I drove the camera van chasing a train through OKC while actors ran to jump on it—real movie magic stuff.


But the real highlight was the time spent with the cast. I chauffeured the main actors and soaked up every bit of wisdom they shared. Shia LaBeouf talked to me about the art of improvisation, going off-script, and the nuances between film and stage acting. Melissa Leo schooled me on acting history and the influence of Russian film on American acting. She is such a gem. Also, getting to meet Richard Ray Whitman was a really pleasant experience. He even wore my bandana for the shoot!


Then there was Rob Brownstein—what a great guy. One day he and I just cruised around OKC running errands, talking politics, religion, history, and music. Just an Okie boy and a New Yorker having the time of their lives. He introduced me to the salsa music of Eddie Palmieri and Gato Barbieri, and showed me videos of his daughter playing guitar in a jazz trio at a NYC club. Passing those lessons on to my own show-biz kids has been invaluable.


On the post-production side, I served as Recording Engineer for "The Burning Opera," based on the book about the Tulsa Race Massacre. It was a humbling experience to do post-production editing while working right in Greenwood where history happened.



Later, I donned the Sound Mixer and Boom Op hat for the Mark Williams directed documentary "No Crying in Stickball." This project was special. Filmed on the tribal land of the Mississippi Band of Choctaw Indians, I was welcomed with incredible kindness. The tribe hosted me at the Golden Moon Casino and Resort and gave me a tour of the Chahta Immi Cultural Center. Out on the field, I dodged flying balls (and almost got trampled by players) to capture the sounds of their traditional sport. I only got hit three or four times—I’m choosing to believe they weren't aiming for me!


The Live Stage: Oklahoma & Beyond

While the film work kept me on the road, Wheelhouse was busy building stages and lighting up events closer to home.



We handled production for the OF+MO Event at the Oklahoma Department of Commerce, a stunning venue incorporating the stained glass and stone of an old church.


At PitchFest+, I sat down with Big Billy Clark, the music industry veteran and visionary founder of VocalizeU. Billy has worked with everyone from the Doobie Brothers to Usher, and picking his brain about bringing that level of artist development to Oklahoma was a game-changer for me. That event also featured a panel with Danny Boy O’Connor of the Outsiders Museum (and House of Pain fame). We were privileged to provide the staging, audio, lighting and booked Mallory Eagle to perform and produced a set for Madame Zeroni actor and musician from Tulsa.


For the third year running, Wheelhouse was the driving force behind Red Brick Nights in Guthrie. Running from July through October, we handled talent buying, stage setup, and entertainment coordination to keep the town buzzing.


We also brought the production value to the Oklahoma Today Magazine “Okie Awards” Ceremony. We provided DJ services, staging, lighting, and a massive projection setup to display winners like the OKC Thunder, Sterlin Harjo, and the Philbrook Museum. 



Anchored in Community: The Pollard Theatre

Guthrie is our home port, and the Pollard Theatre is truly the heart of it for my family. We love that place; it is incredibly dear to us. This year, we were thrilled to deepen our involvement there, including running the 360 video booth at the Victorian Walk to raise money for the Pollard Jr. Players Theatre Camp. Seeing the next generation of performers find their footing on that stage means the world to us.



We were also honored to provide production for:

 * Miracle Marathon: Staging and lights for the OCU students raising money for the Children’s Miracle Network.

 * Peppers Ranch: The Wheelhouse pickup band performed classic country to raise money for the foster care community.

 * Remington Park: Little known fact—Wheelhouse books the talented buglers for the "Call to Post" at the races!


Education & Weddings

I had the privilege of serving as a Teacher’s Assistant to my wife, Dana Mosman aka "Mama Mosman", for her classes at Meridian Technology Center’s South Campus. Watching her teach and helping facilitate those classes was a highlight of the year.


We also didn't slow down on the private event side. From the Guthrie Chamber Banquet’s 80s theme night to countless weddings, we brought the party. One standout was DJing a wedding where the band Mariachi Orgullo de America performed during cocktail hour. 


The Crew on Deck

I talk a lot about the gear and the gigs, but none of this happens without the crew. Wheelhouse wouldn't be what it is without the pros who work alongside me. To the super-talented musicians who bring the soul, and the technical gurus who run the boards, manage the miles of cable, and make the equipment sing—thank you. You are the engine room of this ship, and I am grateful for your talent and hustle every single day.


Charting the Course for 2026

Behind the scenes, 2025 was a year of "building the hull." We are restructuring the foundation of Wheelhouse—implementing new project management systems and refining our business development.


Based on those conversations with Billy Clark, Wheelhouse is officially moving into Artist Development next year. We will begin helping musicians and artists navigate the industry so they can focus on their craft while we handle the business.


We launched a new website, a refined inventory system, and a vision that is clearer than ever. Thank you for being part of the journey in 2025.


Full steam ahead!


Joel & Dana Mosman, Wheelhouse Productions



 
 
 

Comments

bottom of page