This is the opening remarks of the inspiring Shirley Beth Newbery.

“I am blessed to know those who work with me

and thank Laurie ]Rae Waugh]

for showing me this production in full.”

Miriam Dauom discusses A THERAPY SESSION WITH MYSELF from the point of view of a fellow millennial weaving through life. 

A THERAPY SESSION WITH MYSELF is a play written by Anthony Piccione and directed by Holly Payne-Strange.

A THEARPY SESSION WITH MYSELF is about a boy named Alex. Alex is a teenager and a college student who deals with issues such as depression, social anxiety, and Asperger’s Syndrome. The audience was taken on a roller-coaster journey with Alex to gain a better understanding of his state of mind, his emotions and how to go about them. Alex deals with the stress of becoming a successful writer, loneliness, his past of being bullied, and in most cases, pushing loved ones away, due to his fears of rejection.

The story of Alex unfolded well. The beginning and end of the play started and ended with the same monologue — solidifying the message of the play beautifully. Even though Alex had many life obstacles and felt like there was no reason to continue, he found reasons to continue. In spite of all the darkness in  his life, Alex found light. Which is something we should all take the time to learn.

On stage there were three actors who play “Alex.” Alex starts on stage alone but is visited by “YOU” Alex. You Alex is Alex’s thoughts, almost his voice of reason. “Me” Alex is his flashback-memories. “Alex” played by Nick Roy did an excellent job of showing the audience of what a struggling college student in need of coffee and advice looks like. “You” played by Shane Zimmerman sounded like the thoughts in my head, when I am trying to figure stressful events of life out. “Me” played by Nathan Cusson gave a chilling ending to the story. I felt his passion and pain. It was a strong ending of the character’s journey. Who discovers he is not ready to give up on himself.

All the Alexes and everyone around them all worked amazingly together.

Canadian-born Haley Ostir is beyond thrilled.

Taking the plunge and coming to the United States seemed almost out-of-reach … until she gave it a try. In no time she was performing in myriad productions showing off her range of abilities for prominent names then Frankie Valli himself watched her audition for the show about his career.

Today she is working with the original Broadway team to be a part of national tours, cruise lines … and the current Off-Broadway run!

Another victory for the Alliance of Alien Artists.

Haley had only a few minutes to speak, we grabbed her fast! No kidding … she literally had to hang up and dance!

What made you decide to brave the USA for your career?

Broadway has always been the dream since day one. I knew to have a shot in the states and legally work for a year, I needed to attend a US College. When you participate in a BFA program, you have the opportunity to work during the summers through CPT and one full year after college called OPT. I remember googling Singing/Dancing/Acting Schools and Boston Conservatory came up. I wanted to school that would focus on all three aspects of performing. It was important to me to continue my dance training at a high level. After several auditions, BostonConservatory by far was my favorite dance call. The language Michelle Chasse used and her dance audition… was exactly what I wanted. I felt Boston Conservatory would give me the training I wanted. In the end, I felt like I got a triple major. Now that I’m here, I don’t want to leave. The connections I have made are invaluable and I only want to expend on them and see where my career can take me!

How helpful has the Alliance of Alien Artists been to you?

Its honestly nice to be apart of a community of artists like me, dealing with the same things. The process can feel lonely at times and can be very isolating. It’s nice to have a community who knows exactly how you feel. It’s a place for me to go for advice, questions that need answers, a support system or seek out other performance opportunities. I think its a brilliant company. 

What were some of the difficulties in working here. 

The toughest thing about being a Canadian, trying to perform in the states is the constant feeling of the future and how much time I have left. I’m always on a time limit. It’s already tough enough, feeling the pressures of getting a job. Most of my friends have time on their side. I know Careers take time to build and that everyone has their own journey. However, as a Canadian…. my visa status doesn’t always allow me time. It’s got its positives though. It forces me to go all in and not waste any time! I don’t allow myself any slack. I do get frustrated occasionally. Sometimes I feel it’s unfair that I have to do all this extra work to stay here. However, it’s only taught me to work harder and manage my time better. It can be hard being away from home at time. I was ready to leave home, and pursue my dreams. I think that’s why I am able to handle it. I’m lucky to have a supportive family and we make sure we see each other for Christmas and other important events. I do miss my grandparents and feel guilty at times. I haven’t been home in 2 years and They are unable to visit due to health reasons. I think that’s the hardest part. 

You’re a triple threat… tell us about your training. 

I grew up in Winnipeg Manitoba Canada. I starting acting lessons at 5 at Manitoba Theatre For Young People. I then started taking Musical Theatre classes at a dance studio, 5 minutes from my house. The studio was called Shelley Shearer School of Dance and from there on I was hooked. I eventually was taking 13 classes a week (Tap/Ballet/Jazz/Hip Hop/Tap/Lyrical/ModernMusical Theatre etc.), competing at high level dance competitions as a soloist and in group numbers. I began taking voice lessons on the side, as well as acting lessons (For both Film and TV and the Stage) and piano lessons. I played Snow White in middle school and realized “I could do this”. I think my mom was the most stunned. I remember her saying to me a few weeks prior to my audition “Sorry Haley, I’m afraid you got my bad singing voice”. Needless to say she was stunned when I got the lead and then even more when she heard me in the dress rehearsal for the first time. 

I was in my first professional show when I was 14 years old. I was in Beauty and The Beast and that gave my the first taste of professional theatre. I was working with incredibly talented people and I learned at a very young age, proper rehearsal etiquette. I did a few more shows after that and eventually applied for colleges in the states. I was accepted to my top school choice in Canada and the US. I ended up picking The Boston Conservatory. We were in classes 9am-6:50 and then if you were in a show you had rehearsals 7pm and on. They were long long days. I wouldn’t trade my training for anything. I can truly say I grew so much during those four years and wouldn’t be the individual or performer I am today with out it. I think I learned the most from my voice teacher- Lisa Sheldon. That woman was with me all four years and was a miracle worker. 

You’ve lucked out – you’re in one of the touring casts of JERSEY BOYS. Tell us about it. Are you working with the Broadway people? 

I saw The US Jersey Boys Tour when I was going to school in Boston and I absolutely adored it. Dance shows are usually my cup of tea. Yet, Jersey Boys may be my favorite musical and that says a lot… since it is a JukeBox Musical! I knew after I had seen it that I wanted to be in it someday. I remember heading to my voice coach and asking for material that would be good to bring into auditions, should I have the chance. Sure enough, shortly after graduation I had the opportunity to audition. After many callbacks, I didn’t end up getting it. Flash forward 5-6 months. I’m back in the room and make it to finals. It’s between me and one other girl. I don’t get it. Flash forward 5 more months. I get the email asking me to join in! My point being, things take time! It’s awesome because half the cast has done the show before, whether it be in the Australian Tour, NCL, OffBroadway, US/UK Tour etc. the cast is filled with people from all over, which has been a really cool experience. I’m fortunate to be working with a creative team, who has been with the show since it’s successful run on Broadway. (Danny Austin, Richard Hester, Des Mcanuff, Bryan Hindle, Jenn Rapp). I feel incredibly lucky to be learning from the best and on such an incredible show. 

You heard the Frankie Valli himself viewed your audition… how does that feel? 

Proud. That’s not a word I use to often and I think when I found our this news, I finally took that info in and gave myself credit. 

What does the future hold for you now? 

After this gig is done, I am on call for the next 6 months In case they need me to jump in. I’m currently waiting on my visa applications status of whether I’m approved or denied. More than anything, I hope to be approved. But, I know everything happens for a reason and I will make whatever the outcome is, work. My hope is to get my O-1B Visa approved and then book that Jersey Boys US Tour shortly after!

REVIEW:  Lovebird Jamboree by L.A. Henderson

Lovebird Jamboree is a poignant exploration of the lives and experiences that fueled the 1969 revolution remembered in this year’s Stonewall 50 celebrations.  Playwright Sarah Elizabeth Brown’s eight monologues based on interviews with members of the LGBTQI community, three of them intertwining, give us an idea of the joyous and painful paths walked in less enlightened times, monologues that show how far society has come and how far we have yet to go.

Arlin (Andy Reiff) is a young man who comes out and moves to New York, enthralled by the promise of a new city and his first love.  Reiff plays Arlin with the sweetness of a teenager discovering love, and the show begins with a lovely “happily ever after.”  Sadie (Margo Sinalese, appearing courtesy of Actor’s Equity Association) is an older woman who moves from a heterosexual marriage to realizing her true sexuality with wonderful Midwestern matter-of-factness as she sorts her way through her life, and Sinalese plays her with simplicity and a spot on accent.  Plum (Alana Jessica) is a transgender woman yet to complete her physical transformation who is still working through her feelings about herself, her body and how to relate to her lovers, and Jessica beautifully walks a touching tightrope between bravado and insecurity.  Monty (Justin Bennett, appearing courtesy of Actor’s Equity Association) is a gay man who has agreed to be a sperm donor for his lesbian friends Abby and Leslie (Averie Bueller and Catherine Rogala, respectively) who wrestles with his role and degree of involvement in the baby’s life.  Bennett has just the right degree of mild hysteria and self-doubt that morphs into a determination to do his best for his child and friends.  Eden (Imana Breaux) is a young woman who falls for a rich classmate who has no clue about Eden’s feeling for her, causing Eden much frustrated longing and heartache.  Breaux is touching as she embodies Eden’s feelings of otherness and bittersweet looking in from the outside.  Baseball-loving Abby is in the throes of planning her wedding to Leslie, agonizing over her family’s feelings as well as wedding arrangements.  Steve (Meaghan J. Johnson) is a young transgender man also working his way through his and other’s feelings as he moves from female to male, and Johnson brings an analysis wise beyond the character’s years.  Leslie working through her feelings as she packs up her office, having been fired from her job at a nursing home after management learns of her pregnancy as well as sexuality.  Rogala, appearing courtesy of Actor’s Equity Association, embodies Leslie’s fierce love, which fuels her anger as well as her planning for her life with Abby and their child.

Although an amalgam of different people, each monologue gives us an idea of the deep emotional sturm und drang experienced when realizing “who” we truly are is sometimes not what anyone—sometimes even ourselves—thought at first, and then trying to be true in living that life.  Yes, the stories certainly remind us how far we’ve come and how far we have yet to go when “the love that dared not speak its name” began to unapologetically speak up for itself.  But more importantly, the stories and actors show us the underlying longing we all share regardless of our physical or emotional gender or sexual preferences—the longing for love from and acceptance of who we truly are by our families, friends, lovers and the world, even if we may not easily love and accept ourselves sometimes.

Well, my first experience directing in NYC was  at the Players Theatre Short Play Festival. That was about five years ago. Since then, I’ve done a lot of festivals, a lot of indie stuff, and once every couple of years I self produce something. I love having total creative control, but I can’t do it often- it can be a very stressful process. Generally I’ve found my niche in plays about mental health- I’ve worked on shows about anxiety, depression, schizophrenia, and psychopathy, among other concerns. I think that’s because I love playing with perspective, and am fascinated by how the same thing can mean different things to different people.

You and Anthony have worked together often – tell us about your arts partnership?

Yes, Antony and I have worked together a few times now.  At first on his children’s play “Energy Tale” at the Midtown international Theater Festival. I was really proud of the work I did on that, it was a pleasure to direct non-human characters, there was a lot of creative license with it. I’ve also been able to work with Anthony closely  A Therapy Session With Myself. This alone has been a long process, about seven months so far and still going. It’s been great to be able to develop a creative relationship with someone.

Do you plan to be hands-on for the entire run or do you foresee yourself “letting go.”

This is something Anthony and I have talked about a lot. Eventually, I do foresee myself letting go. I don’t know when that is exactly, but I do know life as a creative in NYC is exciting, but very chaotic, and i can’t commit very far in advance. But I am proud of my work on A Therapy Session With Myself, and im very proud of the awesome cast and crew behind it.

As an artist, and a woman, how has “reality” of working in New York differed from your original expectations?

Well when I came here, I started out as an actor and now I’m a director and writer, so in that sense, it’s very different from what I expected. But really, I don’t think I had many expectations when I arrived in NYC. I planned on spending the first year in school, making as many connections as possible and seeing what happened, and that’s what I did. It’s taken me in a lot of different directions, and I’ve developed myself as a creative in ways I didn’t expect (for instance, recently I had a visual art exhibit on governors island), but I think that allowed me to be open to new experiences and try a lot of new things.

What are future plans … new shows? being a producer, artistic director, etc

A play I wrote Perfect For Me is currently performing, and I’m very proud of it! It’s about the real life science and ethics behind head transplants,a  procedure which is currently being developed. It explores disability, LGBT rights, and developing technology.

Its touring different locations throughout the month. Mainly very small, intimate spaces. I’m excited to be able to connect with very small audiences and what you can do outside of a proscenium stage. For more information and tickets, please see our website https://hollypstrange.wixsite.com/perfectforme

The 2019 summer season is presenting “scores” of new musicals. The Fresh Fruit Festival is currently presenting the fascinating “Metropolitan” and a new musical based on the events in the life of Harvey Milk, rev. Mary announced a new musical about female-empowerment called “Between the Sun and the Moon,” even Laura Sisskin Fernández sings out in You Hold a Pole Everyday. AND over at the posh Feinstein’s/54 Below, Jessica Francis Fichter spearheads a stunning concert version of an engaging, romantic, fascinating musical piece called DANDELION. 

For one night only, August 14 @ 9:30 p.m. we get the story of high school senior, Jane, and her mother, Delilah, and how the two are forced to confront profound questions of guilt, responsibility, and sacrifice as Jane must decide between attending college in pursuit of her lifelong dreams, or staying home to care for Delilah – who is locked in a desperate battle with severe mental illness and opioid addiction. For further info, visit www.dandelionmusical.com.

Female-driven, emotional, and original, “Dandelion” features music and lyrics by Colleen Francis and Bill Zeffiro, book and direction by Jessica Francis Fichter and Sean Riehm, and has been developed in collaboration with Hailee Beltzhoover. Musical Director, Nevada Lozano guides artists Hailee Beltzhoover, Lillie Ricciardi, Allison Siko, Brenden MacDonald, Brianne Wylie, and Miranda Luze.

There is a $35 cover charge and $25 food and beverage minimum. Tickets and information are available at www.54Below.com. Tickets on the day of performance after 4:00 are only available by calling (646) 476-3551.

The mind behind the story and its presentational vision is Jessica Francis Fichter. We are thrilled to chat with her for a moment

Tell us about yourself.

I grew up in Columbia, South Carolina and was always a self proclaimed theatre nerd.  I think I feel in love during a school production of Really Rosie when I was five years old- I played a bluebird (and no that is not a real role).  After graduating from Winthrop University with a degree in theatre education, I taught theatre in both middle and high school public schools for 8 years in addition to acting as the artistic director of a theatre company in SC before moving to the city to pursue my MFA in directing. I am a mother of 2 small children, 8 years old and 4 years old, and have been navigating the NYC theatre world for 2 years.  I recently directed The Eleventh Hour at Townstages, and Assistant directed Shadows: A Dance Musical at the Connelly Theater.

Tell us about this play … why did you choose to produce it?

This musical is a story that is close to my heart for many reasons.  At its core it’s a story of a young woman finding her own way- forging her own path despite obstacles far beyond what a seventeen year old should be faced with.  But as we all know, what should be and what is do not always align. This positive, high school female-driven story of strength is begging to be told and I am grateful to have the chance to tell it.  And on a personal note, this is a story of someone I know and love, and the truth of her struggle may be what another family needs to find their way through the labyrinth of mental health and drug addiction. It’s also a story of responsibility and family and what we owe ourselves versus what we owe those closest to us.  They are not questions that can be answered in 2 hours but they are certainly worth asking- and I honestly can’t tell you if everyone will agree with Jane’s decision in the end but maybe that is the point.

Tell us what it’s like building a musical NOW in NYC

Complicated.  What I realize more and more everyday is that there is no recipe for creating success- the market is inundated with work.  I think the key for us is believing in the story we are telling, and being open to a variety of opportunities for production and workshops.  As a woman, one of the things that I am constantly working on is ASKING- it’s okay to ASK, as a matter of fact its important. I have to remind myself, if I believe in what I am doing- its more than okay to promote my art.

What is it like being a woman in the arts today? 

It’s exciting- opportunities are becoming more and more available to female artists.  Female directors are still the minority but I see more and more producers willing to hire the female talent that is abundant in New York City and beyond.  As a mother, I am still battling some of the stereotypes about commitment to my art, but there are mothers forging a path in the arts and I’m so glad to have the opportunity to be working during this time when the trajectory for female artists is changing.

What’s next?

We are hoping to find a lead producer who is excited about the story we are telling and the right fit for the Dandelion team.  We are thrilled to follow this journey in whatever direction it takes us.  For me personally, I am working on a female driven devising piece called If Women Rose Rooted

Maya Avisar of the Alliance of Alien Artists assesses BORDERS

As we approach a new decade, there is definitely a sense of change in the theatre scene. More diversity, more representation and more accuracy towards our present and current events, lead to original material that is more relatable than ever to the millennial audience.

Borders, by Nimrod Danishman, presented by Dirty Laundry Theatre, tells the story of two young men who encounter over the popular app Grindr.

At the beginning of the play we meet Boaz (played by Eli M Schoenfeld), an Israeli man visiting his parents in the Kibbutz. The other man, George (played by Adrian Rifat), is in Lebanon – just across the border. The first scene is as charming as the situation can get – when the horny Boaz expects George to meet him that night, just to find out he cannot even enter the country of Israel, being a Lebanese man.

As the play goes on, the perfectly-told story leads us to fall in love with both men, finding similarities which are easy to relate to in both storylines, such as patriotism, the desire to be accepted as who you are, cultural differences and complicated love. The story is truly making us, as the audience, wish for a happy ending.

As for the creative and unique concept, the play itself is written as it is all happening on Grindr. We hear the actors read their texts out loud, which gives an interesting sight into what we think we sound like when we write our texts, including our use of emojis, and sometimes even sexsting (sex-texting). I think the best example for this perfect use of texts as a script is the scene where Boaz and George try sexting, and we as the audience burst out laughing along with the characters as we see this is not working for them.

It is well seen that Michael R. Piazza did a spectacular direction job on this play. Taking such an original concept and making it into something we can understand, follow and be mesmerized by, is truly a work of art. You can truly feel the creative eye of a man on this piece – which I believe was a good choice on behalf of producer Maera Daniel Hagage (who is also the Founding Artistic Director of Dirty Laundry Theatre). Balancing the male point of view as an assistant director is Avigaïl Bryger.

In short, it is to summarize that Borders is an exciting new piece of theatre brought to the United States – and should be seen by as many audiences as possible, both men and women, inside the LGBTQ+ community and out, for which it can capture the hearts of many with the subject matter being so easily relatable.

For future information follow Dirty Laundry Theatre: www.dirtylaundrytheatre.org