Amy Oestreicher

Amy Oestreicher

Amy Oestreicher is an Audie-award nominated playwright, performer and multidisciplinary creator. As a singer, librettist, visual mixed media artist, her work is dedicated to celebrating everyday miracles, untold stories, and the detours in life that can spark connection and transform communities. As a PTSD specialist, artist, author, writer for The Huffington Post, speaker for TEDx and RAINN, and health...
Amy Oestreicher is an Audie-award nominated playwright, performer and multidisciplinary creator. As a singer, librettist, visual mixed media artist, her work is dedicated to celebrating everyday miracles, untold stories, and the detours in life that can spark connection and transform communities. As a PTSD specialist, artist, author, writer for The Huffington Post, speaker for TEDx and RAINN, and health advocate. Amy has headlined international conferences on leadership, mental health, disability, creativity, and domestic violence prevention. She is a SheSource Expert, a "Top Mental Health" writer for Medium, and a regular lifestyle, wellness, and arts contributor for over 70 online and print publications. Her story has appeared on NBC’s TODAY, CBS, Cosmopolitan, Seventeen Magazine, Washington Post, Good Housekeeping, MSNBC, among others. Amy has written, directed and starred in her autobiographical musical, Gutless & Grateful, touring 200+ venues from 54 Below to Barrington Stage Co, conferences, schools, and organizations since it’s 2012 NYC debut. Gutless & Grateful has won seven national awards, including The Singular Award for an innovative original performance, is listed as part of the National Initiative for Arts and Health in the Military, and is currently being licensed to students across the country for academic projects and competitions. Her plays have been published by Eddy Theatre Company, PerformerStuff, Narcissists Anthology, New World Theatre’s “Solitary Voice: A Collection of Epic Monologues,” and finalists in Manhattan Repertory’s Short Play Festival, NYNW Theatre Fest, #MeTooTheatreWomen, "Women in the Age of Trump," and an Original Work Finalist in Tennessee Williams’s New Orleans Literary Festival .She's delivered three TEDx talks on theatre's ability to transform trauma, trained with Tectonic Theatre Project in ttheir Moment Work Institute's Teacher Training Program, Primary Stages, Fiasco Theatre, and was recently selected to work with Moises Kaufman on full-length drama, LEFTOVERS, exploring the impact of trauma on communities and the gifts that can be reaped. Her play, Factory Treasure, is the one-act winner of Central PA Theatre & Dance Fest. Her play FIBERS, compiled of oral histories transcribed from three generations of survivors, premiered at Museum of Jewish Heritage this year. Her short play, We Re-Member, inspired by her grandparents’ sewing corporation and legacy as Holocaust survivors has been featured in immigration and cultural festivals in six states. She's also developing her play, Flicker & Firestarter with Playlight Theatre Company. Her original songs are published with PerformerStuff, and have been featured in Singer Songwriter Showcases throughout New York, including the Duplex, and 54 Below, Colorado, and Massachusetts. Amy partipated as a playwright and performance artist in the National Musical Theatre Institute at the Eugene O’Neill Theater Center, where she helped to develop the multimedia ensemble piece, Born of Myth (2016), and was a writer, actress, composer and set designer for “Playwrights and Librettists” – a festival of 27 30-minute plays in five days. Her full-length drama, Imprints, exploring the physical and psychological impact of trauma, premiered at the Producer’s Club in 2016, and is currently in development for a full New York production as Flicker and a Firestarter with Playlight Theatre Company. Amy’s collaboration with Beechwood Arts on the immersion salon, “Resilience and the Power of the Human Spirit”, has traveled around the world to health and arts facilities as a public installation, incorporating her monologues, art, writing and recipes to express the life-altering detours and ultimately the invaluable gifts of her resilient journey. Amy is also an active artist and teacher in the Jewish community, being honored by United Way in 2005 for her music programs at Hollander House, completing artist residencies at Art Kibbutz, and delivering "Hope, Resilience & Biblical Women" keynotes for synagogues and religious schools. After studying Theatre of the Oppressed in her studies at Hampshire College, she helped to train ACTSmart, a Playback Theatre troupe in Amherst, MA. She is also a passionate arts education advocate, a successful mixed media visual artist, a continuing education studio arts teacher, and an active member of the League of Professional Theatre Women, League for Advancement of New England Storytellers, Dramatists Guild, Fairfield County Cultural Alliance, International Center for Women Playwrights, International Women’s Art Salon, Theatre Artist Workshop, and several art guilds throughout Connecticut and New York. Other awards include Association for Applied and Therapeutic Humor Professionals Scholarship, the first annual SHERocks Herstory National Performing Artist Honoree, a United Way Community Helper award, and a National Sexual Education Grant honor. More information at www.amyoes.com.

Plays

  • Factory Treasure
    Jake, Marilyn and Steve have arranged to meet Betsy (Jake and Betsy’s daughter) at her grandfather’s abandoned factory to break the news: after collecting dust for decades, the defunct MYRA corporation will finally be sold to a developer and turned into condominiums. Betsy is devastated by this surprise, and struggles for a way to save it. What decision will be the most honorable way to keep her grandparents...
    Jake, Marilyn and Steve have arranged to meet Betsy (Jake and Betsy’s daughter) at her grandfather’s abandoned factory to break the news: after collecting dust for decades, the defunct MYRA corporation will finally be sold to a developer and turned into condominiums. Betsy is devastated by this surprise, and struggles for a way to save it. What decision will be the most honorable way to keep her grandparents’ legacy alive?
    Betsy, influenced by the new "hipster culture" in Brooklyn, pleads with her mother to let her refurbish the old factory into a thrift shop, and revive her grandparents' memory by reimagining it. Jake insists that Betsy refuses to think practically, and it is eventually revealed that Marilyn was never taught to sew because of her own mother's secrets, locked away from surviving the death camps of Auschwitz. Betsy then reveals that she dropped out of college when struggling with her grandmother's death. The family realizes that these secrets may threaten to tear their own legacy apart, if they aren't brought to light. In the meantime, the factory papers still must be signed or destroyed. What is the most honorable decision for their future as a family and as a community?
    The play begins and ends with the actual recordings of Irving Stochel, Betsy’s grandfather, as an (optional) Prologue and Eulogy to the play, which are pantomimed scenes from Betsy’s perspective. In the prologue, Betsy discovers her grandfather’s tape cassette tucked away in a coat he made, where she learns all about his factory. In the eulogy, Betsy plays Irving’s tapes once more, as she struggles to make a final decision, with the fate of the factory in one hand, and a handful of her grandfather’s fabrics in the other.

    Four family members, one factory and an incalculable legacy. Factory Treasure is a collective confrontation of how we view our past and what we choose to do with it.
  • Flicker and a Firestarter (Imprints)
    Synopsis:
    A young girl, Patricia, wakes up in a surgical ICU and to find her world forever changed. But even a coma cannot cool the burn of betrayal left from her abuser months before - a secret that only her mother knows, as she nervously waits by her daughter's hospital bedside, along with her entire family.  Forced to come to terms with a dark past she's kept hidden from even herself,...
    Synopsis:
    A young girl, Patricia, wakes up in a surgical ICU and to find her world forever changed. But even a coma cannot cool the burn of betrayal left from her abuser months before - a secret that only her mother knows, as she nervously waits by her daughter's hospital bedside, along with her entire family.  Forced to come to terms with a dark past she's kept hidden from even herself, Patricia now faces another self, Patty, born from a trauma which she had hoped to forget. As the two dueling protagonists struggle to face one another, rekindle their memories, and sparking a bold, new identity, what other secrets will be illuminated? Together, can they put out the flames which now threaten to engulf their entire world?  Can a family move forward after fire?
    Who will be burned by the fiery blaze of secrets, and who will rise from the smoldering ashes of trauma?  Who puts out the fires that play with children?    Flicker and a Firestarter is a poignant story of a family, ripped apart by fire, haunted by shadows, and reignited by the flickers of a heartbreaking past.
    Acts One and Two may be combined with no intermission, followed by the Third Act.
    Running Time: 1 hr, 50 min.

    Details:
    Patricia is a happy-go-lucky theatre girl from a strong, warm, loud Jewish family. Her life changes overnight when at 18 years old, an unexpected blood clot causes sudden her stomach to literally explode. From the trauma comes Patty, a new character, born from a coma.  Waking up in the ICU, only seeing the ceiling and hearing the beeping of IV pumps, Patty grapples to come to terms with her new reality. Patricia, present throughout the play, is unwilling to accept Patty as a part of herself.  

    In the meantime, the family struggles with the idea of losing Patricia.  Susan, Patricia’s mother, bears the tremendous weight of the secret that only she knows:  Patricia was molested by her voice teacher, Blaine for the two years preceding her coma.
     
    Fading in and out of consciousness, Patty is struck with memories of her old life, watching as her former self Patricia sings with her brother Phil in preparation for an eagerly anticipated trip to the Berkshires.  The more urgent Patty’s situation grows in hospital, the more difficult it becomes for Patricia to recreate her childhood happy place, and the more “imprints” of once-forgotten trauma begin to surface.   

    Patty’s family nervously waits by her bedside, day to day life in the ICU goes on, and the quirky family dynamics grow tense when the chief surgeon starts to look for a prognosis.  As the family starts to argue about what could have precipitated such a disastrous event, Susan is eventually pushed to divulge Patricia’ truth, after being haunted by a flashback of her daughter finally revealing the abuse, just two weeks before her coma.  Blaine, thought to be a trusted friend of the family and esteemed mentor, is revealed to be the possible cause of a stress ulcer that contributed to Patty’s coma.  The secret, once brought to light, threatens to tear the family apart.  
     
    Blaine now starts to appear in Patty’s consciousness, haunting her dreams.  Patricia insists on seeing Blaine as her role model and father figure, unaware that anything life-threatening has happened to her.  Rita, the psychiatrist, takes Patricia under her wing, against Susan’s will, and prods her to explore her memories further. 

    In their painting sessions, Patricia creates the Berkshires trip that she never took and travels farther into her memories.  Although thrilling at first, soon enough she is confronted with the memories she’s desperately tried to repress. Blaine, as the wolf, now waits for her in the dim, shadowed forest.  As Patty starts to remember Blaine, she pleads with her younger, more innocent self to understand the betrayal done to her by Blaine.  Patricia initially pushes Patty away, until the raw, real truth about Blaine is revealed through the Berkshire’s destruction into a dark forest, and eventually to a stark, sterile surgical ICU. Rita works with Patricia and Patty to find an understanding, share their stories and confront the raw imprints that trauma has left on both selves. Finally, in facing what they’d both like to forget, they re-member themselves, allowing each member of their family to move forward.
  • We Re Member
    Jessie and Sam are sisters carrying a resilient legacy. As they sort through boxes of fabric in the basement of their apartment complex on the Lower East Side, unbeknownst to their mother, they hope to find old material for Halloween costumes, and come away with a treasure far greater. When discovering an antique needle pinned in a patch of cloth, they realize that these boxes belong to their grandmother, a...
    Jessie and Sam are sisters carrying a resilient legacy. As they sort through boxes of fabric in the basement of their apartment complex on the Lower East Side, unbeknownst to their mother, they hope to find old material for Halloween costumes, and come away with a treasure far greater. When discovering an antique needle pinned in a patch of cloth, they realize that these boxes belong to their grandmother, a holocaust survivor who came to the Lower East Side after the war, and with her husband, started one of the most successful sewing corporations in the Garment District. The sisters’ disagreement of whether to preserve the fabrics as they are, or to cut them apart into something different, becomes a conflict of philosophies. What will allow their grandparents’ memories to flourish? Is a legacy more valuable once it’s broken apart and repurposed, or kept as is? As the Lower East Side has reinvigorated itself with new life as a thriving district with a bold, new identity, JESSIE and SAM search for the best way to keep their Grandparents’ story alive and vital. How do we put our own meaning together? How do we re-member the pieces of our lives and honor those who came before us?
  • The Sky is Blue
    Patricia is a happy-go-lucky theatre girl from a strong, warm, loud Jewish family. Her life changes overnight when at 18 years old, an unexpected blood clot causes sudden her stomach to literally explode.. Waking up in the ICU, only seeing the ceiling and hearing the beeping of IV pumps, Patricia grapples to come to terms with her new reality.

    In the meantime, the family struggles with the...
    Patricia is a happy-go-lucky theatre girl from a strong, warm, loud Jewish family. Her life changes overnight when at 18 years old, an unexpected blood clot causes sudden her stomach to literally explode.. Waking up in the ICU, only seeing the ceiling and hearing the beeping of IV pumps, Patricia grapples to come to terms with her new reality.

    In the meantime, the family struggles with the idea of losing Patricia. Susan, Patricia’s mother, bears the tremendous weight of the secret that only she knows: Patricia was molested by her voice teacher, Blaine for the two years preceding her coma.

    Patty’s family nervously waits by her bedside, day to day life in the ICU goes on, and the quirky family dynamics grow tense when the chief surgeon starts to look for a prognosis. As the family starts to argue about what could have precipitated such a disastrous event, Susan is eventually pushed to divulge Patricia’ truth, after being haunted by a flashback of her daughter finally revealing the abuse, just two weeks before her coma. Blaine, thought to be a trusted friend of the family and esteemed mentor, is revealed to be the possible cause of a stress ulcer that contributed to Patty’s coma. The secret, once brought to light, threatens to tear the family apart.
  • LEFTOVERS the Musical
    Patricia, a teenager, wakes up in a surgical ICU to find her world forever changed. A blood clot has caused her stomach to literally explode, and now, she is unable to eat or drink until doctors can create a makeshift digestive system for her. But even this new reality has not erased a secret that only her mother knows – Patricia was sexually abused by her voice teacher for the months preceding her coma....
    Patricia, a teenager, wakes up in a surgical ICU to find her world forever changed. A blood clot has caused her stomach to literally explode, and now, she is unable to eat or drink until doctors can create a makeshift digestive system for her. But even this new reality has not erased a secret that only her mother knows – Patricia was sexually abused by her voice teacher for the months preceding her coma.

    In the meantime, the family struggles with the idea of losing Patricia. As they wait by her bedside, day to day life in the ICU goes on, and the quirky family dynamics grow tense when the surgeon starts to look for a prognosis. As the family argues about what precipitated such a disastrous event, Susan is eventually pushed to divulge Patricia’ truth, which her daughter revealed several days before her coma. Blaine, thought to be a trusted mentor, is revealed to be the possible cause of a stress ulcer that contributed to Patty’s coma. The secret, once brought to light, threatens to tear the family apart.

    Once Patty comes to, the real work begins. Forced to come to terms with a dark past she's kept hidden from even herself, Patricia struggles with her emotional repairs as doctors work to save her life, questioning whether to “buy into life” after so many years cut off from the world she once felt part of. Shamed by her family for her emotional “relapse,” Patricia navigates her way through recovery by ultimately facing her past through food, music, and the trust to finally come out of her room and face the world again. The play follows her physical and emotional recovery through six years unable to eat or drink and 27 surgeries, the battle to reclaim her voice from the teacher who seized it years before, and the breaking apart and coming together of a family.

    This version incorporates 13 original songs.

    LEFTOVERS explores the physical and psychological impact of PTSD, conveying the pain, the losses and ultimately the gifts of transformation that stem from trauma. Rather than a chronological accurate sequence of events, the play illustrates how trauma is actually experienced: in intricate nonlinear tapestries of sounds, images and sensations.

    Through transforming the aftermath of trauma into art, we create our own unique masterpiece, cultivating a bold, new identity that is uniquely ours. Yet, this transformation draws us together in a universal narrative. LEFTOVERS strives to shift an entire community ethos in the direction of inclusion, not only to provide courage and a sense of belonging to individuals struggling with their individual adversities, but also to help build a society that gives everyone an awareness and generosity of spirit that betters our world.

    Trauma and its leftovers have a societal impact. So we all are entitled to our just desserts.

    Come, take a seat.

    Running Time: 135 minutes
    Two Acts




    PRODUCTION NOTES
    The naturalistic dialogue within the family can serve as more of a soundscape to what is going on in Patty’s world, as she explores her story. Her monologues and songs to the audience or to the characters in her world can be shapeshifted, overlapped and replaced with motion. Patty’s memories go in and out of time as she recounts her stories and her world is malleable. The tables can transform into a hospital bed, Blaine’s couch, the kitchen table, or a piano. Her dreamscape is inspired by multidisciplinary elements including these simple props, music, movement, shadowplay, dancing, physical theatre, magical realism, and the Moment Work of the Tectonic Theater Project.

    *Moment Work: “Using a laboratory setting, Moment Work encourages participants to actively engage with the elements of the stage, enfranchising writers, actors, designers, and directors to collaborate in compelling and theatrical storytelling that stretches their creative capacity. Moment Work is “a method to create and analyze theater from a structuralist perspective. A ‘moment’ does not mean a change of locale, or an entrance or exit of characters. It is simply a unit of theatrical time, which is then juxtaposed with other units to convey meaning.” The process encourages actors to explore “the theatrical elements through looking at individual moments, exploring the elements separately. There is no hierarchy to the stage elements, nor a designated time-frame for each moment.”

    Feel free to experiment with eliminating dialogue until the ensemble has had ample time to isolate and explore specific elements, including object, light, distance, and sound, devising individual moments, in order for a story to take shape. Especially explore how the items and settings on a dinner table can be transformed as props and settings throughout the play.
  • Gutless & Grateful
    100 Word Synopsis:
    Amy had ambitious plans for Broadway, until a blood clot the week before her high school senior prom caused her stomach to literally explode. After waking from a coma months later, her world changed overnight. . After 27 surgeries and six years unable to drink a drop of fluid, Amy’s digestive system was miraculously reconstructed and she learned that the human spirit heals through “...
    100 Word Synopsis:
    Amy had ambitious plans for Broadway, until a blood clot the week before her high school senior prom caused her stomach to literally explode. After waking from a coma months later, her world changed overnight. . After 27 surgeries and six years unable to drink a drop of fluid, Amy’s digestive system was miraculously reconstructed and she learned that the human spirit heals through “gutsiness”, gratitude, and humor.
    In a primal piece of live-storytelling, Oestreicher weaves her near death experience and inspiring perspective with an eclectic set of songs, comedically highlighting struggles, triumphs and “beautiful detours” in her life.

    Full Description:
    Through interwoven song and dialogue, performer Amy Oestreicher shares a primal piece of live-storytelling - weaving her near death experience and inspiring perspective with an eclectic set of songs, comedically highlighting struggles, triumphs and "beautiful detours" in her life.
    Nominated for “Best Theatre Debut” in 2012 (Broadway World), and Bistro Awards Top Pick, and featured in Huffington Post, Gutless & Grateful, takes audiences on a musical journey of determination, grit and "guts" as Oestreicher shares her humor, her strength, and her soaring vocals with the world. Oestreicher's script was inspired by the thousands of journals she kept over the six years she endured unable to eat a morsel of food or drink a drop of liquid. Co-conceived by Oestreicher and musical director David Brunetti, the show is directed by Broadway-veteran Jerold Goldstein, also on piano. "Gutless" also features the song “Still Alive” which was written for Amy by acclaimed composer David Friedman with lyrics by TV personality and lyricist Kathie Lee Gifford, after she appeared on NBC's TODAY Show in 2011.
    Amy Oestreicher was an ambitious, audacious teenager who had her life all planned out: go to college, win a Tony, and conquer the world. (I Wish It So, Just Around The Riverbend) Despite her parents desire to have her live a “normal childhood”, Amy was determined to be on stage (Born to Entertain, You There In The Back Row). Amy met some wonderful mentors as she got closer to her dreams, but trusted too deeply and became a victim of sexual abuse by a prominent teacher in the business. (I Know Things Now). Too afraid to tell anyone, she kept that secret inside for months. Tormented by shame, confusion, and anger, her feelings remained unresolved when life took an unexpected detour. The week before her high school senior prom, she found herself in unusual pain. She was rushed to the emergency room, and due to a blood clot, Amy's stomach exploded to the ceiling of the operating room. After both lungs collapsed, she almost died. (Say A Prayer For Me Tonight). After waking up from her coma, she was told by doctors that she had no stomach anymore, (Hospital Song/Dear Little One) she couldn’t eat or drink, and it was not known when or if she would ever be able to again. (Lost In The Stars) From that point on, she was introduced to the foreign world of the ICU (The Physician), and her life before the coma started to become a distant memory. (I Remember). Facing life without nourishment or any answers, Amy kept up hope and longed to be part of he outside world again. (Take Me To The World.) As a patient, she tried to live her life as normally as she could – having her high school graduation in the middle of the ICU (I’d Rather Be Sailing) and even escaping the hospital premises in her hospital gown to go shopping. She was found and kindly escorted back to the hospital. (“Someone must’ve tipped her off.”) (What About Today) When finally discharged from the hospital, she was confronted with the question of what her purpose was now (I Want Out) – an agonizing question for someone who desperately wanted to matter and make her mark. (Horse With Wings). Being “too healthy” to be in the
    hospital, but “not healed enough” to eat or drink was a tricky place to be. Her father would have to hide in the garage to microwave food for himself because of Amy’s ravenous appetite that she could not satisfy. (Food Glorious Food). After a full year of not even an ice cube, Amy was finally allowed to drink clear liquids by a surgery which created an opening in her neck. (“Everything I drank came out the opening and into a cute little bag. I would try to drink different colored juices so my bag would match my outfit!”) But the surgery to eat didn’t go exactly as planned (Corner Song) and Amy had to keep up her optimism even when the situation grew more discouraging. So, she kept on learning new interests and staying busy – teaching nursery school, learning karate, putting up three art shows, starting a chocolate business, a food blog - anything to take her mind off of food and the uncertainty of her future. The TODAY show eventually heard about her story. David Friedman and Kathie Lee wrote a song for her that was performed on the show. (Still Alive). After everything, Amy realized the true gifts of what has happened to her. On top of the world, Amy decides to get her 27th surgery – and her first elective one. It becomes her worst medical disaster ever, and at rock bottom once again, she makes three big decisions that ultimately change the course of her life. (Madwoman)
    “They say that everything happens for a reason. But that’s not always true. Sometimes, you have to make it happen...This is not the path that I planned for myself – but does anyone’s life ever work out exactly how they plan it? I was led astray, and hurt, and betrayed, and dehumanized, taken apart and put back together, but differently. But my passion never went away. I kept my hunger alive. Now I know that my role in life is still to be that same performer I always wanted to be when I was 13. But now with an even greater gift to give. A story to tell.” (Song: The Story)
    Starting college at 25, married, divorced and with a story to tell, one beautiful detour turned into the thrill-ride of a lifetime.
    (How Lucky You Are)
    Bows
    Afterwards is an optional retrospective, Amy speaks to various parts of her life at her easel, watching it all back from her original artwork as slides against her body, available here: https://www.amyoes.com/galleries/mixed-media-art-gallery/
  • Leftovers
    Patty is an audacious teenager who had her life all planned out: go to college, win a Tony, and conquer the world. But life took an unexpected turn shortly after receiving her acceptance letters, waking up in a surgical ICU months later, to world forever changed. A mesenteric blood clot has caused her stomach to literally rupture, and now, she is unable to eat or drink until doctors can create a makeshift...
    Patty is an audacious teenager who had her life all planned out: go to college, win a Tony, and conquer the world. But life took an unexpected turn shortly after receiving her acceptance letters, waking up in a surgical ICU months later, to world forever changed. A mesenteric blood clot has caused her stomach to literally rupture, and now, she is unable to eat or drink until doctors can create a makeshift digestive system for her. This new reality has not erased a secret that only her mother knows – Patricia was sexually abused by her voice teacher for the months preceding her coma.

    In the meantime, as Patty’s family nervously waits by her bedside, struggling with the idea of losing a daughter and sister, day to day life in the hospital goes on, and “ICU Psychosis “begins to describe the neuroses of an overbearing family camping out together in a cubicle for far longer than even a Jewish mother can stand.

    Quirky family dynamics grow tense when the chief surgeon starts to look for a prognosis. As the family argues about what could have precipitated such a disastrous event, Susan is eventually pushed to divulge Patricia’ truth, prompted by a haunting flashback of her daughter. Blaine, Patricia’s voice teacher, thought to be a trusted mentor and friend of the family, is revealed to be the possible cause of a stress ulcer. The secret, once brought to light, threatens to tear the family apart with blame, guilt, and contempt.

    Major Conflict
    Once Patty comes to, the real work begins. Forced to come to terms with a dark past she's kept hidden from even herself, Patricia struggles with her emotional repairs as doctors work to save her life, now terrified of living, after so many years cut off from a world she once felt part of. Shamed by her family for her emotional “relapse,” Patricia navigates her way through recovery by ultimately facing her past, reclaiming her voice, facing her world, and learning how to take her first bites of actual food again – a journey that takes her down into the depths of trauma with no one to save her but herself.

    Exiled from the life she knew, and nearly given up on by the family and medics who fought for her survival, Patty is pushed to revive old alliances with food, music, and feeling, through fearlessly “reconnecting her leftovers, so she can let them go.” Bringing her secrets to light, and taking her place at the family table once again, rediscovers her passion for music, trust in her family, and insatiable appetite for life.

    Format
    The play goes in and out of time, exploring Patricia’s memories starting as a teenager in 2005, who narrates her entire story from the present. The script (which includes original music) follows her physical and emotional recovery through six years unable to eat or drink and 27 surgeries, the battle to reclaim her voice from the teacher who seized it years before, and the breaking apart and coming together of a family. Leftovers can release us or forever hold us back, if we don't work to pick up the pieces.

    Theme
    LEFTOVERS explores the physical and psychological impact of PTSD, conveying the pain, the losses and ultimately the gifts of transformation that stem from trauma. Rather than a chronological accurate sequence of events, the play illustrates how trauma is actually experienced: in intricate nonlinear tapestries of sounds, images and sensations.

    Leftovers is a humorous and poignant portrayal of how trauma affects the family. The script is based on my own foggy recollections, as well as a meticulous journal my brother kept for the first 72 days I was in a coma, awaiting their baby girl's first breaths of new life. Because of its themes of its themes of prevention, PTSD, and community healing, this is also a powerful message to share with society, now, more than ever.

    Through transforming the aftermath of trauma into art, we create our own unique masterpiece, cultivating a bold, new identity that is uniquely ours. Yet, this transformation draws us together in a universal narrative. LEFTOVERS strives to shift an entire community ethos in the direction of inclusion, not only to provide courage and a sense of belonging to individuals struggling with their individual adversities, but also to help build a society that gives everyone an awareness and generosity of spirit that betters our world.

    Trauma and its leftovers have a societal impact. So we all are entitled to our just desserts.
    Come, take a seat.