2021 Filmed Stage Production
Mirrors production artwork. A curtain and a woman are reflected in an ornate mirror, floating in the center of a black rectangle with a blue border. A blue rectangle and orange rectangle overlap the mirror in the top left and bottom right, respectiv…

This summer, Parity filmed the staged production of Mirrors to bring the COVID-19 halted production to a wider audience.

Premiered online and in-person at our Annual Awards Ceremony & Celebration.

 
About the Playwright: Azure D. Osborne-Lee (he/him, they/them) is a Black queer & trans NYC-based writer from South of the Mason Dixon. He holds an MA in Advanced Theatre Practice (2011) from Royal Central School of Speech & Drama as well as an MA in Women’s & Gender Studies (2008) and a BA in English & Spanish from The University of Texas at Austin (2005). Still Standing Artist in Residence, recipient of Waterwell New Works Lab’s 2021 Commission, Kilroys List 2020 playwright, recipient of Parity Productions’ 2018 Annual Commission, Winner of Downtown Urban Arts Festival’s 2018 Best Play Award, and the 2015 Mario Fratti-Fred Newman Political Play Contest.

Azure’s full-length play Crooked Parts has been published in The Methuen Drama Book of Trans Plays. His full-length play Red Rainbow, commissioned by Waterwell, received a virtual run April 29 - May, 2021. Red Rainbow will be produced by Mt. Holyoke in March 2022. http://azureosbornelee.com

View Azure's profile in The Parity Database.
Azure D. Osborne-Lee wearing a black shirt and chain necklace, in front of a light grey backdrop
CAST

Joyia D. Bradley (she/her) – Louise Sterling
Suzanne Darrell (she/her) – Bird Wilson
Anthony Goss (he/him) – Ray Johnson
AnJu Hyppolite (she/her) – Mabel Mosley
Natalie Jacobs (she/her) – Constance Jenkins
Ashley Noel Jones (she/her) – Alma Jean Pierson
Ashley Victoria Scott (she/her) – Annabelle “Belle” Pierson

TEAM

Playwright: Azure D. Osborne-Lee (he/him, they/them)
Film Director: Paul A. Notice II (they/them)
Director: Ludovica Villar-Hauser (she/her)
Historical Dramaturg: Arminda Thomas (she/her)
Cinematographer: Dennis Robert Thomas (he/him) 
Associate Producers: Jennifer Kranz (she/her), JM Morgan (all pronouns)
Properties & Set Designer: Jamie Nicole Larson (she/her)
Costume Designer: Sabrina Bianca Guillaume (she/her)
Lighting Consultant: Miriam Nilofa Crowe (she/her)
Sound Consultant: A. Twi McCallum (all pronouns)
Music Director: Ashley Noel Jones (she/her)
Casting: Jamibeth Margolis, C.S.A. (she/her)
1st Assistant Director: Katrina Reid (she/they)
Fight Choreographer/Intimacy Director: Rocío Mendez (she/they)

Production Management: Intuitive Management

Production Stage Manager: Kaelin Elizabeth Fuld (she/her)
Stage Manager: Stephanie Cobb (she/her)
Wardrobe Supervisor: Tuesdai Win (she/her)
Production Assistants: Erin Bradford (she/her), Seth Cerrate, Alison Vincitore (she/her)
Audience/Marketing Development: Marcia Pendelton/Walk Tall Girl Productions
Technical Director: Sarah Schetter (she/her)
Assistant Technical Director: Cody Lee (they/them)
Steadicam Operator, Grip, & Gaffer: Dominik Czaczyk (he/him) 
1st Assistant Camera: Kurt Voltmann (he/him)
Grip: George Haley, Alessandro Imperiale
Wardrobe Supervisor: Tuesdai Win (she/her)
Sound Editor/Designer: Paul A. Notice II (they/them)
Audio Mixer: Mano Guha (he/him)
ADR Supervisors: Paul A. Notice II (they/them), Katrina Reid (she/they)
Editor, Foley Artist, Foley Recording, Audio Engineer & ADR: Paul A. Notice II (they/them)
Associate Sound Consultant: Germán Martinez (he/him)
Title Design: Maya Graffagna (she/her)
COVID Compliance Officer: Sam Shapiro (she/her)
Filming Locations: Alliance of Resident Theatres/New York, Theater for the New City

SUPPORT

Sponsors

Mary Francina Golden & Kenneth V. Handal
Renee Landegger
Helen Mills & Gary Tannenbaum
Laura Pedersen
Judy Polzer & Julian Flear
Jo-Ann Sickinger & Howard Goldberg

NYC Cultural Affairs logo

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the New York City Council.

Parity Patrons

Executive Producer
Anonymous

Made Possible By
Cecelia Joyce Johnson/Deep End Productions

With the Generous Support of
Fengar Gael
Mary Francina Golden & Kenneth V. Handal
Claudette Mayer
C. Michael Simonetti & Ernie Fontaine

Special Thanks To

A.R.T. New York
Cynthia Armijo
Cailin Kless
ESSTEEM
New Perspectives Theatre Company
New York Theatre Workshop
John Ratana
Marie Roker-Jones
Hugues Seureau
Zankhana Shula
Theatre For The New City

And to all of our supporters, who have helped us enormously during this challenging time

2020 World Premiere Stage Production
Mirrors production artwork. A curtain and a woman are reflected in an ornate mirror, floating in the center of a black square with a blue border. A blue rectangle and orange rectangle overlap the mirror in the top left and bottom right, respectively…
MIRRORS at Next Door at NYTW

February 29th - March 22nd, 2020
Next Door at NYTW
4th Street Theatre
83 East 4th St.
New York, NY 10003

SYNOPSIS Set in the sleepy Mississippi town of Etheridge in the summer of 1960, Mirrors depicts the lives of three African-American women bound by love and loss and family, and the secrets of their shared past. When 17-year-old Alma Jean finds her mother dead, she must pack up her life and move in with her mother’s ex-lover, a woman she doesn’t know. Her new guardian, Bird Wilson, is the town pariah and unused to sharing her home. Will mourning the death of a shared loved one bring Alma Jean and Bird together or push them further apart?

"...a play Azure D. Osborne-Lee was born to write."
 - Reigna Robbins, Theatre Development Fund

“Azure D. Osborne-Lee takes us where few, if any, playwrights have gone before”
 - David Barbour, Lighting & Sound America

"Osborne-Lee should be applaued for depicting the kinds of lives that have often been ignored in mainstream art."
 - Aaron Botwick, Scribicide

Photography by John Quilty.

CAST

Joyia Bradley (she/her) – Louise Sterling
Suzanne Darrell (she/her) – Bird Wilson
Anthony Goss (he/him) – Ray Johnson
AnJu Hyppolite (she/her) – Mabel Mosley
Natalie Jacobs (she/her) – Constance Jenkins
Kayland Jordan (she/her) – Annabelle “Belle” Pierson
Ashley Noel Jones (she/her) – Alma Jean Pierson
*Ashley Scott (she/her) played the role of Annabelle “Belle” Pierson on March 11th

TEAM

Playwright: Azure D. Osborne-Lee (he/him, they/them)
Director: Ludovica Villar-Hauser (she/her)
Producing Artistic Director: Jennifer Kranz (she/her)
Set & Properties Designer: Jamie Nicole Larson (she/her)
Costume Designer: Sabrina Bianca Guillaume (she/her)
Sound Designer: Twi McCallum (all pronouns)
Lighting Designer: Miriam Nilofa Crowe (she/her)
Production Dramaturg: Arminda Thomas (she/her)
Fight Choreographer/Intimacy Director: Rocío Mendez (she/her, they/them)
Music Director: Ashley Noel Jones (she/her)
Production Stage Manager: Kaelin Elizabeth Fuld (she/her)
Assistant Director: Judith Binus (she/her)
Stage Manager: Chiara Johnson (they/them)
Associate Sound Designer: German Martinez (he/him)
General Manager: Isabella Jane Schiller (she/her)
Marketing/Audience Development: Marcia Pendleton/Walk Tall Girl
Casting: Jamibeth Margolis, CSA
Production Management: Intuitive Management

Intuitive Production Management
 
SUPPORT

Co-Produced by 
India Blake/IB Productions
Cecelia Joyce Johnson/
Deep End Productions
Made Possible by Judy Polzer
In Association with Ashley Garrett
With generous support of 
Jo-Ann Sickinger & Howard Goldberg

Mirrors by Azure D. Osborne-Lee was made possible in part with public funds from Creative Engagement, supported by the New York State Council on the Arts with the support of Governor Andrew Cuomo and administered by LMCC. 

 
COMMUNITY PARTNERS
To protect LGBTQ youths from the harms of homelessness and empower them with the tools needed to live independently.

To protect LGBTQ youths from the harms of homelessness and empower them with the tools needed to live independently.

Founded as an ensemble of impassioned student artists in 1985, Atlantic Theater Company has grown into a powerhouse off-Broadway company. We challenge, inspire, and awaken audiences with truthful storytelling presented across our two virtues, the Linda Gross Theater and the intimate Stage Two black-box. As a producer of compelling new works, we are committed to championing the stories from new and established artists alike, amplifying the voices of emerging playwrights through our deeply collaborative programs and initiatives.

Founded as an ensemble of impassioned student artists in 1985, Atlantic Theater Company has grown into a powerhouse off-Broadway company. We challenge, inspire, and awaken audiences with truthful storytelling presented across our two virtues, the Linda Gross Theater and the intimate Stage Two black-box. As a producer of compelling new works, we are committed to championing the stories from new and established artists alike, amplifying the voices of emerging playwrights through our deeply collaborative programs and initiatives.

The Brooklyn Community Pride Center provides services and support to the borough’s LGBTQ+ community through original programming and partnerships with other organizations.

The Brooklyn Community Pride Center provides services and support to the borough’s LGBTQ+ community through original programming and partnerships with other organizations.

The Ensemble Studio Theatre develops and produces original, provocative and authentic new plays to exchange and challenge our audiences. We acknowledge and work to end systemic marginalization and oppression at all levels of our organization. EST discovers and nurtures new voices and supports artists throughout their creative lives, leveraging this extraordinary support and commitment to inclusivity to help artists yield extraordinary work.

The Ensemble Studio Theatre develops and produces original, provocative and authentic new plays to exchange and challenge our audiences. We acknowledge and work to end systemic marginalization and oppression at all levels of our organization. EST discovers and nurtures new voices and supports artists throughout their creative lives, leveraging this extraordinary support and commitment to inclusivity to help artists yield extraordinary work.

The Flea was founded in 1996 by a group of downtown artists looking to raise a joyful hell in a small space. That same spirit of adventure and excitement, which defines Off-ff-Broadway, also defines The Flea. We don’t just encourage risk, we invest in it – the work that wouldn’t be produced elsewhere, and in early-career artists who wouldn’t gain opportunities elsewhere. As a result our stages are filled with new plays, fueled by emerging talent, and focused on urgent stories that reflect the world around us. The Flea champions those voices least likely to be at the forefront of our culture.

The Flea was founded in 1996 by a group of downtown artists looking to raise a joyful hell in a small space. That same spirit of adventure and excitement, which defines Off-ff-Broadway, also defines The Flea. We don’t just encourage risk, we invest in it – the work that wouldn’t be produced elsewhere, and in early-career artists who wouldn’t gain opportunities elsewhere. As a result our stages are filled with new plays, fueled by emerging talent, and focused on urgent stories that reflect the world around us. The Flea champions those voices least likely to be at the forefront of our culture.

The African American experience is not represented solely by one voice or one style. The Obie-winning Fire This Time Festival, with FRIGID NYC, provides a platform for talented early-career playwrights of African and African American descent to explore challenging new directions of 21st century theater.

The African American experience is not represented solely by one voice or one style. The Obie-winning Fire This Time Festival, with FRIGID NYC, provides a platform for talented early-career playwrights of African and African American descent to explore challenging new directions of 21st century theater.

LOCS Collective’s purpose is to address the gross disparities that exist regarding access to community and resources for LGBTQ+ women, non-binary people of color. Our vision is to create spaces and platforms to celebrate our vibrant culture, solidify our community and increase our visibility.

LOCS Collective’s purpose is to address the gross disparities that exist regarding access to community and resources for LGBTQ+ women, non-binary people of color. Our vision is to create spaces and platforms to celebrate our vibrant culture, solidify our community and increase our visibility.

Moxie Arts New York is a theatre company dedicated to engaging audiences with stories of women+ with grit and endurance. Our programming provides opportunities for women+ at all stages of artistic career and development. Moxie Arts provides a platform for new artists to have their works read or sung aloud, resources for artists with new work to be staged, and professional management for artists to see their new works come to fruition as a fully staged production. In our third season, one hundred percent of our creative team positions have been staffed by women+.

Moxie Arts New York is a theatre company dedicated to engaging audiences with stories of women+ with grit and endurance. Our programming provides opportunities for women+ at all stages of artistic career and development. Moxie Arts provides a platform for new artists to have their works read or sung aloud, resources for artists with new work to be staged, and professional management for artists to see their new works come to fruition as a fully staged production. In our third season, one hundred percent of our creative team positions have been staffed by women+.

National Queer Theater: Our mission is to foster and support LGBTQ communities through social justice in the performing arts. Follow us at www.nationalqueertheater.com

National Queer Theater: Our mission is to foster and support LGBTQ communities through social justice in the performing arts. Follow us at www.nationalqueertheater.com

The award-winning NPTC was founded in 1991 as a multi-racial company dedicated to using theatre as an agent for positive social change. Our mission is to develop and present new plays and playwrights, particularly women and people of color; present classic plays in a way that sheds new light on modern life; and offer the benefits of theatre to communities in need–especially young people & communities in need. Our aim is not to excluded, but to cast a wider net.

The award-winning NPTC was founded in 1991 as a multi-racial company dedicated to using theatre as an agent for positive social change. Our mission is to develop and present new plays and playwrights, particularly women and people of color; present classic plays in a way that sheds new light on modern life; and offer the benefits of theatre to communities in need–especially young people & communities in need. Our aim is not to excluded, but to cast a wider net.

Awards Ceremony & Celebration, October 16, 2019 at Theaterlab. Pictured: Ashley Noel Jones as "Alma Jean Pierson" and Suzanne Darrell as "Bird." Photography by John Quilty.

Reading, September 24, 2019. Pictured (left to right): Kirya Traber as "Belle," AnJu Hyppolite as "Mabel," Joyia Bradley as "Constance," Natalie Jacobs as "Louise," Ashley Noel Jones as "Alma Jean," Sheldon Steele as "Ray Johnson," and Suzanne Darrell as "Bird." Photography by Ashley Garrett.

In accordance with New York State Law, the New York State Office of the Attorney General requires that the website and telephone number for the Attorney General’s Charities Bureau be included on all solicitations. They are as follows: https://www.charitiesnys.com/ Phone: (212) 416-8401. A copy of Parity Productions' (EIN 13-4043424) latest annual report may be obtained, upon request, from the organization or from the New York State Attorney General’s Charities Bureau, 28 Liberty Street, 15th Floor, New York, New York 10005.