Alyssa Bresnahan

Alyssa Bresnahan

From her role as “Rose” in the Tony Award-winning epic War Horse (she was five months pregnant at the audition), to a prolific career in regional, to the small screen gigs, Alyssa Bresnahan has quite the resume.

Transcripts

Sandi: Welcome to another addition of The 51%, Conversations with Creative Women. I’m Sandi Klein.  Alyssa Bresnahan has taken on many roles and I mean that literally. She is an actress with an impressive resume, having performed on and off Broadway, in nearly two dozen regional theatre productions as well as film and television. Most recently, she played Rose, the young hero’s mother in the much heralded Lincoln Center production of War Horse. The epic and stunningly inventive WWI drama featured majestic life-sized puppetry representing the show’s horses. They were portrayed by actors serving as puppet masters, both inside and outside the animals. Warhorse galloped off, with five Tony awards in 2011, including best play, and it ran until January 2013. The play marked Alyssa’s Lincoln Center Debut, but get this, she happened to have been five months pregnant when she first auditioned in 2010. Fortunately, rehearsals began in early 2011, when her daughter was about four months old. Not easy breast-feeding an infant while doing eight shows a week, more about that later. Alyssa graduated NYU Tisch School of the Arts Experimental Theater. Early on in her career she was cast as the lead in Iphigenia In Torres, in La Ma Ma in New York City and also toured with the play in Greece, performing not only in English, but in ancient and Modern Greek, More about that later too. It was during an acclaimed production of a Streetcar Named Desire at the Hartford stage in ’98 that Alyssa, who played Stella, met her husband, fellow actor James Colby cast as Stanley. Bresnahan was also known to Connecticut audiences for her roles as Maggie in “Cat on a hot tin roof.”, and Maxine in “Night of the Iguana”. Alyssa was nominated for a Joseph Jefferson Award for actors in a principal role for her role as Seraphina in The Rose Tattoo, at the prestigious Chicago Goodman Theater. Oh and one more thing, as a member of audio files golden voices, Alyssa has brought dozens of books to life, winning several awards for her work. So it’s a real pleasure to welcome you today. That went on for hours didn’t it?

Alyssa: [Laughing] That was fabulous! Boy, I sound so good, thank you Sandi.

Sandi: So I’m guessing that you are probably as impressed by your background as I am.

Alyssa: I am now; in your mouth I sound great. [Laughing]

Sandi: [Laughing]

Sandi: Before we harness War Horse, I have got to talk about this Greek tragedy craziness. I mean you’re not Greek.

Alyssa: No.

Sandi: And who speaks ancient Greek, much less Modern Greek, but Greeks.

Alyssa: I know.

Sandi: You find yourself in this role in Greece, forced to learn the languages. Correct?

Alyssa: Yes. For some reason, Greek theatre has always circled me. I think it’s the size and the, I don’t know, just the style of it.

Sandi: Scope?

Alyssa: Yes. It’s always, I’m always, even now, getting calls for, would you think about doing Clytemnestra, you know, the one that got killed by her son. At least two or three times a year someone has some Greek production that they are, they’ve heard about me and they are interested, they are wanting to know if I, and I would say to my husband, my God, I can’t do that again.

Sandi: Because it’s so intense?

Alyssa: It’s so intense. It’s so, I mean, they’re fabulous. They’re incredible stories. They are the roots of theatre as we know it, but it takes a lot out of you to bring all that up to the size of what it is.

Sandi: Mm Hmm

Alyssa: Yes. When I was twenty-two, I walked into an open call that Ellen Stewart was having at La Ma Ma.

Sandi: Who founded La Ma Ma.

Alyssa: Who founded La Ma Ma; was La Ma Ma. She happened to be in the room when I was auditioning for the Greek Theatre of the South. They were coming to La Ma Ma and doing a production that was going to be bilingual, half American, half Greek cast. She was in the room, and after my audition she said, that’s Iphigenia. They said, okay, but she doesn’t speak Greek. When we get to Greece, because we performed in New York first. When we get to Greece, we’ll switch actresses. We’ll have somebody else play the Greek actress. As it went along, we were learning songs in Greek and I just picked it up. I learned the Greek music. My mom is Mexican. Languages have come easily to me. I just did it. Halfway through New York, they said, you know what, we’ll just stick with you being Iphigenia.

Sandi: You were convincing enough with your new found languages.

Alyssa: Yes. And then, when we went to Greece, we rehearsed there for six weeks in Athens and then we toured for about four months. The ancient theatres of Greece, which are all outdoors.

Sandi: Right.

Alyssa: When we were Athens we had to rehearse at night because it was so hot. I remember we would rehearse outside. It was tremendous. It was a very moving or motivating experience to be making theatre and just speaking in these places that were ancient tributes.

Sandi: Right. Where great dramas were born.

Alyssa: Yes.

Sandi: I remember being in Greece and they had salt and lumiere shows, sound and light shows at night. You would be in these cavernous coliseum type places with actors and actresses on stage.

Alyssa: Yes.

Sandi: Watching it was amazing. Performing in it must have been doubly amazing.

Alyssa: It’s funny you say about watching it. I remember, it’s not like new theatre. Everybody knows the stories.

Sandi: Exactly.

Alyssa: They’re like folk tales that have been told over and over and over again. I remember looking out in to the audience and seeing all the cigarettes glowing in the dark because the audience is sitting there just thinking about their history. It’s really a wonderful, beautiful thing.

Sandi: I guess there must be an interesting contrast between wanting to keep these great dramas alive, but on the other hand not feeling that that’s what you wanted your career to be.

Alyssa: You hit it on the nail. I mean the nail on the head.

Sandi: [Laughing]

Alyssa: It was a shock to say the least to come back from that. A culture shock or an Artistic shock, everything. To come back from that experience and feel so full of what I wanted to do. What I had experienced and how I could somehow translate that and bring that to where I live. It has been a long search to find that in New York theatre.

Sandi: Mm Hmm

Alyssa: Or in American theatre. I did in 2000 a production with Peter Hall, The Royal Shakespeare Company. They did a production of Tantalus that was a fifteen hour show that toured in England. That was comparable. I have to say War Horse was comparable in terms of scope.

Sandi: Right.

Alyssa: In terms of the story. In terms of pure theatre that was not trying to be TV or a film. That was not trying to compare but was busting open its own envelope and doing. Using the stage to be anything that you could imagine.

Sandi: Mm Hmm

Alyssa: I feel like a lot of times theatre has suffered because the visual media of television and film, if you compare it too much you lose what each one is magnificent and the potential of each one.

Sandi: In and of itself.

Alyssa: Yes.

Sandi: Mm Hmm

Alyssa: Theatre has suffered from that I think.

Sandi: But I think there’s been kind of a resurgence.

Alyssa: Oh, absolutely. Absolutely.

Sandi: But not because there’re Greek tragedies being performed, but you’ve got the Book of Mormon.

Alyssa: Yes.

Sandi: Or these other Broadway spectacles. Or even Bette Middler.

Alyssa: Yes.

Sandi: Doing a one woman show.

Alyssa: Right. Right.

Sandi: I’m curious. Where you worried about being type cast in these very difficult roles, which are very impressive. But, did you think you could come into New York and not take it by storm, but maybe do something more contemporary? Is that what you wanted to do if you had a fairy godmother?

Alyssa: The first contemporary language that came out of my mouth was Streetcar Named Desire, was Tennessee Williams and that’s where I met my husband. That was the first time where I was talking about setting the table and getting the dinner ready and putting on my shoes. It was very simple and I loved it.

Sandi: Mm Hmm

Alyssa: I thought, wow, this is so easy. I mean, it’s not easy but it’s simple.

Sandi: Relatable? Mm Hmm

Alyssa: There’s not a muscle that has to pump up for it. Stella was the most subtle, calm, genteel, simple, beautiful person that I have ever played. The fact that I met my husband while being that person, [Laughing], the person that I loved the most of myself.

Sandi: Yeah, but he was an SOB. You know. [Laughing]

Alyssa: [Laughing] But of course, Stella found what was magnificent about him.

Sandi: About him. Mm Hmm

Alyssa: Anyway, all over the map. So, yeah. Streetcar Named Desire was the first contemporary, and that was 1948 it was written.

Sandi: Exactly.

Alyssa: So, not too contemporary.

Sandi: You have really been cast in these iconic roles? The Rose Tattoo, Cat on a Hot Tin Roof, and you’ve brought your own meaning to these roles. Is that something that you like, or would you like to be cast in something completely original?

Alyssa: Well, I don’t. Anything that is; I try not to have a say of no.

Sandi: Mm Hmm

Alyssa: I don’t want to do this.

Sandi: Mm Hmm

Alyssa: War Horse was

Sandi: Was that you’re biggest break?

Alyssa: Certainly. Yeah. That was Lincoln Center and Broadway. That was huge. Fabulous. Yeah.

Sandi: Let’s talk about that. What was that like?

Alyssa: To be honest, we were pregnant and we didn’t have much in the pockets. [Laughing] We were counting on the old wives tale of babies bring luck and money.

Sandi: Mm Hmm

Alyssa: That was what we were banking on.

Sandi: Mm Hmm

Alyssa: Literally. My agent called and said, would you be interested in going in for this. I looked it up becuase of course it was already a big hit in London.

Sandi: In London.

Alyssa: I looked it up and I thought, I could get this job because they have the stars. The stars are the horses.

Sandi: Horses.

Alyssa: They’re the puppets.

Sandi: Which are unbelievable. These masks made of leather and airplane cable and

Alyssa: Bamboo

Sandi: Steel

Alyssa: They are magnificent creatures. They really are.

Sandi: That’s a good point. The stars are the puppets.

Alyssa: They are.

Sandi: Mm Hmm

Alyssa: I thought, you know what, I could get this. They don’t need a name and I need this job. [Laughing] I went in with that confidence and that push and I got it. There have been a handful of times when I have felt that. When you read it, the breakdown, or you get a call, and you think yes this is for me. There are a lot of other ones that are nail biters. You don’t know, but there have been a few that are like, this is it.

Sandi: You would have been more stunned if you didn’t get the part?

Alyssa: I don’t know. I guess so. I didn’t think about, I just. Maybe it was because I was pregnant.

Sandi: Did they know?

Alyssa: Yes.

Sandi: They knew that you were pregnant.

Alyssa: They did.

Sandi: Okay. Well, you were showing I suppose.

Alyssa: Yes. You know how your brain works a little differently when you’re pregnant.

Sandi: You think?

Alyssa: There are things you don’t think about.

Sandi: Mm Hmm

Alyssa: You just. It was a clarity I guess.

Sandi: And explain what that was like to have been given the word as well as giving birth. All the stars were so aligned. You had these two huge events

Alyssa: Yeah. Everything at the same time

Sandi: In your life.

Alyssa: It’s true. When it rains, it pours. You get the two things that I had been praying for for as long as I could remember.

Sandi: I want to ask you. So you were in your early forties when you got the role? Is that considered late?

Alyssa: Yes. I think so. I think so. I mean, I didn’t have an agent till I was thirty-six.

Sandi: Why? You didn’t need one?

Alyssa: No. Not for a lack of trying. I don’t know what it is. I don’t know what it is. It could have been a little bit what I was talking about. About finding my place, finding who I was. What I present to the world. How I can fit. What I do. What I feel good about doing. What I feel that I am here to express. Finding the place for that. Where can that fit in? A lot of what theatre is and being an actor, is it’s not like you can go into a room and paint and then you’re done.

Sandi: Mm Hmm

Alyssa: You have to have, other people have to be involved. There has to be some opening that is set up. That you can walk through or push down. It is a community event to work. You can’t work by yourself. Finding those people. Finding that language. Finding that space that I fit in to is. I think is any actor’s life’s work.

Sandi: But you knew that this was, forgive the drama, your calling? That you wanted from a young age, to do this?

Alyssa: Yes. My mom was in theatre education. My father was a singer and a musician with a pretty incredible voice. He, my father has a tremendous voice. I did street theatre with them in the 70s with their different Hispanic theatre company and things like that. It was always what I did instead of go to camp.

Sandi: And this was in Massachusetts?

Alyssa: Yes.

Sandi: Where you’re from? Mm Hmm

Alyssa: Yes. In Brookline.

Sandi: Mm Hmm

Alyssa: I took dance classes. I never, I think I never had the sit down with my parents and say, look guys, I want to be an actor. I wanted to travel. I went to Europe after high school, before I went to college. After traveling I said I want to go to New York City. This is a world city. I want to be there. I applied to the Tisch School of the Arts and I was put into the experimental theatre wing. I had a great experience, but half of  what I, half of my teacher was the city. I really loved being here.

Sandi: Uh Huh.

Alyssa: All of what it, the history of theatre here. The history of downtown theatre here. The history of theatre companies. The history of theatre styles. But it was based downtown. The experimental theatre wing is experimental theatre. The notion of going, we used to have a joke, above 14th Street.

Sandi: Uh Huh. [Laughing]

Alyssa: [Laughing] Is a big step, and another

Sandi: To go to Times Square.

Alyssa: It’s another place. It’s another dimension. So, that took. Well, it took until War Horse to

Sandi: To get you there.

Alyssa: To get there.

Sandi: But on the other hand, even though the route was circuitous, you were working in some very prestigious regional theatre. The Good Men, The Hartford Stage, I mean the list is pretty long. I think I counted close to two dozen productions outside of New York. Was that satisfying to you?

Alyssa: Yes. Yes. I love to work. I was fortunate to always be working on great plays. Which was really, the writing that was the most important. It wasn’t until I met my husband and I started doing Tennessee Williams and really kind of getting closer and closer to New York and closer and closer to simplicity in what I was doing. I think when I first started out as an actress, I was, had a lot of energy. I was very loud. I was very strong. Had big emotions and again finding the place for that. Finding the refinement of that. The more I was simple. The more I was not the Clytemnestra or the Cassandra, the Electra, the Greek

Sandi: Broads.

Alyssa: Broads. The more I wanted to just sit down at a table and have a conversation.

Sandi: Mm Hmm. Mm Hmm

Alyssa: Then that also did lead, of course, to film and television. Which is something that I’ve always been wanting to do. I’ve done a little bit, but not a lot and that has, I want to get there.

Sandi: You expect to be doing more?

Alyssa: I do.

Sandi: What would be an ideal if somebody knocked on the door now? What would be really ideal for you?

Alyssa: I tell you. I was not allowed. This is probably the other thing. I wasn’t allowed to watch television growing up.

Sandi: Hmm

Alyssa: I don’t watch very much now. I watched a lot of foreign movies when I was young, and a lot of musicals. I do, I watch, occasionally, you know. Boardwalk Empire.

Sandi: Sure. HBO.

Alyssa: Yea. Those seem to be really great, once I put my daughter to bed I have about forty minutes before I fall asleep myself.

Sandi: Mm Hmm

Alyssa: Certainly, cable TV seems to be great writing. Just really great.

Sandi: So, you’re waiting for that phone call?

Alyssa: [Laughing]

Sandi: Which you feel could come.

Alyssa: Yeah.

Sandi: For now, you’re TV has been network television. Right. Law and Order and a couple of shows like that.

Alyssa: Yes. I did a little. Then I started to do film and then I should say, about six years ago, I had an accident where my dog bit my lip off.

Sandi: Oy.

Alyssa: Which put a halt on

Sandi: You think?

Alyssa: Camera work.

Sandi: Oh my God.

Alyssa: That, I was just about, the ball was starting to roll, and then I had to stop. I had, the scar is better. It has been, for, it changed things up a little bit.

Sandi: I had spoken to a woman who’s involved in the theatre in one of our shows. She said what I thought was a very odd thing. Actors should enjoy the idea of auditioning. That should be as important as getting the role.

Alyssa: Uh Huh.

Sandi: I thought to myself, really? I mean, for every time that you’re turned down, I would think that it would be extremely stressful and not necessarily such a pleasurable experience.

Alyssa: I think that I would agree if it’s something interesting. There’s a lot of stuff that you don’t want to do. There’s stuff that’s not, either doesn’t pay well, is not written well. It’s not, maybe not where you want to be. Maybe it’s rehearsing over Christmas holidays for whatever reason. Whatever’s going on.

Sandi: Okay.

Alyssa: Usually it’s a money issue or a project issue. Those kinds of things are less interesting.

Sandi: The disappointment level may not be so great.

Alyssa: Exactly. I would have to agree with the woman that you were speaking with that if it’s an interesting project. Whatever it is that you need to raise up in yourself to say I can do this, I want to do this. That feels good. If you’re prepared, it always feels good to do a good job. I guess, maybe it’s later on, as we do this longer, you realize that there are things that you’re right for, things that you’re not right for. Or rather, the things that are meant to be, the things that are not meant to be.

Sandi: Mm Hmm

Alyssa: I always feel good if I feel I have done my best.

Sandi: Mm Hmm

Alyssa: If I’m prepared. I’ve put my best foot forward. Said what I wanted to say, and if it’s not meant to be, it’s not meant to be. But that interaction and that, the action of doing that presentation. Yes, is pleasurable I think.

Sandi: Was it nuts with you and War Horse with an infant?

Alyssa: [Laughing]

Sandi: I read that you were breastfeeding in between shows.

Alyssa: Yeah. She would come. Well, my husband would bring her and yeah. It was a lot of driving on his part. A lot of caring. He did the most of taking care of her while I was at work. Again, both things were fabulous. Both things were what we wanted.

Sandi: So huge. Mm Hmm

Alyssa: The show was such a great success. The company was wonderful. It was just a great thing to be going to work every day to do. And of course, your baby is your baby.

Sandi: When you do a show, eight times a week?

Alyssa: Yes.

Sandi: For as long as you do, I always wanted to ask that. Be honest. Do you ever sort of just go through the motions?

Alyssa: Yes. Oh yeah.

Sandi: You do.

Alyssa: But that’s where you’re technique comes in. I had never ever done, I had done 718 shows of War Horse. That was two years, but I had never done anything close. The longest run had been six months I’d say.

Sandi: Mm Hmm

Alyssa: With breaks in between. So, this was very different. For actors who do this on a regular basis, it is a tremendous, tremendous skill to be able to do it.

Sandi: What if you’re in a bad mood?

Alyssa: Yeah.

Sandi: Or your baby didn’t sleep all night, and I’m fried,

Alyssa: But that’s your job. At a certain point, you know your lines. You know what you’re wearing. You knew where you’re going. You know where you’re supposed to be at the end. It’s a map that you go through. So, that part you don’t have to worry about anymore. The work is whatever is bothering you, leave it alone. Leave it outside and get it up to make it happen because there are how many? Eleven hundred people out there, and they paid how many lots of money?

Sandi: Mm Hmm

Alyssa: To come and see you. You make it happen. That’s your job. That’s your job.

Sandi: Of course.

Alyssa: And it’s,

Sandi: But there definitely performances that are better than others. Do you ever leave the stage thinking, oh dammit?

Alyssa: Yes. Without a doubt. There are off shows, on shows, all of that and, maybe more often than not, you’ll say, God that was a terrible show. Someone will someone will say, boy you had a great show.

Sandi: Somebody professional?

Alyssa: Yeah. Some, often times it will be the show that you feel you were just, wow, that was fabulous,  they’re like, jeez, you were a little hot there. That was a little much.

Sandi: [Laughing]

Alyssa: Or, Oh god, that was terrible. Man, you were so right on.

Sandi: Isn’t that crazy?

Alyssa: It’s the, whatever happens.

Sandi: Now, what happened to you post War Horse? Did you think this was going to open up a lot of doors for you? And has it?

Alyssa: So far, not.

Sandi: Mm Hmm

Alyssa: Let’s say I haven’t worked since then. I’ve done my audio books, but what I really wanted to do, was be with my daughter. I wanted to make dinner and make dinners on a regular basis.

Sandi: Mm Hmm

Alyssa: To get her toilet trained.

Sandi: There’s a role.

Alyssa: [Laughing] There were things. To change her sleeping schedule because she was staying up until I got home from the show and then we would both sleep late.

Sandi: Mm Hmm

Alyssa: All those things. All those things. That was, that has been what has been the most important thing to me.

Sandi: So, you’re just re-shifting focus?

Alyssa: Yes. I also have to say, that my, since being a mom; my focus has shifted on what I want to do. There have been a couple of things that have come through that I just, for example, would I want to go in for doing a play where the mom, the character’s, great part, great thing, her daughter was five years old. The story was, her daughter was five years old and she had drowned in a swimming accident. I thought,

Sandi: Uh Oh.

Alyssa: I can’t do that right now.

Sandi: Mm Hmm

Alyssa: Because when you’re doing theatre, you immerse yourself, and you can’t help but bring it home. I, just didn’t, so there’s been a couple of things. Going out of town I can’t do. It’s different now. I’m much more selective about what I can and feel like and that’ll change again.

Sandi: Of course.

Alyssa: Once Shannon gets to a certain age. Right now, the most important focus was with her. Now, she’s in school, and now,

Sandi: There’s a little more freedom for you? Yes. A little more flexibility. Do you do commercials also?

Alyssa: I do voice over. Voice over has always been my in between things. I did a lot, when I lived in Los Angeles, a lot of commercial voiceovers.

Sandi: So, it’s fairly lucrative?

Alyssa: Yes. I haven’t, audio books is really the thing that’s kept me.

Sandi: And you’ve done some really famous books.

Alyssa: I’ve had very good fortune. Very blessed to have been able to do that for as long as I have.

Sandi: Obviously they don’t suffer fools gladly. They picked you because you’re good. Do you worry about getting older and getting work?

Alyssa: I always felt that I would, when I was younger, I couldn’t wait to be older.

Sandi: Mm Hmm

Alyssa: When I was a young actress, I never had the ingénue, I did the seagull. Maybe that was an ingénue. Well, yeah, she’s the ingénue. But I always felt inside that I was waiting to be older to fit my age.

Sandi: Mm Hmm

Alyssa: So, I, I mean. Yes. When I compare what my husband goes out for, he goes out, when I say go out he goes out for auditions.

Sandi: Auditions?

Alyssa: There’s so much more opportunity for him for his age.

Sandi: Huh.

Alyssa: As soon as he hit forty, it was like, [pssh] the doors opened.

Sandi: Took off?

Alyssa: It was, you now.

Sandi: Oh God. It’s 2013. When is that going to change already?

Alyssa: It’s true. But it is changing. It is definitely changing. I mean, I can’t spend too much time thinking about that. I work. It always has come. One thing or another. I would rather, you know, that Aesop’s Fable, of the mamma lion who compares to the hare and the hare has however many babies.

Sandi: Mm Hmm

Alyssa: And she looks over to the mamma lion and says, well. I have five babies and you’ve just had one. The mamma lion says yes, but each one is a lion.

Sandi: [Laughing] I get what you’re saying. So, when you sit here and you reflect over you’re career, you feel really good about it, don’t you?

Alyssa: I do today.

Sandi: [Laughing]

Alyssa: Because such I nice interview and introduction you gave me.

Sandi: But I didn’t make it up.

Alyssa: Well, thank you. I do. I feel, I mean, I’m still here. This is what I, I was confused I think very early on. When I would say, I want to be an actress. I’m working to be an actress and it was associated with being rich and being famous.

Sandi: Mm Hmm

Alyssa: That to me is a, doesn’t, it’s not an equation like that.

Sandi: Mm Hmm

Alyssa: It’s not, you don’t go in to do it to be that. You go in, you be an actor because you can’t be anything else. That’s what they’ve always said. If you can do something else, do it.

Sandi: Really?

Alyssa: Oh yeah. If you can do anything else, do it. If this is what you can do. If this is what you’re doing and you love doing it. No matter what, no matter what. If you still got stuff to say and stuff to do, then keep going. I guess, I mean sure, I want to be. I don’t think I want to be famous. I try to, I hope I’m not kidding myself. I would like to have money.

Sandi: Mm Hmm

Alyssa: I would like to have

Sandi: Security.

Alyssa: Security. Those kind of things. I had that for a little bit of time, when War Horse, and was like, wow, so this is what it’s like.

Sandi: Mm Hmm

Alyssa: But that’s not why I’m an actor. It really is because I enjoy doing it. I get something from it that is my life. I was reading a Julie Harris obituary and some quotes that she had said about the theatre and the theatre being her religion. That’s a very private, almost too private to talk about. But, that rang true to me. It is a place, and already I’m, that’s those theatres in Greece. It is a place of prayer.

Sandi: Mm Hmm

Alyssa: Where people come together. You feel it, even in War Horse. You have how many hundreds of thousands of people coming together, having a few hours together sharing something. That is, you can’t get than anywhere else.

Sandi: That’s pretty potent.

Alyssa: It’s a very powerful place to be. A community is made in that little bit of time and that’s what I want to do.

Sandi: In this little bit of time, we’ve really got to know you. It was a wonderful conversation. I only wish you the best of everything.

Alyssa: Thank you.

Sandi; In your personal and in your professional lives.

Alyssa: Thank you Sandi.

Sandi: I’m sure Alyssa Bresnahan is going to be around for a long time.

Alyssa: Thank you.

Sandi: Thank you so much for coming today.

Alyssa: Thank you for having me.

Sandi: Join us again for another edition of the 51% Conversations with Creative Women. I’m Sandi Klein.

Narrator: Thanks for listening to The 51% Conversations with Creative Women. For show comments and suggestions please follow us on Twitter at #sandikleinshow. You can also find us on Facebook at The 51% Conversations. The show is produced and recorded by Chad Dougatz at the Hangar studios in New York City. Sandy Klein is our executive producer.

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