Allie Costa
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Allie Costa

As Margaret in the world premiere of The Bully Problem:

"Allie Costa's Margaret just blew the doors off, with a voice twice her size." - TVolution

"Allie Costa gave him a run for his money in the role of Margaret - what a talent. Costa had the energy of a dozen teenaged girls all in one person, with dazzling vocals and non-stop bold choreography."

"There are many fantastic performances delivered by the cast, none more so than the work of Allie Costa and Jordan Mitchell-Love. Costa soars as both the adorkable love interest as well as the moral center of the show." - Jim Blanchette

"Allie Costa was the standout, playing love interest Margaret with such energy and sincerity as to make you smile along with her every awkward chance she gets." - John Patrick Daly

"Allie Costa brings an infectious enthusiasm to Margaret that makes her immensely likable from the drop." - Brett Moore

"Standout performance by Allie Costa, who is reliably fantastic." - Lisa K. Wyatt

"Allie Costa's voice soared with sweetness and power." - Sebastian Munoz

"...a surprising and beautiful duet between fellow nerd student Margaret (played by the absolutely wonderful Allie Costa) and Kevin, who realize via the song that they have a mutual interest in each other that goes one step beyond sheer geek-brotherhood. It is the strongest song in the show, about what it feels like to, well, like someone. The moment where Margaret ever so slightly extends her hand out from her side to be met by the stretching gesture of Kevin's pinky finger - what feels like a canyon of space separating them even as we know it wouldn't take much to make their hands meet - that is the kind of moment we go to watch plays like this for." - The Theatre Times

"Allie Costa has a big voice and a well-defined character, both of which she deploys for maximum effect. The best song in the score is Off Balance, sweetly sung by Kevin and Margaret." - Show Mag

"All are strong vocalists in the ensemble, with some very notable solos and memorable performances by leads James Everts and Allie Costa, especially in the moving [song] Off Balance." - The Los Angeles Beat

"Standouts in the cast include Allie Costa as Margaret, who proves girls have an important place in the technology world and deserve leadership roles." - BroadwayWorld

"This show is ready for Broadway now. Time stood still as the entire sold-out audience was totally mesmerized by the amazing talent on stage, especially the work of James Everts as the protagonist Kevin, Jordan Mitchell-Love as the robot Oscar, Josh Hillinger as the chief bully Gordo, and Allie Costa as the effervescent Margaret. This is definitely one of the best musicals we have ever seen at Fringe." - Indie Voice

"Kevin (James Everts) and Margaret (Allie Costa) were both phenomenal. They had great chemistry on stage." - Amanda Luce

"Jordan and Allie in particular shone like true stars.” - Allyson Lazar

"Allie Costa was a standout." - Libby Baumgartner

The production was nominated for seven awards, including Best Musical, Best World Premiere, and Top of the Fringe. It was also named Pick of the Fringe and received the Encore Award.

 

Allie Costa

As Annie in the world premiere of Alien vs. Musical:

"Little Orphan Annie (Allie Costa) singing 'There'll be no more tomorrows' with such subversively heartfelt passion and playfulness that it literally altered the very chemistry of my own personal worldview in a matter of minutes. It was without a doubt the absolute pinnacle moment for me at the Fringe." - Bitter Lemons

"Allie Costa turns in the performance of the decade in her role as Annie.  She gives the character true life and her song There is No Tomorrow is the highlight of the show." - Indie Voice

"Annie, played by Allie Costa, is beyond superb. A knockout performance. She fully encapsulates the character with more truth and cut than any other actor in the show; she also sings the hell out of her songs." - Gia on the Move

"Standout performer, a perfect belting Little Orphan Annie (Allie Costa), whose Tomorrow parody is a standout number, both for its writing and its vocal interpretation!" - Bonnie Sludikoff

"Alien vs. Musical was by far my favorite show at this year's Hollywood Fringe Festival. It moves beyond parody and actually blazes its own ground, culminating in such scintillating moments as Little Orphan Annie/Newt (Allie Costa) singing There is No Tomorrow with heartfelt hilarity... the most entertaining, best executed, and the most surprisingly subversive and poignant of all the shows I saw at the Fringe." - Bitter Lemons

"Costa steals the show with her wonderfully earnest Annie, and her rendition of No Tomorrow is moving." - Stage Raw, Recommended and Top Ten

"And Annie? Oh, Little Annie. She's the innocent here - but she will not be innocent for long. Perhaps the show's crowning achievement is the devastating sincerity when she admits that she has reached the emotional breaking point and declares There is No Tomorrow. It just might break your heart." - My Haunt Life

"Allie Costa steals the show with her embodiment of the stereotypical bright-eyed Annie and then growing into a cynical broken child with excellent comedic timing." - See It LA

"Every musical theatre fan will feel unbelievably satisfied watching Annie sing There is No Tomorrow." - CAC Studios

"Allie Costa (Annie) offers one of the strongest performances as the little orphan girl. She fearlessly exudes her character and exhibits her superior voice in all of her songs." - Tin Pan L.A.

"Let me tell you, there's nothing funnier than seeing Little Orphan Annie (Allie Costa) in a hilarious parallel to Newt from Aliens, rocking back and forth wide-eyed and singing a depressing version of her famous song, you know, the one that goes Tomorrow, Tomorrow..." - Killer Horrorcast, 5 out of 5 stars

"Allie Costa steals the show as Annie. It is worth seeing this show for her phenomenal performance alone!" - Esther Mira

"Standouts Allie Costa and Rachel Tyler bring excellent vocal and acting chops to their roles as, respectively, Little Orphan Annie and Elphaba." - Discover Hollywood Magazine

"Great voices, great personalities, with Brianne Sanborn and Allie Costa shining as Maria and Annie respectively... My favorite songs and performances [include] the incredibly broken and impossibly lovely song There is No Tomorrow." - Erik Blair

"The standout is Allie Costa as Annie." - BroadwayWorld

"...a uniformly splendid cast, especially Allie Costa as a beleaguered Annie." - Charles Ziarko

"The show is a must-see for musical theatre aficionados... Allie Costa, Ally Mulholland, and Suzanne Petrela have the strongest voices." - Rob Stevens

"Alien vs. Musical leaves its audience with two inarguable conclusions: Steve Troop's designs for the various alien creatures are totally brilliant, and Annie (Allie Costa) is truly indestructible." - Show Mag

"Every year there's one new musical that takes Hollywood Fringe by storm. This year that show is likely to be Erik Przytulski and Steve Troop's deliciously genre-bending Alien vs. Musical. LeVanna Atkinson-Williams, Josh Bednarsky, Christopher Bunyi, Allie Costa, Nick Emmett McGee, Ally Mulholland, Matthew Noah, Brianne Sanborn, Rachel Tyler, and Andrew Wade are all so terrific, they could easily star in the next Music Man, Hairspray, Grease, or Dreamgirls revival." - StageSceneLA

The production was honored with multiple awards, including Best World Premiere, the Encore Award, and Outstanding Songwriting. It was also named Pick of the Fringe.

 

Allie Costa in Wake

 

As Sam in the West Coast premiere of Wake:

"Allie Costa is feisty and adorable." - BroadwayWorld, Critic's Pick, 5 out of 5 stars

"Allie Costa is a particular delight as the teenaged Sam." - StageHappenings

"Costa carries off the teenager thing quite credibly indeed, imbuing Sam with spunk, sass, and heart." - StageSceneLA, WOW! Recommended

"Precocious Russophile teen daughter Sam (Allie Costa)'s reaction to an assignment of Anton Chekhov's Three Sisters is priceless. The funniest and most tender moments derive from the trio of talented women, who enhance Crim's wry repartee." - Stage Raw, Recommended, Pick of the Week, and Top Ten

"Allie Costa seems a natural as the tween Sam, balancing her own frustrations with her family's situation with a bubbly, hopeful view of the life she wants to drag her mother into." - StageStruck

The production was honored with multiple Scenie awards, including Memorable Ensemble Cast Performance in a Comedy-Drama.


Allie Costa in Before a Fall

 

As Darla in the world premiere of Before a Fall:

"Once you see this young actor's work, you will never forget her. A brilliant, beautiful, and heartfelt performance as the lead. Ladies and gentlemen, presenting Ms. Allie Costa." - Mary Steelsmith

"Brilliantly played by Allie Costa, Darla forces the adults surrounding her to struggle for wisdom." - Lynne Moses

"Allie Costa and Worth Howe give wonderful, truthful, and in-depth performances, never telegraphing what may come next but keeping you engaged and wondering what the story's next move will be." - Jeff Alan Nichols

"Allie Costa's portrayal of the sweet and withdrawn Darla Hawkins is the epitome of both tragedy and hope." - Experience LA

"Allie Costa played Darla June Hawkins, the young woman at the center of the drama, with much aplomb. She demonstrated a nice balance of too much unwanted experience with the world against an innocent trust in the universe." - Victoria Josef

"Allie Costa and Jamie McRae are wonderful." - Bitter Lemons

 

Allie Costa
 

As Becca in the world premiere of Hi-Tech Hijack:

"Allie Costa, Shannon Martinous, Luke Klipp, and Kila Packett pull out all the stops...with a tremendous amount of personality, especially Ms. Costa who full-on vibes her own personal version of a Breakfast Club Ally Sheedy." - Gia on the Move

 

Allie Costa in Pope Joan

As Young Joan in the world premiere of Pope Joan:

"The song A Simple Thing, sung by Allie Costa, is the show's highlight of vocals." - SoCal Magazine

"Allie Costa echoes beautifully in a bell-like voice as Young Joan." - CurtainUp Los Angeles

"Young Joan (Allie Costa) singing in her sweet, innocent voice...absolutely terrific performer. These are first-rate performers doing first-rate work." - StageSceneLA

"The supporting ensemble is as credible as any to be found on Broadway, highlighted by its commedia-esque The Englishman's Daughter." - Variety


Allie Costa in Spring Awakening

As Martha in Spring Awakening:

"Allie Costa's Martha (a victim of daily beatings by her father) has an intriguing quality that blends morbidity with accommodation...her character is determined by the performer's qualities rather than by the twists and turns of the play's circumstances." - LA Weekly

"The play could not be better cast, with the young people actually looking young and being true to their characters... A commendable performance by Allie Costa as sad Martha." - Tolucan Times

"Allie Costa provides sensitive work." - Back Stage West

"The ensemble is superb depicting young people going through the pressure of growing up." - Critics' Pick

 

Allie Costa in What the Moon Saw

As Matchgirl in the world premiere of What the Moon Saw:

"She is heartbreakingly transparent and vulnerable...moved members of the audience to tears." - Smash Paper

 

Allie Costa in Hamlet

As Guildenstern in Hamlet:

"Rosencrantz (deftly played by Timothy Edward Stampher) and Guildenstern (charismatic Allie Costa) pay a hefty price. This is a more intimate version of Hamlet. Recommended." - Tolucan Times

 

Allie Costa in Failure to Communicate

As Emma in the world premiere of Failure to Communicate:

"Failure to Communicate, written and directed by Allie Costa, was the quirkiest and funniest play of the evening. I loved the palpable humor of this piece, and the repartee between the young woman (Allie Costa) and the salesman (Gabriel Grier)." - Theater Pulse LA

 

Allie Costa in The Generosity of Strangers

As the narrator of the audio book The Generosity of Strangers:

"I would really like to thank Allie Costa for sincerely embracing the main character and bringing this story to life. I could not have asked for a better narration. Allie has a gift, and I'm thankful and honored that she shared it!" - author Thomas E. Antonaccio

The audio book is available on iTunes, Amazon, and Audible.


Allie Costa in The Three Trials of Oscar Wilde

As the Narrator in Gross Indecency: The Three Trials of Oscar Wilde:

"Allie Costa provides deft characterizations and sly comedy." - LA Weekly

"Allie Costa and Beth Ricketson have their effective moments in a variety of roles." - StageSceneLA

 

Allie Costa writer

As the writer of Two Girls:

"Allie Costa's piece takes your breath away, even as it addresses the terror of sexual assault. Works like this are what theatre is all about: touching the heart, strengthening the soul." - Words of Choice

"Sparse, quick, and laser-sharp, the play is a powerful glimpse into assault and surviving. You won't easily let go of this play." - Claudia Haas

"Lean, incisive, and razor-sharp. This is an intense and lyrical piece full of understated yet powerful theatricality. Sure to make an impact." - Ruben Carbajal

"This play moves with lightning quickness, but also strikes the reader with an electric jolt as we are reminded of the randomness with which violence can occur and the long-term ramifications of it. It's a sobering, poetic work that deserves to be seen even more." - Mike Solomonson

"A rhythmic, probing, passionate piece. Quick but lingering. Powerful." - Connie Schindewolf

As the writer of Music of the Mind:

"Beautiful and poetic, with a razor-sharp edge, Costa's dialogue leaps through time, finding relevancy and traction in our contemporary world. An exquisite examination of women and the history of mental health treatment, bringing a century's old conversation into our hearts and minds." - Rachael Carnes

As the writer of Phantom Pains:

"Costa does a masterful job both capturing what our military men and women must go through as they return to the U.S. after an injury, and as a storyteller, hooking the audience and then delivering one hell of a powerful final moment, one which immediately prompts a revisiting of everything that's come before. Phantom Pains is an exquisitely crafted short story." - Matthew Weaver

"A stunning monologue, taut and relentless, that opens up into a cadence so clear and poetic. Costa finds a taproot of grief in this remarkable moment." - Rachael Carnes

As the writer of Cut and Run:

"Such a charming two-hander. Costa's dialogue sparkles, and Holly and Olive are two of the warmest, most relatable characters I've read in a long, long time. I love the way the plot unfolds, never maudlin or ham-fisted, but delicately, and with great humor and strength. A wonderful showcase for two women." - Rachael Carnes

As the writer of Drop in the Ocean:

"Allie Costa's Drop in the Ocean ended the evening on an upbeat note, giving the audience hope and optimism for the future with a reminder of humankind's potential. It was a graceful ending to the program." - Arts Louisville

"Costa's imagistic and tender play resonates with loss, of a future. Its intelligence balanced with bold theatricality, this dialogue creatively takes on climate change from a new vantage point. Costa's nuanced language delves from the cellular to the celestial, tripping us up in the midst of our concerns, with an uncanny sense of hope. Not sure how she even does this! A perfect addition to a festival on the environment and climate change." - Rachael Carnes

As the writer of Boxes Are Magic:

"A fantastic short play: funny, smart, and full of heart. Allie Costa cleverly verbalizes the inner thoughts of our feline friends. Whether you are a cat person or not, you will find it absolutely hysterical. Both characters are terrific roles that actors will love to play, especially Cali. Boxes Are Magic would be a great part of any short play festival." - Steven Hayet

"Allie Costa shines a light, in a fun, creative, compassionate, and constructive way, on climate change and its effect on one very small family - and by extension, potentially on any of us." - Micki Shelton

"Costa knows her cats and her cat knows her boxes. Anyone with a cat has had this 'discussion.' But in Boxes Are Magic, this discussion is a life or death issue. Costa takes a pressing issue and makes it very personal. The play's humor underscores the seriousness of the circumstances. The play resonates." - Claudia Haas

As the writer of A Taste of the Future:

"There's an adventure here - and it's a soulful one. I'm a sucker for time travel and Costa's play delivers a nice twist. A Taste of the Future is filled with hope. In just a few pages, you care about the characters. They are on a mission and you want so badly for them to get what they want. The poignant ending delivers. You are left wanting more." - Claudia Haas

As the writer of Mindstream:

"Costa plays with the temptation to preserve memories in the face of real diseases which threaten our minds. You know companies are already at work on programs very similar to Mindstream. Costa delicately, exquisitely balances the temptation to pursue such endeavors with the very real dangers of making things worse/losing control. This one is sure to generate LOTS of conversation. Bonus points for the way Costa plays with time in this play. She dares to explore beyond the theatrical edges." - Matthew Weaver

"This play has so many ups and downs and such a great blend of humor and drama, which really pulled me into the story. The plotline works so well with the technology-based world that we are currently living in. I resonate with the character relationships, where the sibling bond seems genuine and the love interest feels real and unique. The plot intrigues me and reveals the importance of neurological care. Allie Costa does an amazing job creating excitement for not only the actors, but for the audience as well." - Jordan Lavalle

As the writer of Don't Shoot the Messenger Pigeon:

"An intriguing game of one-upmanship with many neat and amusing twists of plot and expectations along the way." - Berkshire on Stage

"This is one clever little pigeon play. Assassins have nothing on this. Funny while being disturbing and silly but with murderous intent, itís a play for the ages. Especially if the ages include murder (hint: they all do)." - Claudia Haas

"For Allie Costa's Don't Shoot the Messenger Pigeon, [director] Julianne Boyd takes a sardonic tone in a merry comedy of manners and self-interest. Jane Pitsch and Lucky Gretzinger get to exchange the sort of looks that actors love to use, those confusing elemental emotional gazes that sometimes say more than the words behind them. This is a production of mini-masterworks by a group of very talented playwrights." - The Berkshire Edge

As the writer of Faking Glory:

"A lovely play with great roles for young actors. Costa nails the angst, humor, and vitality of her characters and makes an audience feel as if we're just flies on the wall watching life play out." - Stephen Kaplan

As the writer of 20 Questions:

"Adorable. Kelsey and Ian are so sweet, funny, and honest -- their relationship is something all couples should strive for. And the end made me squeal!" - Chelsea Frandsen

"Costa is able to give the simple situation of two lovers asking questions energy and humor. With characters that are both believable and likable, she makes us care about their lives. The resolution is charming." - Alex Wilkie

As the writer of Safe Distance:

"Smart, measured, and expertly structured, Costa's play combines a meet-cute with a [spoiler] to create a workplace play that uses a firm grasp of naturalism to deliver a moving, otherworldly reveal. Even if you know [spoiler] going in, there's a remarkable tension in waiting for the shoe to drop. Favorably brings to mind Pinter's Victoria Station, one of my favorite short plays!" - Ruben Carbajal

As the writer of How I Knew Her:

"Beautiful play that I am better off for having read. This is doing so much that plays can do, with its language, its characters, its theatricality, especially in terms of its props, which would be exciting to create. Costa writes with great sincerity and insight. I highly recommend it!" - Emma Goldman-Sherman

As the writer of In the Heist:

"In the Heist is delightful. It just kept heightening and heightening and heightening for ten hilarious pages. It's so smart and so funny. I can't wait to read more of Allie Costa's work!" - Lisa Dellagiarino Feriend

"This play is so much fun; I gasped at every surprising twist! Allie Costa presents the dialogue so cleverly, and creates such a humorous and exciting plotline. The various and dynamic characters give actors so much to play with and create. The ending of the play was completely unexpected, and added such a fun element to work with. I absolutely adore this play. " - Jordan Lavalle

As the writer of Yes, And...:

"If you're searching for a fun piece that's perfect for virtual performance, take a look at this short from Allie Costa. It will remind you of every improv class you've ever taken. Everyone's either a Grizz or a Kristiana. Fun, polarized, memorable characters, who ultimately manage to find an accord." - Greg Burdick

"Relatable comedy comes from all the things Allie Costa has on display here: Characters with enough of a difference of viewpoints to make the interaction interesting, a common goal approached from uncommon angles, some fears and insecurities thrown in for good measure, and improv, which, as Grizz states, is really what life is all about. Clever and fun." - John Busser

"The play is undeniably a comedy as we watch our online scene partners struggle to get in sync with each other - [then] other emotional layers are discovered as they come to understand what has occurred in the other's life and the need for letting down their guards. As a result, we get the satisfaction of seeing a subtle bond form." - Mike Solomonson

As the writer of Raise Your Hand:

"A 21 gun salute to 2Cents Theatre Group for their 3-day INK Festival of 21 Plays. My favorite was Allie Costa's sensitive Raise Your Hand about the disintegration of a love affair, directed by Miranda Stewart." - Theatre Spoken Here

As the writer of Can You Keep a Secret?

"Can You Keep a Secret is smart and fun and dangerous." - Kathleen Cecchin

As the writer of Low Light:

"Low Light by Allie Costa follows a grim tale of two detainees. The more they expose their pasts, the scarier their predicament becomes. A novel premise that delightfully requires some deducing. Figuring out the revelations makes the play engaging." - Lansing City Pulse

As the writer of Heartsong:

"A lovely piece charting an artist's experience and determination in a dialogue between older and younger versions of herself. Costa interweaves music effortlessly, creating a magical interplay for the audience, likely dropping them into memory, too." - Rachael Carnes

As the writer of Two:

"A step closer to home, but deceptively deep, Two started as a paean to music and good times. [Then] the true purpose of this piece is revealed: both female and male survivors of rape relating their respective experiences - except that as we hear them talking, we find there is very little difference between them - the violation is identical." - Female Arts Magazine, 4 star review

As the writer of She Has Seen the Wolf:

"With subjects such as rape, violence, and ageism, the pieces at the Herstory festival held no punches - gritty, mesmerising, and just plain real. She Has Seen the Wolf by Allie Costa was chilling." - Francesca Mepham

"Wow. Allie Costa [addresses] an important message in modern society and connects it with a classic fairytale, allowing the message to be understood by a wide audience." - Jordan Lavalle

As the writer of Listening in the Library:

"Costa's energy, wit, and heart are on full display in this. Opposites, one studious to a fault, the other open and caring, forge a connection in the midst of a school lockdown drill. Teen audiences (and audiences of all ages) would find something to relate to. We have all been one or the other of these girls at some point in our lives." - Matthew Weaver

As the writer of What's Past is Prologue:

"Costa does it again! This is such an inspiring and interesting story that could easily be produced with only a stack of books, a desk, and a chair." - Timothy Gadomski

As the writer of Tofurkey Day:

"In Tofurkey Day, Allie Costa puts a fun spin on the awkward Thanksgiving family dinner. Moira has something important to tell her family. Can they stomach what she has to say? If you are looking for plays for a Thanksgiving festival, make sure Tofurkey Day is on your plate!" - Steven Hayet

As the writer of You Otter Know:

"Informational and engaging, with a winning set of characters. You Otter Know would be fun for young audiences, especially at a site-specific venue like a zoo or aquarium." - Steven R. Martin

"Wow. [You Otter Know] is heartfelt and informational. It would be great in schools and aquariums/zoos. I've studied environmental science over the years and my father is a NYS Conservationist, so this script means a lot to me. I hope it gets many productions." - Timothy Gadomski

As the writer and director of Dear Neighbor:

"Costa has created a very fun piece that will speak to anyone who's lived in an apartment. From furniture moving to laundry room etiquette, Costa covers it all. Well done!" - Steven Hayet

As the writer of Creature Comforts:

"What a complete delight is this brief insight into the work of Milicent Patrick. Allie Costa has beautifully brought Milicent and her most famous creation to our attention in this lovely little fantasy, with strong points made about the lack of respect and credit given to Milicent for her work. A lovely short two-hander which almost begs to be developed into a longer and more detailed story. Fabulous." - Paul Smith

As the writer of Altared State:

"An exciting and fast-paced play in which a chance encounter gives way to a thoughtful connection between two New Yorkers. This fun and witty play gives way to two exciting and completely unique characters who are able to share their experiences and lessons they have learned with one another. It is upbeat and full of surprises!" - E.V. Cummins

"A bride all alone on the front stoop...was she stood up? Left at the altar? It's more fun than that, and lessons are learned from the young man who stops by to visit his boyfriend." - Marj O'Neill-Butler

As the writer of Do You Want to Kill a Snowman?

"A little Hitchcock, a little Frozen, and a whole lot of fun! Clean enough that it could easily be performed by middle schoolers and high schoolers who grew up with Frozen, but also would be an absolute hoot to be performed by adults for those who suffered through the DVD so many times, they're ready to murder someone. It also has a little touch of holiday spirit, so if you've got a Christmas themed evening, this would be great for that, too!" - Kate Danley

As the writer of Siblings:

"A great piece for young actors exploring real connections and conversations between siblings." - Janice Hibbard

As the writer of Glitter and Smoke:

"A lovely, well-paced monologue that paints this childhood memory with bold and lovely brushstrokes. A perfect actor audition selection!" - Vivian Lermond

"The right assembly of words become art, and Glitter and Smoke paints the picture perfectly. Full of emotion in every sentence, I loved this short monologue." - Len Cuthbert

"Glitter and Smoke is filled with the kind of beauty that would have emerged if Emily revisiting her 12th birthday in Our Town had been a good idea. Allie Costa's monologue takes you by the hand and gently transports you to an unforgettable day. Filled not only with the events of the afternoon but also with the observations, lessons, and the most minuscule salient details, it's a beautiful and indelible mosaic of memory." - Scott Sickles

As the writer of Amelia, Still:

"Lovely! I adore this piece and how it offers up different options for performance as a monologue or a group piece, and I believe it would work well as either. I especially enjoy the gothic, fairytale vibes this piece gives off, and how they are handled with a very contemporary feel. In such a small package, this piece offers plenty for a director and actor(s) to play with." - Elisabeth Giffin Speckman

As the writer of For the Love of a Llama:

"Great monologue for a youth performer! Lana is the perfect blend of rambunctious (she might run away to Peru if her parents won't let her get the llama) and thoughtful (llamas are maybe hypoallergenic?) A great way to entertain thespian kids, alongside many of Costa's other short plays, and also a great introduction to Costa's excellent writing. Plus, the world needs more llama plays. I'm sure you will agree." - Matthew Weaver

"This girl has the most ridiculous idea for an outdoor pet, but it's not stopping her make her point to her parents. She's got her argument and her support down pat and don't interrupt her. Confident, imaginative, this girl will charm judges at auditions or at a monologue competition." - Asher Wyndham

As the writer of Coffee and Cocoa:

"A sweet story that lends itself to realistic theater and can be done on stage or even on location! Funny and heartwarming." - Timothy Gadomski


Allie Costa co-director of 35MM


As one of the directors of 35MM: A Musical Exhibition:

"Modern rock takes over in Why Must We Tell Them Why?, a driving up-tempo ensemble number energetically directed by Allie Costa... This is an artful evening of rich, sexy, smart songs delivered by a capable cast and a high-powered band. Do yourself a favor and go." - BroadwayWorld

"Six fabulous performers, a dozen-and-a-half gorgeously eclectic songs, some terrifically inventive staging, and a sizzling live band make The Unknown Artists' Los Angeles professional premiere of Ryan Scott Oliver's 35MM: A Musical Exhibition something quite special indeed... The charismatic sextet of Cody Clark, Emily Clark, Nate Parker, Vincent Perez, Dana Shaw, and Katherine Washington bring their distinctive vocal gifts to one Oliver gem after another, each staged as its own musical short story by one of eight inspired directors: Lucas Alifano, Meghan Allison, Amy Bartlett, Jeff Scot Carey, Emily Clark, John Ross Clark, Allie Costa, and Kate Purnell." - StageSceneLA, WOW! Recommended

35MM was awarded Scenies for Outstanding Direction and Outstanding Ensemble Cast Performance.

 
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