A Conversation with Playwright Allie Costa, “Two Girls,” Open-Door Playhouse, by James Scarborough

“Two Girls” represents a significant evolution in podcast theater, marking Open-Door Playhouse’s continued commitment to innovative dramatic presentation. Costa’s work, distinguished by its selection as a Heideman Award finalist, explores the aftermath of violence through a poetic dialogue between two women. The piece demonstrates Costa’s ability to distill complex emotional experiences into poignant dramatic moments, a skill evident throughout her body of work. Under Bernadette Armstrong’s direction, Barika Phillips and Ayla Rose Barreau navigate the delicate boundary between trauma and resilience. The production proves the potential of audio drama to create intimate psychological spaces, proving that the format established by 1940s radio drama remains vital for contemporary storytelling. This adaptation benefits from David Peters’ sound engineering, where technical precision serves the emotional authenticity of the narrative. The play’s inclusion in Open-Door Playhouse’s repertoire continues the platform’s tradition of showcasing works that challenge conventional theatrical boundaries while maintaining accessibility to audiences.

Below follows an email conversation with the playwright:

JS: Your play “Two Girls” addresses violence through poetic dialogue. How did you develop this dramatic approach?

AC: The inspiration for Two Girls came to me one day and I started writing immediately. This script just poured out of me, as if I were transcribing it while the two characters were speaking. There was no doubt that this would be presented as direct address, with the characters talking directly to the audience the entire time.

JS: The Heideman Award recognition suggests this play resonated strongly with judges. What elements of the work do you believe most contributed to its impact?

AC: I’m flattered by the recognition and support this play has received, and I’m honored that it’s connected with audiences around the globe. I wrote this piece to support survivors, to give people hope, and to challenge the assumptions some people make about assault. I hope Two Girls opens people’s eyes and their hearts. I hope the words stay with them and move them to action.

JS: How does writing for audio formats influence your creative process differently than writing for traditional stage presentation?

AC: When writing, directing, or producing an audio-only project, it’s important to consider what needs to be said that normally would be conveyed in physical gestures and movements, while also making sure those things are relayed in a natural fashion, and in a way that makes sense to the story. The finished project should be music to people’s ears, not make them roll their eyes or scratch their heads in confusion.

In the world of audio projects, sound design and voice acting are both incredibly important. Sound shapes our experience of the piece, influencing our mood, our reactions, and our mental imagery, so some questions might be: Do we need sound effects or underscore to set the tone, the location, the genre? Would those elements enhance the piece or be distracting? How is what we hear important to the outcome of the story? Do the actors sound distinct aka different enough from each other so that it’s clear which character is speaking at any given time?

JS: As both a playwright and actor, how does your performance experience inform your writing?

AC: As an actor, there have been times when I wanted a script to be something more than it was, to be deeper or funnier or simpler or more complex. Some scripts would benefit from more nuance; others, from more explanation. It can be difficult to look at your own scripts with a critical eye, or with a kind one, so it’s good to look at them in a practical sense, as an actor or director would: Is the story engaging, and does the conclusion make sense? Will actors enjoy playing these characters? Say the lines out loud: Does the dialogue roll off the tongue? I’ve learned so much from performing that I’ve incorporated into my acting and writing. I feel like I leave a little piece of me on every set and every stage with every performance, and I always take something with me.

JS: Could you discuss how your acting background helps you craft authentic character voices in your dramatic works?

AC: I love acting and bringing characters to life. I’ve read, watched, and performed in so many different things, and they’ve all informed my acting and my writing. Sometimes, I take a bit of inspiration from a favorite performer for a character I’m portraying or writing, and sometimes, inspiration comes from real life, but most often, I just trust my instincts and go for it. When I connect with a character, it’s so instant and so strong. Whatever the case may be, I strive to make my characters’ voices ring true.

JS: How does “Two Girls” relate thematically to your other works like “Boxes Are Magic” and “Mindstream”?

AC: Though those three stories are quite different – Boxes Are Magic is a comedy about a woman and her cat; Mindstream explores the ethics of neuroscience and the impact of memory; and Two Girls revolves around assault survivors – they all deal with life-changing events and give the main characters the chance to share their personal experiences, voice their concerns, and seek out a better future. No matter what the genre, I think it’s safe to say my scripts tend to be heartfelt and hopeful, whether or not they get a happy ending.

JS: Your work often explores complex psychological terrain. How does your experience as a performer influence the emotional depth of your characters?

AC: As both an actor and a writer, I build characters from the inside out. I know what it’s like to bring parts of yourself to a role, confronting both rewarding and challenging aspects as you try to tell a story the best way possible. I’ve never had a problem expressing how I feel, and performing and writing is an extension of that. With something like Two Girls, I want to give a voice to those who feel silenced or have difficulty speaking up, and make sure they feel seen, heard, and believed.

JS: Discuss the relationship between your roles as actor and playwright? How do these disciplines complement each other.

AC: For me, writing and acting go hand in hand. I’ve been creating stories for as long as I can remember, acting them out in my room with my pets and my family as my audience. Writing makes me a better actor, and acting makes me a better writer. Both require imagination, dedication, and determination. Screenwriters and playwrights need actors to bring their stories to life, and actors love sinking their teeth into a good script – I know I do! Whenever I’m offered a role or an audition and the script is excellent, I’m absolutely thrilled, for so many reasons. I love being a storyteller and I relish every opportunity I get to perform. I also know how hard it is to stare at a blank page and craft something out of nothing.

JS: What draws you to explore poetic elements in contemporary theater, particularly when addressing traumatic subjects?

AC: Sometimes, it’s easier to broach a difficult subject through fiction or art than it is to address it in real life. That might take a poetic form, or a comedic form (be it realistic or broad comedy or dark comedy), or perhaps it’s presented in the form of a song – All of these different tactics can reach an audience in a different way than something that’s more, say, academic or dry. A list of statistics in a textbook or on a screen might be dull or overwhelming; humanizing those facts and figures, giving them a face and a name and a voice, makes them feel more real, more personal, and that can deepen the impact on the audience and the artists.

JS: As someone who works both on and off stage, how do you envision the future of podcast theater as a medium for dramatic expression?

AC: Oral storytelling has existed as long as language, and audio dramas are part of that tradition. Whether someone makes an homage to classic radio theatre or shares an unfiltered personal story in weekly installments or creates something topical or futuristic using the latest gadgets and advances in sound recording, there are a lot of stories to be told and a lot of ways to present them.

I also think it’s important for audio-only projects to have transcripts available to reach an even wider audience, so if anyone wants to read the script for Two Girls, simply drop me a line – I’m happy to share it.

Thank you for listening.

Performances are available starting November 12th, 2024, and can be accessed online for free at Open-Door Playhouse. For more information or to make a tax-deductible donation to support new and emerging playwrights, click here.