OFFBEAT ESCAPISM MEETS GROUNDED REALISM
Alison's writing is an eccentric blend of comedy, drama, naturalism, and absurdity — capturing and exploring experiences, concepts, and social issues through the lens of her own unique perspective, dark humor, and theatre magic.
She has always been fascinated by people, how their minds work, and how they interact with others, which has lead to much of her writing following dysfunctional groups of characters who might be labeled as "playing the victim" or "overdramatic". In these and all characters, Alison obsesses over syntax, word choice, and idiosyncrasies, searching for the perfect balance of real and relatable dialogue, distinctive voice, emotional truth, and those little details that light up your brain, create a sense of wonder, and pull you into a fantasy world.
Currently, Alison is developing her full-length play, OK NO, with Quinn Productions and was acknowledged on The Kilroys Web 2025. Alison's one-act play, I Should Be Obliterated, was performed in the 2025 Downtown Urban Arts Festival. In the fall of 2024, she co-produced The Last Grain of Rice — a full-length play she co-wrote with Milo O'Connell under the pseudonym Hott Lettis — at The Tank. Hott Lettis expanded outside of the theatrical space with the Hott Lettis Substack, where Alison frequently contributes and collaborates on essays and short-form prose. Alison's humor piece, I Am a Dainty Little Rings Person Now, was featured in McSweeney's and her personal essay series, All the Times I Cried in Exercise Class, was published in The Three Magazine. Her original comedy pilot, Mighty Mackerel, was a Second Rounder in the 2022 Austin Film Festival Screenplay Competition.
Alison worked as a Script Production Assistant on developmental workshops for Suzan-Lori Parks' The Harder They Come at The Public (based the a film of the same name, directed by Tony Taccone and Sergio Trujillo) and a musical adaptation of Josefina López's Real Women Have Curves (book by Lisa Loomer, music & lyrics by Benjamin Velez & Joy Huerta, directed & choreographed by Sergio Trujillo). She is also a copywriter, and formerly worked as a public safety reporter. As a CODA and an accessibility advocate, she's also worked in theatre captioning and accessibility.
She has always been fascinated by people, how their minds work, and how they interact with others, which has lead to much of her writing following dysfunctional groups of characters who might be labeled as "playing the victim" or "overdramatic". In these and all characters, Alison obsesses over syntax, word choice, and idiosyncrasies, searching for the perfect balance of real and relatable dialogue, distinctive voice, emotional truth, and those little details that light up your brain, create a sense of wonder, and pull you into a fantasy world.
Currently, Alison is developing her full-length play, OK NO, with Quinn Productions and was acknowledged on The Kilroys Web 2025. Alison's one-act play, I Should Be Obliterated, was performed in the 2025 Downtown Urban Arts Festival. In the fall of 2024, she co-produced The Last Grain of Rice — a full-length play she co-wrote with Milo O'Connell under the pseudonym Hott Lettis — at The Tank. Hott Lettis expanded outside of the theatrical space with the Hott Lettis Substack, where Alison frequently contributes and collaborates on essays and short-form prose. Alison's humor piece, I Am a Dainty Little Rings Person Now, was featured in McSweeney's and her personal essay series, All the Times I Cried in Exercise Class, was published in The Three Magazine. Her original comedy pilot, Mighty Mackerel, was a Second Rounder in the 2022 Austin Film Festival Screenplay Competition.
Alison worked as a Script Production Assistant on developmental workshops for Suzan-Lori Parks' The Harder They Come at The Public (based the a film of the same name, directed by Tony Taccone and Sergio Trujillo) and a musical adaptation of Josefina López's Real Women Have Curves (book by Lisa Loomer, music & lyrics by Benjamin Velez & Joy Huerta, directed & choreographed by Sergio Trujillo). She is also a copywriter, and formerly worked as a public safety reporter. As a CODA and an accessibility advocate, she's also worked in theatre captioning and accessibility.
Production Photos
News
Alison is on The Kilroys Web 2025
Alison was named by Michelle Cage, playwright of IF THE ANGELS DON'T LOVE THIS PLAY WE'RE DEAD, which was featured by The Kilroys.
Michelle stated, "Alison Vincitore’s deep love of storytelling bleeds through her work. She’ll have you laughing on the floor in one moment and crying tears of sorrow in the next. Her understanding of grief, family, and friendship surpasses her years. Anyone in the audience of one of her plays can see themselves onstage."
Michelle stated, "Alison Vincitore’s deep love of storytelling bleeds through her work. She’ll have you laughing on the floor in one moment and crying tears of sorrow in the next. Her understanding of grief, family, and friendship surpasses her years. Anyone in the audience of one of her plays can see themselves onstage."