Ms. Costigan hides Hannah’s delusional nature beneath a pleasant mask of warmth and gentility New York Times 

Not only does Gina Costigan winningly play the daffy Dolly, she also plays Masher in 1966.  Ms. Costigan offers a fierce portrait of a battered yet resourceful woman of that era.  Scantily clad at times and trying on the pairs of gaudy shoes that she’s addicted to, Costigan is totally convincing as a sexually predatory, for-profit go-go dancer.  Her alluring sensuality combined with her maternal sensibilities all makes her characterization outstanding. Theater Scene 

Costigan manages to be strangely attractive as the corrupted amoral Dolly. Curtain Up


there is enough depth in the historical material and the performances of Gina Costigan as Eva and Jill Mongey as Esther to keep an audience engaged The Irish Times

Gina Costigan portrays Dolly (1966) and Wee Dolly (1999) with specificity and exacting hardness in the time before the trauma savaged her identity into the fragments we see years later as Masher. Costigan, well shepherded by Simring and the script, intimates the handprints of the future, the characteristics which will lead to the damning of Dolly’s soul in her defiant, reckless wantonness and inability to control her own destiny and desires.Yet in Dolly and in Costigan’s portrayal, the playwright, actor and director have crafted a young woman with whom we may identify, for Dolly is a survivalist. Blog Critics


a very fiery Gina Costigan does a great job playing the younger Masher Front Mezz Junkies


There is much to admire about the production, including some fine performances from John Charles McLaughlin, who plays a young, on-edge, perversely romantic Rasher, and Gina Costigan, whose Dolly is a complex, willful thing. The chemistry between McLaughlin and Costigan is palpable; it's not for nothing that the Masher-Rasher relationship is central to the play. But it is Costigan who bears much of Molloy's light-hearted darkness from the page to the stage; she plays Dolly with riveting, minimalist understanding. Off Off Online 

the young Dolly (played with the despair of unwitting decadence by Gina Costigan) Theatre Reviews


As Dolly, the hopeful daughter who tries to escape the shadows that are devouring her family, Gina Costigan is first defiant, then destroyed by forces she can neither contend with nor control Irish Central 

Wee Dolly (an alluring and mischievous Gina Costigan) Theater Mania 

Costigan and McLaughlin do quality work as the younger characters. Theatre's Leiter Side 

 the younger pair was made to speak this stuff. Time Out

The performers, directed by Kira Simring (the Cell’s artistic director), are uniformly on point New York Times

Gina Costigan a clear stand-out as matriarch Hannah. Costigan conveys a warmth and focus that makes her imminently watchable in every moment. New Jersey Footlights

She's torn between her husband and her daughter, and Costigan plays that quandary very well  Scene on Stage -

Powerful performances from Kevin Hogan as Thomas, the step-father; Gina Costigan as Hannah, the mother; Michael Lewis Serafin-Wells as Mick, the fiance; and last but in no way least, Cathryn Wake as Maggie, the daughter The Front Row Center 

One can see the complaisant but apprehensive Hannah's hidden agenda in Costigan's subtle performance Curtain Up

Saving graces are provided by Gina Costigan as the love object, Grace, and the Countess, and Jill Mongey as Nan and Eva Gore-Booth. Irish Independent  

Gina Costigan as Mollie Mae is a vision to behold. You want to be Mollie’s friend. To hang out with her in the best of times and the worst.
The Front Row Center

Costigan and Mills’s winsome portrayals allow us to forgive Carmel and empathize with Mollie Blogcritics 

Gina Costigan is quietly sympathetic as the self-effacing Mollie Mae, who seems to be hiding in her drab comfy clothes, struggling with whether she even wants to bring herself forward in a room full of strong personalities, even if doing so may be her salvation. StageBuddy

a fine Gina Costigan Theater Pizzazz 

Costigan’s excellent performance is the layered heart of the play. She is, she lets us know, a stranger not only in this newly renovated home, but also a stranger in her own life. The collapse of her marriage has left her feeling shorn of identity. That is both terrifying and liberating for her, and Costigan expresses the bluntness, fear, and resistance to falling apart that Mahon gives her character. The Daily Beast

Costigan is believable as the subdued Mollie Mae, a woman trying to rebuild her life with as little fuss as possible; The Epoch Times

Costigan (The Suitcase under the Bed, Crackskull Row), Meaney (Indian Ink, Incognito), and Cimmet (Amelie, The Mystery of Edwin Drood) are all solid This Week In New York 

Gina Costigan underplays deftly as Mollie, serving as straight woman to Carmel Lighting & Sound America  

Mollie Mae, played with appropriate glumness by Gina Costigan, isn’t quite in a party mood. TheaterScene

Gina Costigan, as Mrs. Stims, shines the brightest. Given only eight lines, her harshness and self-loathing are fully realized The Front Row Center

Costigan, for her part, makes quite a transformation from a bitter, dowdy loner in "Strange Birth" to a self-possessed, perfectly-done-up wife in "Holiday House." Talkin Broadway 

The ensemble cast of six actors (Gina Costigan, Sarah Nicole Deaver, Cynthia Mace, Aidan Redmond, Colin Ryan, A.J. Shively) earnestly cover the gamut, excelling in character differentiation Theater Pizzazz 


As played by Costigan and Adair, their mutual antipathy is palpable, making the atmosphere thick with tension.  Theater Mania

Gina Costigan, Cynthia Mace, Colin Ryan, and A.J. Shively—play all the roles, with many appearing in all four plays, and they do an excellent job of distinguishing between characters Theatre Is Easy

Well directed by Jonathan Bank with a stellar cast that consists of Ellen Adair, Gina Costigan, Sarah Nicole Deaver, Cynthia Mace, Aidan Redmond, Colin Ryan and A.J. Shively, Time Square Chronicles

 Gina Costigan has just a teensy part as another boarder, but she gets her chance to shine in the second act's Holiday House. Curtain Up 

Especially fine are, well, everybody (I started a list but realized it included every name): Cynthia Mace, Ellen Adair, Sarah Nicole Deaver, and Aidan Redmond, A.J. Shively, Colin Ryan, and Gina Costigan. Philadelphia Inquirer

Costigan, for her part, makes quite a transformation from a bitter, dowdy loner in "Strange Birth" to a self-possessed, perfectly-done-up wife in "Holiday House." Talkin Broadway