Alyssa Simon is an award winning theatre and film actor, who has performed modern works, classics, cabarets and musicals in the U.S., Argentina and the Caribbean. She was selected as A Person Of The Year by Martin Denton of for her acting work and she is also a Master Mason at the Caffe Cino award winning Brick Theatre. 



2016 NYIT Award for Best Ensemble for The Golfer

2014 NYIT nomination for Best Actress In A Featured Role for Going To Tahiti Productions' Within Arms Reach

2013 Planet Connections Festivity nominee for Outstanding Supporting Actress in Fix Number Six

2012 Maverick Film Awards Nomination Best Supporting Actress for Anniversary Dinner

2012 Tabloid Witch Awards Best Supporting Actress for Anniversary Dinner

2009 Person Of The Year


“The Marriage Of Alice B. Toklas by Gertrude Stein”

“And so we have Stein (Mia Katigbak, slyly deadpan) jawing in the women’s Rue de Fleurus salon with a Lost Generation “Hollywood Squares” — Picasso, Hemingway, Pound, Eliot, Joyce — while Toklas (Alyssa Simon, radiant) is stuck in another room entertaining their wives and mistresses.”
“As brilliantly phrased by Ms. Simon, such gnomic utterances take on as much emotional depth as Stein’s manner of speaking denies them, and surprises us in revealing the cost beneath the camp.”

Jesse Green, New York Times

“Harakiri Kane”
“…a performance of desolate tenderness by the always heartbreaking or electrifying Alyssa Simon.”

Adam McGovern,

“The Underpants Godot”

“Simon, as the Beckett estate representative, has the comic timing and loopy body language of a natural comedian, and she uses it to good effect here.”

Steve Barnes, Times Ledger

“Bonedive Scrounger”

“…the ambiguously gifted photographer/philosopher Annie (incarnated with hilarious simmering mystique by Alyssa Simon) has walked in from every beatnik/hippie exploitation movie made between 1950 and 1975;”

Adam McGovern, Fanchild


“Alyssa Simon is bewitching as Vilma, playing her with a heady balance of tenderness and sex appeal.”

Michael Crisculo,


“It is always a pleasure to see Alyssa Simon in anything; she brings a rich inner life to everything I have seen her in. Her Lady Stefanie is equal measures aristocratic and earthy, mellifluous and blunt. Her performance gives Purchase its emotional anchor.”

Amanda LaPergola, Theatre Is Easy

Film Is Evil/Radio Is Good

“The cast is uniformly excellent, especially Alyssa Simon.”

Matt Freeman,


Elefterion reinforces the play’s ideas with the inclusion of August’s Landlady as the other main character in the piece. She’s a fan, but she’s in almost every way his opposite: they recite “The Raven” together, but she’s ultimately grounded despite her love of poetic fancy while he of course is able to soar in ways she never can. She’s embodied by actress Alyssa Simon in an extraordinarily warm, generous, pragmatic performance, one that matches Timothy McCown Reynolds’ high-voltage soul-baring portrayal of the writer.

Martin Denton,

“Oh, Mr. Cadhole!”

“There are a host of spectacularly good comic turns on view here: Alyssa Simon is dead-on as tough-as-nails Molly Hadafew (and her hairpiece—at least I assume it’s a hairpiece—seems to have a life of its own: a great touch).”

Martin Denton,


“Gone is a tour-de-force of language and movement between two actors, in this case the prodigiously talented Alyssa Simon and Ivanna Cullinan. I say movement, even though they were sitting in chairs for most of the piece, because they spoke and inhabited the text (which owes a lot to the Joycean riffs of Finnegan’s Wake), moved their bodies, voices and faces in such a way that they seemed to be dancing even when seated.”

Julia Barclay, Somewhere In Translation

“Horowitz: The Acrobat At Rest”

“And the graceful, seductive Simon is an actor of great intelligence, subtlety, and depth. As the long-suffering Wanda, she shifts among mommy, friend, lover, and social secretary, knowing just how and when to nudge her gifted husband away from the gaping precipice.”

Nancy Ellen Shore,


“Simon is excellent opposite her as the skeptical physician who appears to empathize with some of Ann’s grievances while discounting her “half-assed” revolutionary plan with a cold condescension."

Ellen Wernecke,

“Moving Forward”

“James Comtois’ Moving Forward, in which ex-fiancees bind up their wounds on a voting-booth line, with Alyssa Simon’s thoughtful expressive spectrum sparked by Hope Cartelli’s kinetic direction to incandescent effect.”

Adam McGovern,

“Drs. Jane and Alexander”

“Firmly in the center of things is Alyssa Simon in a brilliant performance as Jane that captures the complexity of this woman and reveals her as she is today and as she was as a girl and a young woman, sometimes simultaneously. I’ve been watching Simon’s work on stage for about a decade, and she is reaching new heights of achievement here.”

Martin Denton,

“Do Androids Dream Of Electric Sheep”

“Alyssa Simon as the other bounty hunter, Phillipa Ryan, brings a crisp Sam Spade private dick quality to her role that is authentic and real and very enjoyable.”

Janelle Lannan, Theatre Is Easy