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IL RITORNO DI ULISSE IN PATRIA, Wolf Trap Opera
Washington Times:
"A Trumphant 'Ulysses': While the costuming is occasionally quirky, it helps create the proper sense of class and decorum (or lack thereof) for each character. The entire production — possibly one of the best we've ever seen at the Barns at Wolf Trap — was expertly conducted by Gary Thor Wedow. A hearty bravo to all who helped make this "Ulysses" a tremendous success. **** " -T.L. Ponick
Washington Post:
"A vibrant production." -Mark J. Estren
Baltimore Sun:
"Andrea Huelse's costumes provide a fun mix of antiquity and downtown clubbing throughout the production." -Tim Smith
Opera News:
"Nicholas Masters, as Neptune... sang with style and certainly looked cool. Andrea Huelse's costumes effectively mixed antiquity and downtown clubbing couture."
All Arts Review::
"The real of star of this sold-out performance was Andrea Huelse who had been in charge of costume design. For the men and women of the cast, she developed a vaguely Greek-Germanic clothing that emphasized a lot of leather or slithery pastel fabrics that had a retro-1950's sensibility. Often an enveloping cloak disguised both a body and a personality. The most striking costume effects were reserved for the relatively static gods and goddesses, in particular, Ava Pine's Minerva who hovered in a an encouraging manner as Ulysses worked through his fated and murderous return. Nicholas Masters as Tempo (God of Time) had the most elaborate costume of all...an enormous cloak that swept dramatically across the central platform and then turned into something half batwing and, when Masters faced his audience and raised his arms in threatening triumph, half the sort of engineered airplane wing with supporting struts, it suggested that which Icarus might have worn to mount ever close to the sun." -Stephen Neal Dennis
TURANDOT, Utah Festival Opera
The Salt Lake Tribune:
"Rearrange schedules, change plans and run to see this vocally and visually stunning new production featuring a young dramatic soprano (Othalie Graham) who is destined for stardom...James Marvel's stage direction, Andrea Huelse's costumes, Amy Porter's wigs and makeup, and lighting by Bill Kickbush formed a cogent blend of elements incorporating the opera's old-Italian origins (play by Carlo Gozzi) and it's Asian location. Their wizardry created an unforgettable production." -Robert Coleman
Deseret News:
"The costumes are sumptuous- designer Andrea Huelse's creations in the first act deftly communicate the "reign of terror" with their appearance, reinforcing what the music is saying." -Rebecca C. Howard
THE PLAY'S THE THING, Asolo Repertory Theatre
Herald Tribune:
"Andrea Huelse's costumes throughout are spectacularly appropriate and polished." -Susan L. Rife
Pelican Press:
"Among the real stars of the show are Nathan Heverin's set and Andrea Huelse's costumes." -Wayne Barcomb
Creative Loafing Sarasota:
" Andrea Huelse's period costumes could hardly be better.: -Mark E. Lieb
The Dressing Room:
"Each man is clad in a white dinner suit very reminiscent of the era. Costume designer, Andrea Huelse, did a superb job of evoking the gentility and charm of 1930's fashion. The main female character, Ilona, appeared in several breathtaking silk dresses, one of which had an adorable pair of fluffy heels to match. Each time she appeared in a different outfit, there was a faint ohh and ahh from the ladies in the audience." -Stacey Bridewell
THE VOCAL LORDSs, Off-Broadway
The New York Times:
The Brooklyn Papers:
"Set designer Russel Michael Schramm has created a very detailed and realistic print shop....Andrea Huelse has dressed both old and young in clothes fresh off the streets of New York City, circa 1958 or 2001. Together they set the stage for the combination of dream, memory and harsh rerality that inform 'The Vocal Lords'. ...(This) is excellent theater- entertaining, moving and meaningful for audiences of all ages." -Paulanne Simmons
New York Theatre:
"The Vocal Lords is a funny, sweet, moving and wise tale of childhood dreams and adult accommodations; of growing up and growing apart; of the ways that bonds break and friendship endures... Andrea Huelse's costumes are lovely, and the set, by Russell Schramm, is miraculous." -Martin Denton
BLEACHER BUMS, Marin Theatre Company
The San Francisco Examiner:
"No, you don't have to be a Cubs fan to love "Bleacher Bums", the 1978 comedy MTC Artistic Director Lee Sankowiich has reived to open the company's new season...you're in Wrigley from the moment you enter the theater, Andrea Huelse's casual costumes reinforce the atmosphere of a summer retreat from the cares of home or office." -Robert Hurwit
MUCH ADO ABOUT NOTHING, Marin Shakepeare Company (Dean Goodman Choice Award for Best Costume Design)
Marin Scope:
"Directed by James Dunn, this 'Ado' is charming, well cast and suptuously costumed. Patrick Laveque as Claudi and Michael Wiles as the Prince, both boldly cinched in tailored costumes, display a braggadocio befitting their roles....'Ado' is a whole lot of fun, the staging and costumes pleasing." -Olga Azar
TWELFTH NIGHT, New York Classical Theatre (OOBR Award for Costume Design)
Off-Off Broadway Review:
"Andrea Huelse, the Production Designer, provided lovely costumes with hilariously character-appropriate details: those yellow stockings peeking out from under Malvolio's cut-off tuxedo pants, Sir Toby's baby-blue-and-cream leather saddle shoes, Sir Andrew's ill-fitting multicolored jacket over white floods are just some of the highlights of the intelligence at work here." -Doug DeVita
KING LEAR, Producer's Club (OOBR Award for Costume Design)
Off-Off-Broadway Review:
"Visually, the production was stunning. Sets Meghan Halpern), costumes (Andrea Huelse) and Lighting (Jason Cina), all in cool silvers and blues mixed with warm taupes, grays and greens, worked as a whole to dilineate mood, place and character with a fluid, sophisticated (and deceptive) simplicity...The Chekhov Theatre Ensemble has taken one of Shakespear's more daunting warhorses and delivered a production that has raised the bar considerably for Off-Off Broadway standards." -Doug DeVita
89 SECONDS AT ALCAZAR, Museum of Modren Art/Whitney Biennial
The Washington Post:
"The only obviously smashing work on view at the Whitney Biennial is '89 Seconds at Alcazar', a video projection by Eve Sussman. Even if nothing else at the biennial does the trick for you, this one piece might make the entire event worthwhile." -Blake Gopnik
New York Magazine:
"For those who love painting, the most memorable work in the show will probably not be a painting but Eve Sussman's '89 Seconds at Alcazar', an astonishing video that shows Valazquez painting Las Meninas...The work is uncanny. The characters have stepped oit of art into art, our art." -Mark Stevens
The New Yorker:
"As an afficianado of that enigmatic masterpiece, I have nits to pick with Sussman's speculations, but I salute a ravishing new wrinkle in arthistorical criticism." -Peter Schjeldahl
SUPREME MANAGEMENT FALL/WINTER 2008 SHOW PACKAGE
Models.com:
"If you thought he couldn’t do it a second time, Paul Rowland not only defies that thought, he actually exceeds the level of performance on the last Supreme show package. How stunning it is to see the upgrade in the quality of the photography and the intricacies of the styling and the daring of the hair, make-up and set design. Rowland along with his co-photographer Chadwick Tyler has shot a world to house Rowland’s brilliant selection of models." -Wayne
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