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Reviews by Project
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Jeffrey Ellis ~ Broadway World, Nashville
"(In Appalachian Spring) Leathers' beautiful lighting plays an especially vital role in relating the story, and Holly Hynes' costumes - both theatrical and authentic in a way only the best costume designer can achieve - clothes the dancers in the perfect garments for the piece."
Cypher, Barak Ballet - 2018
LA Times: Barak Ballet at the Broad Stage: New moves for a company on the verge
Roslyn Sulcas ~ NYTimes
"(In Daphnis et Chloé) A Greece of the imagination is nonetheless evoked by the lighting, which creates dawns, dusks and skies of glowing beauty, by the pale, simply draped dresses (by Holly Hynes), and by the starkness of the stage...But the final scene, in which the ensemble, now dressed in bright gold, green, blue and orange, joyfully reunite, makes up for any lag in momentum. Mr. Millepied’s ability to create ever-shifting pattern — often echoing Mr. Buren’s geometries — is on dazzling display here, fully equal to the music’s intensifying dynamics and colors."
Gounod, Suzanne Farrell Ballet - 2016
NYTimes Review: Ballet With Intricate Geometry, and a Lot of Fun
Alastair Macaulay ~ NYTimes
"(In Gounod) Ms. Farrell’s costume designer, Holly Hynes, has dressed 10 of the women in white dresses with black outlines, the other 10 in black with white outlines, while the men wear white tops and black tights. The overlapping black-and-white contrasts become blite and whack with all the choreographic changes — spectacular."
In the Mi(d)st, New York City Ballet - 2002
NYTimes: Cerebral Style Tinged With Emotion in a Premiere
Allan Ulrich ~ SF Chronicle Correspondent
In "Number Nine," Wheeldon seems almost intoxicated with movement. There is no sobriety to be found in Holly Hynes' costumes, daffodil for the corps and bright hues for the principals' short skirts and maillots. Mary Louise Geiger has lit the piece in primary colors, and when tangerine meets lavender, it's impossible to resist."
(The) Nutcracker, Charlotte Ballet - 2016
(The) Nutcracker, Kansas City Ballet - 2015
Washington Post - Review by Sarah L. Kaufman
Veteran costume designer Holly Hynes devised the Victorian attire in tastefully subdued hues that do not compete with the sets. A most important touch: The lavish gowns and little-girl frocks look even more beautiful in motion.
Tide Harmonic, Pacific Northwest Ballet - 2013
Marene Guston ~ Houston Press
"(In Tutu) Created for San Francisco Ballet in 2003, this is a gorgeous ensemble work drenched in Technicolor lighting and beautiful costumes. Holly Hynes has created glittery, large plate tutus with tiny halter tops for the women and fitted trunks for the men, allowing for the illusion of great Russian ballet costuming but also showing lots of bare skin, which is in line with Welch's neoclassical movements."
Young Person's Guide to the Orchestra, Houston Ballet - 2014
Molly Glentzer ~ Houston Chronicle
(In Stanton Welch's "Vi et animo") Costume designer Holly Hynes’ classical finery — including tutus with some sparkle in the bodice (white for the corps, black for the soloists) — enhanced the choreography’s grandeur. Hynes and (lighting designer Lisa) Pinkham also gave the night’s smaller-scale premieres a polished look that some Houston Ballet choreographic debuts have lacked in the past. (In Jindallae Bernard’s “Parodie de l’histoire du ballet”) Some of Bernard’s choreography might have been challenging for the performers, but in those gorgeous midnight blue tutus and jackets, they still looked picture-perfect.