"I love reviews. Anybody who tells you
they don't read reviews is a liar."

Elaine Stritch



Reviews by Project


After The Rain, Morphoses - 2007


Appalachia Waltz, New York City Ballet - 2000


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."


Brandenburg, New York City Ballet - 1997


Anna Kisselgoff ~ NYTimes

"{In Carousel (A Dance)} Damian Woetzel, as the hands-in-pockets hero, is initially encircled by an ensemble in Holly Hynes's brightly colored costumes. Alexandra Ansanelli, in yellow, is the outsider."


Clarinade, Suzanne Farrell Ballet - 2005


Concerto DSCH, New York City Ballet - 2008


(The) Core, Houston Ballet - 2008


Cypher, Barak Ballet - 2018

  • LA Times: Barak Ballet at the Broad Stage: New moves for a company on the verge


Daphnis et Chloé, Paris Opera Ballet - 2014


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."


Danses Concertantes, Suzanne Farrell Ballet - 2012


Divertimento Brilliante, Suzanne Farrell Ballet - 2007


Double Aria, New York City Ballet - 2005


Entwined, BalletNext - 2012


​Episodes and Sarcasms, New York City Ballet - 1994


Falling, San Francisco Ballet - 2008


Flötezart, New York City Ballet - 1992


Getting Married, Circle in the Square/Broadway - 1991


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."


If By Chance, New York City Ballet - 2002


Images, New York City Ballet - 1992


In The Blue, New York City Ballet - 1994


In the Mi(d)st, New York City Ballet - 2002

  • NYTimes: Cerebral Style Tinged With Emotion in a Premiere


La Gioconda - Additional Costumes, Metropolitan Opera - 2006


Morphoses, New York City Ballet - 2002


Mozart Piano Concerto, New York City Ballet - 1994


(The) New Blondes, New York City Ballet - 1994


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, Colorado Ballet - 2021


​On Borrowed Time, Circle in the Square/Broadway - 1991


One/end/One, Houston Ballet - 2011


Operetta Affezionata, New York City Ballet - 1995


Orange, Dance Galaxy at the Joyce Theater - 2001


Red Angels, New York City Ballet - 1994


Anna Kisselgoff ~ NYTimes

"(In Red Angels)...The four dancers, in Holly Hynes's striking red leotards, are bathed in spotlights or red lighting by Mark Stanley."


Refractions, New York City Ballet - 1992


Scenes de Ballet, New York City Ballet - 1999


Schoenberg/Wuorinen Variations, New York City Ballet - 1996


Schubert Sonata, New York City Ballet - 1994


Deborah Jowitt ~ The Village Voice

"(In Seven Sonatas) The premise of Ratmanksy’s piece is simple: Three gentle-mannered couples in simple, fluid white clothing by Holly Hynes treat the music as if it were a glade in which to dance together, alone, and in couples."


​Slice to Sharp, New York City Ballet - 2006


Slonimsky’s Earbox, New York City Ballet - 2000


Tales of Offenbach, Dallas Performing Arts Center - 2009


​Tapestry, Houston Ballet - 2012


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."


Twilight, New York City Ballet - 1996


Two Birds with the Wings of One, New York City Ballet - 2006


​Urban Dances, New York City Ballet - 1997


Viva Verdi, New York City Ballet - 2003


Walton Cello Concerto, New York City Ballet - 1999


X-Ray, New York City Ballet - 1994