- Hide menu

Press

“Moscow Ballet’s performance of “The Nutcracker” at the Montgomery Performing Arts Centre on Monday is a huge undertaking, danced by a renowned Russian company. But surprisingly, a key element of the show has a strong local connection.”
MontgomeryAdvertiser.com/Teri Greene, read full article

“Simotes has chosen to set “As You Like It’’ in the Paris of the 1920s. The period setting serves largely as a pretext for members of the splendid cast to swan about in Jazz Age outfits (rendered with eye-catching flair by costume designer Arthur Oliver), dance the Charleston, and even do a bit of scat singing.”
Boston.com/Don Aucoin, Globe Staff, read full article

“Arthur Oliver’s costumes are not only spectacularly stunning but marvelously character and situation defining. Besides the gorgeous gowns with their aptly chosen colors for the lamenting women, Oliver has dressed Thompson with proper attention to the famous hump and given him a cloak that brilliantly supports Richard’s troublesome dragging himself — robe and all— onto the throne during the second act coronation scene. Scott Killian’s evocative sound design and Les Dickery’s lighting complete the evening’s visual and oral pleasures.”
CurtainUp/Elyse Sommer, read full article

Wall Street Journal’s Best of 2010 (resplendent costuming)

“Mr. Simotes, the company’s artistic director, has chosen to set Shakespeare’s great comedy of mistaken identity and romantic reconciliation in Paris in the 1920s, and Arthur Oliver, the costume designer, takes the ball and gallops down the field, dressing the cast in a riotously colorful medley of outfits that make you wish you could put on one of your own and join in the fun.”
Wall Street Journal, As You Like It, read full article

“Arthur Oliver’s richly wrought Elizabethan-style costumes add immeasurably to the total effect: I don’t know when I’ve seen a better-dressed production of Richard III.”
Wall Street Journal, Richard III, read full article

Resident costume designer Arthur Oliver and assistant costume designer Jessie Darrell outdo themselves; the clothes do make the man and woman here. The rich palette of colors and fabrics fill the stage and hold the eye. The costuming is the fun of this The Merry Wives of Windsor. The French farthingales (bum rolls) of the women’s costumes accentuate their womanliness even as the padding of Sir John Falstaff’s crimson-with-gold-diagonal-slashes matching doublet (jacket) and galligaskins (pants) accentuates his manliness. The copper and black doublet of Master Ford, topped with his feathered Cavalier hat, screams “dashing” even before he dashes about in his mad jealous dashes. Each character, from Dr. Caius’ (the always excellent Jonathan Croy) baby-blue matching doublet and galligaskins to Justice Shallow’s (a devilish Mel Cobb) in midnight satin matching black frock coat and pants with gold piping galore, white stockings and shirt, was richly detailed, a specific burst of color and fabric that had all the fun and intrigue of Project Runway. Oliver and Darrell’s work was a sight to behold.”
Metroland Online, The Merry Wives of Windsor, James Yeara, read full article

“Arthur Oliver’s sumptuous costumes, particularly his symbolic cloaking of Richard’s deformities in ever heavier and more intricately layered robes as his schemes carry him up to the throne”
Boston Globe: Louise Kennedy

“The production ingeniously begins with a resplendent tableau of the members of Edward IV’s royal court, in sumptuous costumes (by Arthur Oliver)”
NY Times/Ben Brantley

“There is the familiar hunch back conveyed in the superb period costumes of Arthur Oliver…”
Berkshire Fine Arts/Charles Giuliano

“Arthur Oliver’s costumes are not only spectacularly stunning but marvelously character and situation defining. Besides the gorgeous gowns with their aptly chosen colors for the lamenting women, Oliver has dressed Thompson with proper attention to the famous hump and given him a cloak that brilliantly supports Richard’s troublesome dragging himself — robe and all— onto the throne during the second act coronation scene.”
CurtainUp/Elyse Sommer

“Arthur Oliver’s richly wrought Elizabethan-style costumes add immeasurably to the total effect: I don’t know when I’ve seen a better-dressed production of “Richard III.”
The Wall Street Journal/Terry Teachout