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

Elaine Stritch

A-Z

Reviews by Project

Note - Access to the respective media links on this page may necessitate having an active account.

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

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."

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

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.

​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

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.

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