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OTHER NYC DEBUT EVERYTHING YOU TOUCH REVIEWS:
"A fashion show for the industry that is as stunning as it is surreal gets this play off to an extremely funny start. How can we not be amazed as well as amused by Victor's extravagantly satirical line of clothing that evokes a wild and wide spectrum of snarling, vicious, and poisonous creatures. Lest I don't give due recognition: the outré creations by Los Angeles-based designer Jenny Foldenauer are amazing evocations of the animal world (eat your heart out Julie Taymor.)"
"Set designer Francois-Pierre Couture and costume designer Jenny Foldenauer build the play's abstract aesthetic, paying homage to the opulent world of fashion on a downtown-theater budget. It's difficult even to say where Couture's work ends and Foldenauer's begins, as mannequins are molded into furniture and three towering models serve as walking set pieces"
"Jenny Foldenauer’s costumes, which sometimes intermingle with John Burton’s props and Francois-Pierre Couture’s sets to become scenic elements, are truly stunning: witty pieces of pop art that also fully read as edgy designer clothing.)"
"a co-production of Rattlestick Playwrights Theater, True Love Products, and The Theatre@Boston Court, but does it ever have style to spare.
That's clear from the opening scene, too, in which three lithe, leggy models (Allegra Rose Edwards, Chelsea Nicolle Fryer, and Nina Ordman) strut around the stage in wild-animal getups so outlandish they almost look plausible (if not outright likely). We're talking antelopes, scorpions, vipers, that kind of thing, all of which are rendered by costume designer Jenny Foldenauer with an acidic sense of humor and a keen eye for the absurd that only the world of high fashion could ever accept as germane to humanity. So stirring is the effect, in fact, that when a later parade of regular clothes for regular women appears, they almost look — well, out of place.
"The models, ornamented in tortilla chips and table lamps, might invite pity, but they seem to enjoy their wordless roles. They’re positively gleeful in a harrowing makeover sequence, in which they descend on poor Jess like so many harpies, leaving her befuddled and bleeding as she staggers away in a leopard swing coat. (That garment and many wilder designs are courtesy of Jenny Foldenauer)
-New York Times
"At one point Petruchio strips down to a Tarzan loincloth, not necessarily an anachronism here, as Jenny Foldenauer’s lush costumes situate us in a Padua of the 1930s."
-LA Times, Margaret Gray
"Perhaps The Taming of the Shrew is ultimately a play about respect, and Shakespeare’s conviction that most people either don’t get much or don’t deserve much in this wasps’ nest world. It’s enough to make you throw up your hands, or just throw up, or go to the circus for diversion. Jenny Foldenauer’s costumes dress all this up in clown rags with patches – can’t not mention Katherine’s play-opening gown in which Chalsma wields Kate’s power not only with surliness but with stunning La Dolce Vita sexiness."
-Stage Raw, Steven Leigh Morris
FEATURED IN VANITY FAIR- For article LA Theater is not dead by Rob Weinert-Kendt
"The first involves Victor, a 1970s New York designer and devotee of the beauty-is-pain aesthetic.In his glittering black fashions (sumptuous creations by costume designer Jenny Foldenauer), runway models evoke poisonous animals, and he treats them with pretentious, withering scorn."
-LA Times, Margaret Gray
"Above all, though, the most obvious design star here is Jenny Foldenauer’s 130-plus costumes, some of which are seen for only moments in runway parades, worn by three gorgeous model types (Allegra Rose Edwards, Chelsea Fryer, and Candice Lam), who double throughout as stagehands to change scenes, often staying around to play towel racks, bubblegum machines, and telephones, crazy props and accessories placed over their leotards scored to look as if they were window dummy parts that could be detached at will."
-Artsinla.com, Travis Michael Holder
"Speaking of which, at the top of the show we witness the most amusing and jaw-dropping fashion show in theater history. Jenny Foldenauer’s soon-to-be award-winning costume design echoes a style review which is read by Esme: “The gothic, the treacherous, and the peculiar.” I see the female fashions as an über-clever mash up of Star Wars, Coco Chanel, and Kink.com. Later, Foldenauer’s line of 70’s wear, which is mass produced for sale at Dillard’s, is a riotous collision of 50’s housewife, 60’s mod, and 70’s exaggerated sunniness set in rich and ghastly-but-gorgeous autumnal colors."
-stage and cinema.com, Tony Frankel
"And speaking of fashion, has any designer come up with more thrillingly original gowns (and other assorted outfits) than Jenny Foldenauer has in Everything You Touch? (Stephen James shares design kudos for the Safari Collection headpieces.) "
- Stephen Stanley
"Most especially, the dizzying array of costumes, more than 130 of them for eight players, every single one of them a revelation of character, mood and period, comprise a positively protean achievement by designer Jenny Foldenauer (who did one of last season's standout shows, Our Class). There hasn't been such a riot of sublimely extravagant yet needle-sharp precision in stage clothing since the revival of the Follies."
- The Hollywood Reporter, Myron Meisel
"Jenny Foldenauer’s fanciful costuming allows both the swift-change aspects of the witch characters and the quick definition of everyone else."
-Frances Baum Nicholson, The Stage Struck Review
" The design team’s color palette rarely strays into anything brighter than black and dark earth tones but, when it does, its dramatic flourishes are striking: a vermilion gown for Lady Macbeth (costumed by Jenny Foldenauer)
-Ellen Dostel, Shakespeare in LA
"Jenny Foldenauer's costumes and props help to flesh out a world that is a purely theatrical construction, neither medieval nor modern day but some dreamlike amalgam."
-Charles McNulty, LA Times
"Jenny Foldenauer dressed Ms. White to accentuate her broad shoulders and magnificent sweep of clavicle and neck. When she takes stage as Bolingbroke, there is no question that this noble will accomplish what he intends...it is beyond my capacity to look away from such power."
-Jason Rohrer, StageandCinema.com
"Jenny Foldenauer's all-purpose black costumes, festooned now and again with just enough to create individual personages, allow for quick character shifts and-as does everything else-divorce the audience from the drapery and pomp of an ordinary production of one of the history plays. All attention is therefore on the essentials: the king."
-Frances Baum Nicolson, Stagestruckreview.com
"In all, this is not a production for the faint of heart. Raw and painful in its indictment of man’s coarseness, it not only reinforces the adage that we must “never forget” but also shines a needed spotlight on the world’s current throes of violence and upheaval."
"The company cannot take refuge in allowing themselves to submerge into character, since they are incessantly complicit with the audience in frank and bald performance. Under the unflagging direction of Matthew McCray, they are one and all heroic actors, as selfless as their characters are egoistic, full of bravura gestures expressing small souls. By dint of its poverty of means, Son of Semele creates an epic examination of the quandaries of 20th century existence with the magic of alert theatricality."
-Myron Meisel – The Hollywood Reporter
Jenny Foldenauer's costumes are marvels of imagination and flair
-Stephen Stanley StageSceneLA
Jenny Foldenauer costumes the trio of the actors in Cast Away rags befitting the sand on which the action transpires,with Ross opening and closing the evening wearing a bird-beak mask and flowing robes.
-Stephen Stanley StageSceneLA.com