About
MARIKO OHIGASHI is a New York & Tokyo based costume designer for opera, theatre, dance, and film.
Her U.S. theater credits include Bus Stop (Classic Stage Company); SUMO (The Public, NY & La Jolla Playhouse/Ma-Yi); Cymbeline (Lynn F. Angelson Theater/NAATCO); Romeo and Juliet (Lynn F. Angelson Theater & Two River Theater/NAATCO); A Little Shakespeare: Romeo and Juliet (Two River Theater, NJ); Edward Albee’s A Delicate Balance (Connelly Theater, NYC); Out of Time (The Public, NY/NAATCO); Veil Widow Conspiracy (New York Theater Workshop, Next Door); Vis-à-Vis (New York City Ballet, Choreographic Institute); Hanjo (Japan Society, NY/SITI Company); Williams College Dance Concerts.
International theater credits in Japan include Next to Normal (Toho/Theatre Creation); The Bridge of Prague (Kinokuniya Southern Theatre Takashimaya & Kyoto Theatre); Run to You (Nagoya, Osaka, Tokyo tour); The Barber of Seville & The Marriage of Figaro (Rohm Theater Kyoto, Opera); Hansel and Gretel (Sony Music Foundation, Opera/Suntory Hall, Tokyo); The Count of Monte Cristo (Kinokuniya Hall). As a costume coordinator, she has worked on Die Frau Ohne Schatten (Tokyo Bunka Kaikan), Lulu (Shinjuku Bunka Kaikan), and Carmen (Kanagawa Kenmin Hall) with Tokyo Nikikai Opera.
Awards:
Nomination - Lucille Lortel Award 2025 - Outstanding Costume Design SUMO
Nomination - BroadwayWorld San Diego 2023 - Best Costume Design of a Play or Musical SUMO
MFA - New York University - Tisch School of the Arts
Member of USA 829.
REVIEWS & ARTICLES
New York Times : Sumo 2025
And throughout, the costumes by Mariko Ohigashi, whether the heavy belts worn by the wrestlers at work or their lovely robes in relaxation, tell precise and vivid stories.
New York Times : Romeo and Juliet 2023
This gestures toward the Elizabethan, as do Mariko Ohigashi’s costumes, which combine long skirts and slashed doublets with T-shirts and jeans.
New York Times : A Delicate Balance 2022
”… Mariko Ohigashi’s costume design, on the other hand, are great complements to each other and the material. …
The costumes discreetly reflect the different tone and sensibility of each of the play’s three acts. In the first, we see mostly neutrals and shades matching the furnishings as Agnes, Tobias and Claire go through their regular routines. Then there are more vibrant 1960s-style outfits as the drama increases and the characters reveal more of their true selves in the second, and sleepy, lived-in robes and pajamas as the play nears its melancholy conclusion.”
New York Times : Out of Time 2022
“She is absolutely elegant, and completely isolated -”
Two River Theater Interview : Romeo and Juliet 2022
New York Times : Veil Widow Conspiracy 2019
大東万里子
衣裳デザイナー
ニューヨーク大学ティッシュ・スクールにて衣裳デザインの修士号を取得。NYと東京を拠点にオペラからヒップホップまでデザインのジャンルは幅広い。オフ・ブロードウェイの『Bus Stop（クラシックステージ）』、『SUMO（バプリックシアター）』、『Cymbeline』、『A Delicate Balance』、『Romeo and Juliet』、『Out of Time（バプリックシアター）』、『Veil Widow Conspiracy（NYシアターワークショップNext Door）』はNYタイムズ紙に批評が載る。ラホヤ・プレイハウス初演・NYパブリックシアター再演の『SUMO』にてルシル・ローテル賞・衣裳デザイン部門にノミネート。ツーリバーシアター等、リージョナルシアターにて多数デザインを手がけ、ウィリアムズ大学ダンス学部のレジデントデザイナーも務めた。