Reviews
New York Times
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.
SUMO (2025)
Bus Stop (2025)
Cymbeline (2025)
Romeo and Juliet (2023)
New York Times
This gestures toward the Elizabethan, as do Mariko Ohigashi’s costumes, which combine long skirts and slashed doublets with T-shirts and jeans.
A Delicate Balance (2022)
New York Times
”… 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.”
Out of Time (2022)
New York Times
“She is absolutely elegant, and completely isolated -”
[Veil Widow Conspiracy] (2019)
