“Whitney Adams’ costumes hit the mark. The opening scenes bring dancers dressed in black, white and gray, with a current-day mélange of sports jerseys, sweatshirts and legwarmers. The journey to 1984 is replete with acid washed jeans, sweatbands and blue jean vests.”

“Other moments were simply sweet, like the snow waltz with the group of youths, now all in white, tumbling and churning as the coolest snowflakes ever.”

“There is a Drosselmeyer (Taeko Koji), a magician with a cape, a plume of black and hot-pink hair and a gift for telekinesis... the ensemble climaxes, with everyone windmilling on their backs, are as exciting as their balletic equivalents, and the hip-hop vocabulary, robot staccato or bravura with Russian borrowings, works even better for toys, the battle and several of the national divertissements ... there are touches of poetry, as when the Snowflakes slide on their backs to suggest a surface of ice ... it’s a gift to Upper Manhattan”

“With a fresh look at a beloved classic, the Hip Hop Nutcracker is sure to become a tradition of its own for many in the years to come.”

“The felicitous costumes by Judith Dolan and Whitney Anne Adams add to the expert impersonations”

“Clothes do play a part in the olio of a script, for Carr is ever the fop, lovingly describing in detail even what he wore in the Great War before he was sidelined with injuries. And the costumes, designed by Judith Dolan and Whitney Anne Adams, are rich and fabulous, even when they are splitting apart. And yes, some do.”

“The feel of the time period was aided by the historical costuming of Judith Dolan and Whitney Adams”

“With lovely costumes by Whitney Anne Adams”

“Vibrant costumes by Whitney Anne Adams and clever sets by Heather Wolensky also add a unique flair to the show.”

“Even the scene changes are beautifully done, with stagehands dressed as English maids and servants. All these small details help to make the evening such a winning one ... and the costumes, designed by Whitney Anne Adams, capture the period perfectly as well.”

“Lenz’s design team has the difficult task of creating new work while still paying homage to the iconic original designs which have been seen by millions of theatergoers around the world, and they all succeed tremendously. The costumes by Whitney Adams appropriately run the gamut from drab and shabby to tailored and luxurious”

“A production as strong as this one obviously owes so much to Matt Lenz for his vision and direction, as well as the talented team that supported this production: Allen Robertson (musical director), Greg Graham (choreography), Cliff Simon (scenic design), and Whitney Adams (costumes).”