Tilly Grimes’s costume design could make every woman in the audience yearn for prewar fashion (the play is set in 1938) and a life that involves dressing up to go shopping as well as for theater and the symphony. There is a lesson to be learned here: more women should wear diamond bracelets over long, black evening gloves.
Tilly Grimes’ beautiful, evocative costumes enhance the production and amplify the text right on down to Liz Essendine’s smart little pillbox hat.
Costume designer Tilly Grimes deserves an award for Joanna’s high-necked, low-backed green dress alone, but her full array of dressing gowns, fitted suits and evening wear attractively suit the period.
...Superior in every way to the 2010 Broadway revival of “Present Laughter” and better than any production of the play that I’ve seen in the past decade and a half...
Special kudos go to costume designer Tilly Grimes and the in-house team at Two River. The knockout gowns, robes, wraps and suits bring out the best in the large cast and help make this staging of “Present Laughter” a welcome bit of sophisticated escape.
Tilly Grimes’ dazzling costumes (think bias cut satin dresses, frilly debutante gowns, and gorgeous furs and hats) take us though time and space to London of the late 1930s.
Costume designer Tilly Grimes and her nimble-fingered Costume Shop personnel are virtual co-stars. The women’s outfits, all constructed from scratch, are stunning. One such, a shimmering green evening dress worn by the, um, available Joanna, is as notable for its clinging drape as it is for revealing Leighton Bryan’s flawless upper back.
Tilly Grimes’ costumes perfectly capture the period, while also defining the characters