REVIEWS:
The Pirates of Penzance at The Delacorte Theatre
"The stylistically perfect costumes by Patricia McGourty"
- Clive Barnes, The New York Post
Henry IV Part 1 at The Delacorte Theatre
"Patricia McGourty has designed the best costumes of her career: Generally subdued, they are nevertheless and comment jauntily on their wearers."
- John Lahr, New York Magazine
"Fitting snugly into this alfresco arena are Patricia McGourty's costumes - mangy gowns for Mistress Quickly and her girls at the Boar's Head Tavern, tattered tunics for Falstaff and his bazaar crew, elegant regalia for Henry, Prince Hal and the rest of the Lords."
- Don Nelsen, New York Daily News
Big River on Broadway
"The costumes by Patricia McGourty cleverly hint at Twain's extravagance of description, and the performances, honed into team-like ensemble by Des McAnuff's coaching, glide into the staging as effortlessly as the settings."
- Clive Barnes, The New York Post
"Patricia McGourty's costumes, rich in color and textured, genuinely evoke both the Pre-Civil War period and Twain's varicolored, diffident comic style."
- Michael Feingold, The Village Voice
"Aided by Patricia McGourty's richly varied, yet muted costumes, Janet Watson's choreography and Otts Munderloh's sound, the skilled and graceful 21-person ensemble plays 65 parts, creating texture and context without, for the most part, stealing the focus from characters we care most about."
- Nancy Churnin, The Los Angeles Times
Egyptology (My Head Was a Sledgehammer) at The Public Theatre
"The fierce anxiety is heightened by Patricia McGourty's funny but unsettling costumes, in which fashions of all periods and nationalities are mixed and mismatched with surreal abandon."
- Don Nelson, New York Daily News
Candide at Amarillo Opera
"The costumes by Patricia McGourty, were over-the-top elaborate, such as the marvelous creation of fabrics, filigree and junk jewely sported by The Old lady. Others were plain, such as the pale and unremarkable tunic designed for Candide, the simple and credulous everyman. others, like the serapes in the scene set in Cartegena Colombia, looked like they were right out of a local souvenir shop. As The Old Lady, Jenni Bank took a star turn, complete with her overdone accent and blistering mezzo soprano voice she brought all that and more to this role in Candide. In costumer McGourty's over-the-top dress, which looks like a drag queen's closet exploded, she moved like The Chrysler Building in spite of her missing (and much mourned) left buttock. Amber Dewey and Lyndi Williams were wonderful as the two pink sheep, in what looked like party store Halloween costumes (another of McGourty's wonderful creations)."
- Gregory Sullivan Issacs, TheatreJones
Three Sisters at La Jolla Playhouse
"Patricia McGourty's costumes are brilliantly envisioned and executed, immensely convincing on a cast of actors working in rare ensemble balance."
- Welton Jones, The San Diego Union
"Patricia McGourty's terrific costumes are both grand and subtle."
- Jeff Smith, San Diego Weekly
"It's a production as elegant and as adroitly poised as the hat donned by Masha in Act One (loved Patricia McGourty's costumes by the way). ... McGourty's costumes deserve panegyrics all their own."
Chris Schneider
Sense and Sensibility at St Louis Rep
"Patricia McGourty's lavish costumes underscore the elegance of the period."
- Mark Bretz, The Ladue News
Anything Goes at The Guthrie Theatre
"Looking at the show's physical size, there's little question that Wright and his designers spent all they could. Quite purposefully, they have minimized the libretto's shipboard setting, taking Porter's songs as points of departure for pure, extravagant fantasy. Thus, " All Through the Night" finds the lovers silhouetted against a monstrous moon, the stage fronted only by a ship's railing. Other numbers leave the ship parked offstage altogether, as the chorus trots out in Patricia McGourty's splendid costumes ready to hoof it."
- Michael Phillips, The Chicago Tribune
Doonesbury The Musical on Broadway
Peter Larkin and Patricia McGourty, the set and costume designers, have done a clever, light-handed job of duplicating the spirit of Mr. Trudeau's airy funny-pages doodling."
- Frank Rich, The New York Times
The Pirates of Penzance at The Delacorte Theatre
"The stylistically perfect costumes by Patricia McGourty"
- Clive Barnes, The New York Post
Henry IV Part 1 at The Delacorte Theatre
"Patricia McGourty has designed the best costumes of her career: Generally subdued, they are nevertheless and comment jauntily on their wearers."
- John Lahr, New York Magazine
"Fitting snugly into this alfresco arena are Patricia McGourty's costumes - mangy gowns for Mistress Quickly and her girls at the Boar's Head Tavern, tattered tunics for Falstaff and his bazaar crew, elegant regalia for Henry, Prince Hal and the rest of the Lords."
- Don Nelsen, New York Daily News
Big River on Broadway
"The costumes by Patricia McGourty cleverly hint at Twain's extravagance of description, and the performances, honed into team-like ensemble by Des McAnuff's coaching, glide into the staging as effortlessly as the settings."
- Clive Barnes, The New York Post
"Patricia McGourty's costumes, rich in color and textured, genuinely evoke both the Pre-Civil War period and Twain's varicolored, diffident comic style."
- Michael Feingold, The Village Voice
"Aided by Patricia McGourty's richly varied, yet muted costumes, Janet Watson's choreography and Otts Munderloh's sound, the skilled and graceful 21-person ensemble plays 65 parts, creating texture and context without, for the most part, stealing the focus from characters we care most about."
- Nancy Churnin, The Los Angeles Times
Egyptology (My Head Was a Sledgehammer) at The Public Theatre
"The fierce anxiety is heightened by Patricia McGourty's funny but unsettling costumes, in which fashions of all periods and nationalities are mixed and mismatched with surreal abandon."
- Don Nelson, New York Daily News
Candide at Amarillo Opera
"The costumes by Patricia McGourty, were over-the-top elaborate, such as the marvelous creation of fabrics, filigree and junk jewely sported by The Old lady. Others were plain, such as the pale and unremarkable tunic designed for Candide, the simple and credulous everyman. others, like the serapes in the scene set in Cartegena Colombia, looked like they were right out of a local souvenir shop. As The Old Lady, Jenni Bank took a star turn, complete with her overdone accent and blistering mezzo soprano voice she brought all that and more to this role in Candide. In costumer McGourty's over-the-top dress, which looks like a drag queen's closet exploded, she moved like The Chrysler Building in spite of her missing (and much mourned) left buttock. Amber Dewey and Lyndi Williams were wonderful as the two pink sheep, in what looked like party store Halloween costumes (another of McGourty's wonderful creations)."
- Gregory Sullivan Issacs, TheatreJones
Three Sisters at La Jolla Playhouse
"Patricia McGourty's costumes are brilliantly envisioned and executed, immensely convincing on a cast of actors working in rare ensemble balance."
- Welton Jones, The San Diego Union
"Patricia McGourty's terrific costumes are both grand and subtle."
- Jeff Smith, San Diego Weekly
"It's a production as elegant and as adroitly poised as the hat donned by Masha in Act One (loved Patricia McGourty's costumes by the way). ... McGourty's costumes deserve panegyrics all their own."
Chris Schneider
Sense and Sensibility at St Louis Rep
"Patricia McGourty's lavish costumes underscore the elegance of the period."
- Mark Bretz, The Ladue News
Anything Goes at The Guthrie Theatre
"Looking at the show's physical size, there's little question that Wright and his designers spent all they could. Quite purposefully, they have minimized the libretto's shipboard setting, taking Porter's songs as points of departure for pure, extravagant fantasy. Thus, " All Through the Night" finds the lovers silhouetted against a monstrous moon, the stage fronted only by a ship's railing. Other numbers leave the ship parked offstage altogether, as the chorus trots out in Patricia McGourty's splendid costumes ready to hoof it."
- Michael Phillips, The Chicago Tribune
Doonesbury The Musical on Broadway
Peter Larkin and Patricia McGourty, the set and costume designers, have done a clever, light-handed job of duplicating the spirit of Mr. Trudeau's airy funny-pages doodling."
- Frank Rich, The New York Times