WestFest Dance Festival, NYC 2011

Program A, December 12, 2011
Five Minutes (excerpt) choreographed by Amanda Selwyn and dancers, with music by Vollomand and Ahn Trio with costumes by Anna-Alisa Belous is one of my favorites of the night.

Actor’s Shakespeare Project, Boston
Timon of Athens” 2010

PMP Network Theatre Reviews-Timon of Athens.
Designer Anna-Alisa Belous' unusual costume choices for them are certainly noteworthy. They appear primarily dressed from head-to-toe in white house-painters' garb with a diversity of hats, vests and capes to indicate change.

EDGE Boston -Timon of Athens
Both director Barclay and costumer Anna-Alisa Belous use the ensemble, clad in painter’s whites, as a blank canvas, adding top hats, frock coats, togas, and saloon girl skirts to put the play firmly in no time period, but consistently referring to the present day economic calamities.

A rare and welcome view of “Timon of Athens”
28 May 2010
…the strength of Barclay’s design – and the starkly black, white, or gray costumes by Anna-Alisa Belous – help hold things together.

“Duchess of Malfi” 2009

BAY WINDOWS -Duchess Drama
An arresting moment of truth finds the Duchess keeping her sanity as madmen strip down to lingerie (credit goes to Anna-Alisa Belous’ alternately exquisite and austere costumes) before her and don sock puppets on their arms and legs.

Boston Globe -Killer passions rule 'Duchess' to rich effect
As for the action onstage, it is bold and visually dramatic, with a heightened stylization that feels exactly right for the extreme passions boiling throughout. From the first image - the Duchess, swathed in black veils, gazing impassively at us from center stage…

Anna-Alisa Belous' sumptuous but controlled costume design, using rich fabrics in a tightly limited palette, heightens the visual drama... The design work gives the actors a whole richly imagined world to play off, and they respond with intensely realized work.

Reading in the dark
Review: John Webster's "The Duchess of Malfi" in Boston
…a bit of cross-dressing (for the cardinal), and an overall style which combined the Renaissance with the sado-masochistic in order to produce costumes which could have been borrowed from Pinhead's own closet…

"Macbeth" 2007

The Boston Globe -A provocative 'Macbeth'
Costume designer Anna-Alisa Belous does an especially fine job with the eerily gleaming, crinkled robes that envelop these weird sisters, but she outfits the whole cast with a finely tuned balance of severity and style.

Weekly Dig, Boston -MACBETH
…women, decked out in Anna-Alisa Belous' gorgeous, sexually ambiguous costumes…

The costuming by Anna-Alisa Belous is as anachronistic, even whimsical, as audiences have come to expect from contemporary Shakespeare productions in general, and this troupe in particular; from Duncan’s white suit (together with Steinbach’s long blond tresses, the suit give Duncan a dissolute rock-star look), to the black favored by the other male characters (love Banquo’s skirt of leather straps!), to the crimson peasant dress accessorized by black corset and bandanna, and even a large, glittering, black jewel worn by Lady Macbeth.

“Titus Andronicus” 2007

The Harvard Crimson- ARTS -“Titus Andronicus”
…the consistent use of anachronisms. The choice is evident in the costumes, which are designed by Anna-Alisa Belous; for a story that is originally set during the fall of the Roman Empire, the actors wear modern suits and dresses. They also use flashlights, a chef’s costume, and paper airplanes to various effects, bringing a much-needed comical element to the second act.

EDGE Boston -“Titus Andronicus”
The color scheme (of the show) is black and gray - as are the players’ costumes, designed by Anna-Alisa Belous… an updating that includes not just more contemporary modes of dress (black Special Forces / neo-Nazi looking garb and dogtags for the Romans, camo for the Goths) but also an overt and energetic sexuality.


СVNC On line Arts Journal in North Carolina,
September 23, 2011 - Chapel Hill, NC
Fierce and Funky: Philadanco at Carolina
… Jawole Willa Jo Zollar’s electric By Way of the Funk... It is hard to mentally separate the dancing from the outrageous black and silver, and later, white and silver, costumes by Anna-Alisa Belous — both are fully in the joyous, freedom-celebrating mode of the playful Funk era of the late 1960s and early 1970s.

“Philadanco” review: New York show groves to the classics
31 March 2011
“By Way of the Funk” would seem effortlessly sophisticated even without the sunglasses and the glittering, sequined costumes by Anna-Alisa Belous…

2007- Philadelphia Dance Company
Philadanco dance show joyous, haunting, dazzling
This piece was enhanced by its wonderful costumes by Anna-Alisa Belous, burnished in shades of black, bronze, burgundy and gold.

Trinity College, Hartford. CT 2010
“Spring Awakening”

The Trinity Tripod- Arts
Spring Awakening Presents a Refreshing Rendition in Season
Most members of the cast covered multiple parts, and it's a tribute to costume designer Anna-Alisa Belous that it was so difficult to recognize the repetition.

Portland Stage Company, Portland, ME 2008
“Much Ado About Nothing“

The Times Record, Portland Maine
Beautiful costumes highlight of stage troupe's 'Much Ado'
The set design was understated, but all the better to showcase Anna-Alisa Belous' deliciously colorful and ornate costumes. Her carnival-esque conceptions only served to enhance the themes of disguise and deception, favorites in Shakespeare's comedic bag of tricks.
Adding interest to the outfits were various quirky accents (Beatrice's sleeves appeared to be a wide-weave nylon mesh similar to fishnets only in a vibrant shade of aqua, three of the men's costumes featured small touches of a surprising magenta).

Belous' ensembles, featuring lush satins and rich oriental brocades in brilliant hues of amber, turquoise, royal purple, ruby red, pink and gold, were a delight to behold. The ambitious pallet intermingled in festive glory despite potentially inconsonant colors. -“Much Ado About Nothing” - commentary to interview with A-A Belous and C. MacKinnon
If you're headed to the theater, think Peeps. You know, those bright, neon-colored marshmallow candies shaped like bunnies that are particularly popular around Easter.

That's what Anna-Alisa Belous had in mind when she conceived the costumes for William Shakespeare's "Much Ado About Nothing," on stage for most of March at Portland Stage Company.

Set in Sicily in the early summer of the late 1700s, the play is designed to make Mainers feel warm. The characters will dress in bright pastels of yellow, pink and lime green. Look for resplendent purples, deep reds and aqua blues.

These are happy colors, full of life and suggestive of spring.

(Director Cecil MacKinnon was)…confident Belous could help give one of Shakespeare's best-known romantic comedies a timely infusion of light and life…The costumes provide much of the color and tone of the show. - Much Ado About Nothing
Anna-Alisa Belous' costume designs will simply dazzle you… the attire is fit for royalty. I can tell you it was unparalleled to any Shakespeare production this area has seen.

So captivating were the costumes…
"The color!"

Blessed Unrest Company, NYC 2009
“NICK” -review
…much in Nick is striking and noteworthy. I loved Anna-Alisa Belous' fascinating, disjointed set, which represents two different households simultaneously; the Victorian primness of Anna's white furniture and tapestries seems particularly evocative.

Blessed Unrest & Teatri Oda, 2008
“DORUNTIN” review
There is no set at all, and the actors are clothed very simply—plain colors, either black or white, tastefully put together by Anna-Alisa Belous.

Concord Academy, Concord 2007
“The Threepenny Opera”
The beggars acted out a parody of upper-class values and dress, with costumes designed by Anna-Alisa Belous to mimic Victorian formalwear and military uniforms mixed in with rags.

The Chekhov Now Festival, NYC 2003
“The Cherry Orchard”

The Chekhov Now Festival Review
…Anna-Alisa Belous excelled with brilliant costumes.

Off-Off-Broadway, NYC 2003
The production’s design elements are uncommonly strong for a clearly limited budget. The costumes by Anna-Alisa Belous seem as correct for the period, as they are comical.

Boston Playwright’s Theatre, 2002
“Miss Prise”

THE THEATER MIRROR, New England's LIVE Theater Guide
"What Happened in Boston, Willie"
Reviews of Current Productions
The costumes by Anna-Alisa Belous are precisely fitted to character. Miss Shields' suit is wool, gray with a tinge of green, carefully cut around the hips and the skirt a precise half an inch below the knee-caps to show seamless stockings and sensible shoes. The collar of her white blouse and suit-jacket are close about Plum's long neck, and the tight hair-net pulls it tightly back away from the expressive oval of her sculptured face, and the lively eyes she uses so expertly. Reading-glasses, when not perched on the very tip of her nose hang about Miss Sheilds' neck in conflict with the key, on a blue ribbon, that unlocks her desk. Her shapeless all-weather coat is also gray, with a tinge of blue, and easily thrown on or off to signal the starts and ends of several working days.