Press

To be sure, a master craftsman in her field, Jeannie is a wonderfully talented couture designer and the person to turn your dream into a reality

https://katyreiber.files.wordpress.com/2014/10/jeannie-galioto.pdf

Although the script is suitable for all ages, it’s not a fairy tale with feathered costumes. These birds talk (Jeannie Galioto’s ingeniously designed, quick-change costumes merely suggest avian characteristics) and the emotions they struggle with are no different from those of the troubled humans in the story — a lonely zookeeper, a nerdy bird-watcher and the warring tabloid targets Paula Zahn, the ex-CNN anchor, and her wealthy husband Richard Cohen.

Moxie has given her play a loving production, with a scenic design by Angelica Ynfante that captures the look and feel of a Palm Springs retreat that is going to seed, lighting by Michelle Caron that is rich with desert hues, sound by Matt Lescault-Wood that puts us smack into the disco era, and costumes by Jeannie Galioto that range from glamorous to gloriously tacky.

Costume designer Jeannie Galioto has two shows running simultaneously (her other one is Moxie's Coming Attractions) and, while her designs for each are stylistic opposites, both are well-matched to their respective texts.

Still, the parade of Ms. Gershick’s unique characters, and playful costuming by Jeannie Galioto, yield both a bounty of laughs and some touching moments, reminding me that beyond our birth family is the family of people we choose to surround ourselves with, even if that means we sometimes want to strangle THEM just as much as we do our own family.

Moxie’s staging does boast solid production values and some seriously amusing costumes by Jeannie Galioto (particularly for Donovan).

Playwright Acito weaves penguins, hawks, and humans together as seamlessly as the Diversionary cast switch from character to character, which is to say quite seamlessly indeed, aided by costume designer Jeannie Galioto’s remarkable now-they’re-penguins, now-they’re-hawks costumes and assorted wigs.

Clothes make the man and contribute to the play’s comedy. Jeannie Galioto’s costumes convey a palette of illusion and self-delusion.

Marty Burnett’s scenic design is brilliant (when have I not said that?), as are Jeannie Galioto’s costumes and Peter Herman’s hair and wig designs.

Jeannie Galioto’s costumes (many already described here) are a wonder of twisted imagination.