“The production, in many ways, has been meticulously considered: its imagistic motifs, both visual and verbal, have been set up with painstaking care; its sets (by the inventive Mark Wendland) and costumes (by Elizabeth Hope Clancy) glow with a studied elegance.”

- Ben Brantley, New York Times

"Elizabeth (Jane Alexander) is actually an ironic missionary from the netherworld of death. Cool, silver-heeled, in a billowing, diaphanous white shawl, she ambles in at the end of Act I, along with her companion, Oscar (Peter Francis James), a dark, intruding angel."

- John Lahr, New Yorker

“Dressed in cool silken pants and a loose shirt (Elizabeth Hope Clancy) to match her tall slim self, Jo, who is suffering from terminal cancer, lounges in her Eames chair and takes pleasure between drinks and screams of pain in insulting her house guests.”

- WMNR

“Costume designer Elizabeth Hope Clancy was faced with difficult task of taking a character who never leaves the stage from the 1950s to the 1980s, but by adding an apron, or rolling down her sleeves the actress subtly changes the look of her single costume throughout the show.”

- Jessica Pearson, DC Theatre Scene

“Costuming by Elizabeth Hope Clancy is inspired, at times brilliant. Particular standouts are in the afore-mentioned Fezziwig scene and in the hilarious takeoff on Gift of the Magi with suicidal Dutchman Edvar (Matthew Gaydos) and bald Dutchwoman, Hedwig (Elena Passarello). “

- Ann Miner, Talkin’ Broadway

“Costumes by Elizabeth Hope Clancy were stylish and gorgeous.”

- Kathy Williams, Noel Coward Society

"Bouchard gives another grand performance in a role she was born to play. Her Amanda is a flawed heroine who is living life from moment to moment. Again, she not only shows us what is repulsive about her character but also what is attractive. She provides a stunning silhouette for Elizabeth Hope Clancy’s period perfect costumes.”

- BroadwayWorld.com

“The costumes are contemporary (Hamlet, as is usual, wears funereal black, Claudius and Gertrude and their court are decked out in silvery gray in what could be the 1940s or 1950s.) In her stiff upsweep and Elizabeth Hope Clancy's equally stiff, stylized silver outfits, she's one of the coldest Gertrudes I've ever seen. She does literally let her hair down in the big confrontation scene with Hamlet, but the iceberg queen image never quite disappears, even when she realizes that she's been poisoned.”

- Elyse Sommer, CurtainUp.com

“This Denmark is a rigid, chilly environment, visible in the monotone silver and black of Elizabeth Hope Clancy’s costumes and Marcus Doshi’s grid-like lighting design, both of which take literally the line, 'Denmark’s a prison.' The grid shudders and scrambles when confronted with any disruptive element, whether it is the ominous ghost of Hamlet’s father or the seemingly innocuous traveling players. These players are transgressive, wearing bright colors, turning rank and gender upside down, and daring to experience the emotions which everyone else seems to find dangerous.”

- Arielle Lipshaw, StageandCinema.com

“Model-thin and dressed to kill in costumer Elizabeth Hope Clancy's swanky evening wear and designer power suits, Scott-Reed is a sharp-elbowed Dream Factory combat vet with zero illusions about her main client, Mitchell.”

- Misha Berson, Seattle Times