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The Cunning Little Vixen
Negrin's production was not only clear and "straight', but also visually spectacular with its primary colors, angular shapes and dramatic tendency towards sudden shifts in light. It was also breathtakingly beautiful, with sets and costumes by Es Devlin and Carol Bailey respectively.

Faustus the Last Night
CHARLESTON, The intelligent scenery by Carol Bailey situated Faust’s office in semi-darkness on a platform of black metal made of tubes and perforated surfaces about 5 meters above the floor. From time to time, a panorama of stars appeared behind, symbolizing the universe the doctor was searching to comprehend.
“A piece and a production that one would like to see again.”
David Shengold
Opéra Magazine, October, 2007

In David Herskovits’s production, with an evocative set by Carol Bailey, Faust’s study hovers in the nighttime sky, surrounded by stars and galaxies.
“The Questions are Big, but the Devil’s in the Details”
James R Oestreich
The New York Times, June 3, 2007

Romeo and Juliette
“Carol Bailey’s cunning sets fold and dovetail into each other from one act to another-unmasked by curtains-evolving seamlessly into fresh stage vistas before our eyes.”
“Gounod Goes Gangland”
Lindsay Koob
Charleston City Paper, May 31, 2006

Kafka’s Trail
“Negrin’s thoroughly musical production, Paul Steinberg’s flexible sets and Carol Bailey’s hilariously grotesque costumes go perfectly together and their cooperation is a winner.”
Søren Kassebeer
Berlingske Tidene,Copenhagen, March 2005

“The real people wear period costumes, but the characters from “The Trial” sport bizarrely comic outfits.”
“Kafka on Trial, Opera Fans in Heaven”
Anthony Tommasini
The New York Times, March 14, 2005

Xerxes
“…on an airy white-box set (designed by Carol Bailey, who also created the witty, dead-on-appropriate jumble of haute-couture, 20th-century costumes), director Paula Williams has staged her cast with striking flair.”
Joe Banno
The Washington Post, June 22, 2002

Don Giovanni
“The dark walls of Carol Bailey’s sets further the sense of foreboding, but there was humor, too. When Leporello catalogues Don Giovanni’s conquests, huge filing cabinets emerge from the wings.”
George Lookis
The Financial Times, August 11, 2003

“Bailey’s creation gained respect and attention as it went along, contributing to one eye-opening scene after another.”
Bill Rice
The Daily Gazette, Schenectady, June 5, 2003

Magic Frequencies
“The production—with elegant sets by Carol Bailey—is excellent on every level.”
“The Wonder of ‘Magic Frequencies’”
Mark Swed
Los Angeles Times, February 29, 2000

Pelléas et Méllisande
“The L’Opera Français production …was a revelation.
A simple yet gripping modern staging…, The directors of the production, Jeanne Phillipe Clarac and Olivier Deloeuil zap the story to the present. The aged Arkel (the earthy bass Dimitri Kavrakos) becomes the frail, nearly blind patriarch of a wealthy American family. Pélleas (the dashing baritone Kevin Greenlaw) in his slacker sports coat and baggy pants, is the half-hearted rebel, used to privilege but yearning to break free of the family shackles. Méllisande (the bright voiced and intense soprano Patricia Petibon) has an emotionally wasted Madonna look with her tattered pink party dress, white fur jacket and wild red hair, a tormented young woman who tries to live in a protective tissue of lies. Golaud (the robust bas-baritone Andrew Slater) seems aptly uptight in his suit and tie, though he is unhinged by what appears to be his wife’s illicit love for his half-brother.
The simple set by Carol Bailey, who also designed the costumes, has only a dark sofa to the side and a clear pool of water just inches deep (to represent a fountain central to the story).”
“Debussy’s Ill-Fated Love, Stripped of All but Its Power”
Anthony Tommasini
The New York Times, January 21, 2005

Savage Acts
“Carol Bailey’s costume design is magnificent.”
Richard Hinojosa
Nytheater.com, September 9, 2004

Five Hysterical Girls Theorem
“The set, by Carol Bailey, has the scrappy appeal of ingenuity in the face of a limited budget; the key elements are a dozen or so unmatched white doors and enormous blackboards plastered on the rear wall. In all, a vigorous, careful presentation.”
“M(Mathematics) + E(Expostulation)= C(Clarity)= ?”
Bruce Webber
The New York Times, April 19, 2000

Great Expectations
“…as the 19th-century characters portrayed by 10 actors took their places, the women especially well set off by Carol Bailey’s costumes.”
“Miss Havisham, Estella and Pip, The Microwaved Version”
Andrea Stevens
The New York Times, November 17, 2006

The Turk in Italy
“Aided by a brilliant designer, Carol Bailey,… Alden tells the tale in his way, in brash minimalist strokes…”
“Giving a Modernist Vision to Rossini”
Martin Bernheimer
Los Angeles Times, March 7, 1995