“Watch the production’s care regarding color (the opulent costumes are by Leon Wiebers), and memorably include striking tunics–his luxurious palette contains deep green and muted orange, cream, and neon yellow–feather headdresses, punk wigs, top hats, and even angel’s wings.”

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“Dripping with style and grace (and, of course, a fabulous headdress)….”

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“Leon Wiebers (Costume Designer), like his other fellow designers, also shows great restraint. Stereotypes are not played up to but instead we see men and women, all mostly deeply entrenched in politics, who feel like they could be out canvassing today (mixed with a few quintessential pieces that were very much of the time). He seems to have had the most fun when designing for our two economics professors and for the Uri Savir character, mixing statesman and rock star. When you see the production, watch for his understated use of color to connect the characters visually.”

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“The designers Leon Wiebers (costumes) and Amanda French (hair and makeup) did a beautiful job. The costumes fit the set, the period, the character’s personality and the humor of the moment.”

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“…each precise Leon Wiebers period costume deftly reveals character.”

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“…the costumes by Leon Wiebers emphasize Christopher’s state of mind.”

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“…costume designer, Leon Wiebers, has created his own stylized method for conveying the complexities of Christopher’s mind and psyche.”

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“Milgrom Dodge and her crew, including Lighting Designer Matt Richards, Sound Designer David Bullard, Set Designer Narelle Sissons, and Costume Designer Leon Wiebers had a hive mind mentality seeing how well they created a wonderful, breathtaking, brilliant world for Christopher…to inhabit.”

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“Leon Wiebers’ period costumes add individuality and color to the ensemble; the song’s cheeky energy is irresistible.”

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“Leon Wiebers’ costumes feature appropriate hand-me-down looks for the working class and dazzling, rich-looking dresses for the upper class.”

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“Add Leon Weibers’ gorgeous period costumes, Jared Sayeg’s lighting and Philip Allen’s sound and you’ve got a genuine musical theater happening not to be missed for any reason – and one that will soon be regarded as a landmark achievement. That’s only fitting, considering the monumental subject of ‘Empire.’”

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“Costumes by Leon Wiebers evoke the historic era, but the overall effect is impressionistic and sometimes surreal — tall, larger-than-life puppets appear in the show’s opening nightmare as we learn the story of Mary’s parents’ unexpected deaths.”

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“Working on a thrust stage with evocative scenery by Narelle Sissons and lovely costumes by Leon Wiebers, and bathing her actors in Matthew Richards’ mood-setting lighting, Ms. Dodge creates magic with the purest of theatrical means: large puppets, hand puppets, props that morph from beds to desks to benches, mime—even Kathakali dancing. The results are enchanting and reminiscent of eastern theatre practice in which the art of acting encompasses mime, dance, speech, dancing, and singing. Ms. Dodge’s sterling cast was up to the challenge, rising to memorable moments of theater again and again.”

“Get ready to be enchanted by the magic of The King and I, featuring a large-scale musical like you’ve never seen it before!…
As she has done for us before, director and choreographer Marcia Milgrom Dodge is again using her creative brilliance to re-imagine the production using large-scale shadow puppetry and many exciting new design elements.”

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“Then appreciate how Milgrom Dodge’s vision is brought to life by the creative team. Leon Weibers’ scores of costumes encompass hoop skirts, glittering headdresses and gold-trimmed everything.”

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“Lighting Designer Matthew Richards purples popped like Asian sunsets, with contrast bouncing off the Scenic Design from Narelle Sissons and detailed Costumes Designs of Leon Wiebers.. the magic of these elements are astonishing!”

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“A feast for the eyes and senses — the pageantry, golden sets, beautiful costumes and great majesty is all on the Maltz Jupiter Theatre stage…
Spectacular, sparkling costumes are provided by Leon Wiebers, topped off with theatrical wig and hair designs are by Getard James Kelly. ”

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“Idiomatic, lively direction and choreography by Marcia Milgrom Dodge; Grant Wood-inspired sets by James Noone; costumes, updated from 1912 to 1946 (including a plaid zoot suit), by Leon Wiebers; and zippy conducting by Mr. DeMain create the atmosphere of straight-laced, small-town Iowa brought to ebullient life by a shady traveling salesman.”

“Directo/choreographer Marcia Milgrom Dodge’s enjoyable production…updated to 1946…kudos to designer Leon Wiebers for his costumes that cover the waterfront of Iowa life from farmers (including the couple from Grant Wood’s painting American Gothic) to townies.”

“This production directed by Marcia Milgrom Dodge was lively and colorful.”

Cooperstown, N.Y.(June 14, 2011) – The Glimmerglass Festival, the Central New York opera and musical theater summer festival, has announced its 2012 season.

The 2012 Festival mainstage productions include Verdi’s Aida, Willson’s The Music Man, Lully’s Armide and Kurt Weill and Maxwell Anderson’s Lost in the Stars. The productions will run in rotation July 7 through August 25 in the Alice Busch Opera Theater in Cooperstown, New York. The mainstage productions will be supplemented by special performances, concerts and lectures throughout the season.

Marcia Milgrom Dodge, whose Broadway production of Ragtime won several Tony Awards, joins Glimmerglass to direct and choreograph the musical.

“I am delighted to make my Glimmerglass debut directing and choreographing the classic American musical The Music Man,” Dodge said. “Meredith Willson’s irresistible score celebrates a lively spirit and immense pride in community—qualities associated with Glimmerglass’s mission.”

Costumes will be designed by Leon Wiebers, who has designed productions for English National Opera, Théâtre du Châtelet, San Francisco Opera and more.

Hamlet as Eager Korean Prince
Melancholy? More like bloodthirsty.
There’s not much indecision from Shakespeare’s prince in “Hamyul/Hamlet,” a Korean-language adaptation of the play at La MaMa. But boy, is there intensity. In a show that runs just 90 minutes, this is a Hamlet quick to rage and eager for revenge, one who jettisons his infamous uncertainty long before the final scenes.

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Nearly 35 years after Minsoo Ahn’s Korean version of William Shakespeare’s “Hamlet” debuted at La MaMa in 1977, his son, the Korean-American theater artist Byungkoo Ahn, has written and staged an elegant if wearying reinterpretation of his father’s work called “Hamyul/Hamlet.” Performed in Korean and accompanied by supertitles that are only occasionally readable, the younger Ahn’s often gracefully marshaled production includes flourishes of whirling Korean court dance, choreographed by Sen Hea Ha, vibrant costuming by Leon Wiebers, and twangy strummed music by Ok Kyun Kang.

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A highly stylized adaptation of Hamlet performed in Korean, Hamyul feels like a traditional drama that could have been performed in the ancient Korean court. Coming out of that aesthetic, Ophelia’s long sleeve dance, and the play-within-a-play performed by three “shamen” and an operatic singer, stand out for their power and finesse. Sen Hea Ha’s choreography is marvelous, and director Byungkoo Ahn delivers grace amidst formality. If this style of Asian theatre appeals to you, then you should consider swinging by La MaMa.

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“The costumes by Leon E. Wiebers make a beeline for Goya…this production sets the famously horrific scenes of war in motion.”

“A half-dozen tall glass cases are rolled into various patterns, underlining the condition of quarantine that quickly overwhelms a North African city.  The plague is loose – who can survive, who can escape?  The wheeled cases sometimes isolate characters from one another, and sometimes create tight alleys in the city;  they are the most fluid and intriguing elements of Leon Wiebers’s sea and sand-toned design.”

“…Leon Wiebers’ supremely witty costumes suggest a goth “Babes in Toyland” with a dash of Lewis Carroll.  Pa Ubu seizes the throne wearing a giant pair of button-up breeches, his hips and buttocks ballooned to greedy proportions, giving him the aura of a demonic Tweedledum.”

“Aside from a winning cast, she has brought together a strong group of designers…costumes by Leon Wiebers.  Wherever he found those dresses – well, let’s just say that there is often beauty in the grotesque.”

“…varied and sumptuous costuming (Leon Wiebers)…”

“…magnificent costumes by leon Wiebers…contribute to a spellbinding evening of theatre.”