Sydney Maresca recently designed the costumes for award-winning play Hand to God (MCC), When January Feels Like Summer (Ensemble Studio Theater), Year of the Rooster (Ensemble Studio Theater), Blood Play (The Debate Society), Finks (Ensemble Studio Theater), Alice in Wonderland (New York City Opera), The Civil War (TheatreWorksUSA), La Brea (Clubbed Thumb), The Lapsburgh Layover (Ars Nova), and The Zero Hour (13P). Film work includes: Sin Matador, Breakup at a Wedding, and Movie 43's "Superhero Speed Dating". Nominated for a Henry Hewes Design award for her work on The Debate Society's Buddy Cop 2, Sydney is a winner of the Opera America Robert L.B. Tobin Director-Designer Showcase and the J.S. Seidman Award for Excellence in Design. She teaches Costume Design at Marymount Manhattan College, has an MFA from NYU, a BA from Sarah Lawrence College, is on the board of directors for Triskelion Arts, and is part of ukulele band The Hazzards whose song "Gay Boyfriend" was one of the first viral videos and debuted at #67 on the UK Singles Chart.

 

Upcoming Projects:

16 Words or Less (Clubbed Thumb)
Percy Jackson and the Lighting Thief (TheatreWorksUSA)
Square Peg, Round Hole
(Tectonic Thetaer Project)

 

Press Highlights:

"Among the play’s charms is its diverse cast of characters, who are the kind of folks not seen much of on mainstream local stages, although they make up a large part of the urban population. Devaun (Maurice Williams) and Jeron (J. Mallory McCree) are young African-American men, nattily dressed in snazzy sneakers and bright shirts, first seen on the subway talking about ring tones and girls as they head to work at separate Burger Kings. (Sydney Maresca’s stylish costumes, and the funky, smartly designed set by Jason Simms, contribute to the play’s lively appeal.)"
New York Times (When January Feels Like Summer)

"Sydney Maresca’s costumes beautifully evoke a period young theatergoers may not know existed."
New York Post (Finks)

"Costume designer Sydney Maresca extract[s] maximal laughter from every sequin."
New York Times (The Lapsburgh Layover)

"Sydney Maresca’s costumes – especially the flared skirts and dressily casual men’s clothes – are accurate right down to the last tie clip.  For reasons of the plot, one couple, on their way to a costume square dance, is clad in cow outfits – the husband’s suit has a set of pink udders on his chest – and even these ridiculous getups are done with real attention to detail."
Lighting and Sound America (Blood Play)

"Moreno is sporting a funny but somehow just-right costume created by Sydney Maresca that uses a t-shirt, various feathers and a bad-ass hairdo that gets you right into the mood of this punkish, attitude-brimming character."
Huffington Post (Year of the Rooster)

"The design team is in lock step with the director and cast, including … costumes by Sydney Maresca that are defining but never jokey (ok, the cow is a little jokey but the Rubbermaid gloves for udders are the perfect touch)."
Huffington Post (Blood Play)

"Sydney Maresca’s costumes are both hilariously unflattering and authentic."
New York Press (Blood Play)

"Sydney Maresca's costumes have a let's-play-dress-up charm throughout."
New York Times (The Yellow Brick Road)

"The minimal set is complemented by Sydney Maresca's fabulous costumes – notably the wicked bruja's Dia De Los Muertos-inspired gown."
Time Out New York (The Yellow Brick Road)

"Sydney Maresca's beautiful period costumes are the icing on the cake."
NYTheater.com

"Sydney Maresca's many period costumes — both the crisp and the lush — were eye candy and just right."
Backstage

"Costume designer Sydney Maresca . . . deserves commendation. With only two performers, Maresca's costumes are crucial in making the characters immediately distinguishable from each other. Thureen's magic bikini briefs, in particular, are hysterical and perfect."
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