BLACK NATIVITY
Anacostia Playhouse, 2019
COSTUME DESIGN
Written by Langston Hughes
Directed by Stephawn Stephens
"The first act recounts the Christmas story, with the cast decked out
in costume designer Alison Johnson’s rich, colorful African dress."
Andrew Walker White- DC Metro Theatre Arts
Anacostia Playhouse, 2019
COSTUME DESIGN
Written by Langston Hughes
Directed by Stephawn Stephens
"The first act recounts the Christmas story, with the cast decked out
in costume designer Alison Johnson’s rich, colorful African dress."
Andrew Walker White- DC Metro Theatre Arts
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LEGALLY BLONDE
Keegan Theatre, 2019 COSTUME DESIGN Music by Laurence O’Keefe and Nell Benjamin Book by Heather Hach Directed by Ricky Drummond "Legally Blonde gives a costume designer plenty of room to be playful and Alison Samantha takes full advantage. Elle’s mostly pink-themed outfits are striking (and) There is an entire number devoted to the theme that clothes do in fact make the man – “Take It Like a Man” – featuring a quick on-stage change that takes Emmett from scruffy to sharp. Red and greenish comic wigs in the trial scene are a hoot. This is a production that looks as good as it plays." Bob Ashby- DC Metro Theatre Arts |
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"More shades of pink than possibly imaginable have been assembled by Alison Samantha Johnson, whose costumes all coordinate well without ever feeling repetitive." - Sam Abney, BroadwayWorld.com
LITTLE SHOP OF HORRORS
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"Kudos to Costume Designer Alison Johnson: she gets the ‘70s right, and has clearly done her homework. Seymour, played endearingly by Ricardo Blagrove, feels like he jumped out of a 70s TV show, Patrick Casimir, convincingly portraying Orin Scrivello, could have just stepped from the set of “Uptown Saturday Night.” Our touchstone trio, Andrea Gerald, Raquel Jennings, and Kanysha Williams, playing Ronnette, Chiffon, and Crystal, respectively, with sass, verve, and beautiful dance moves, are outfitted throughout as streetwise, sultry, salty, supernatural." - Cybele Pomeroy, DC Metro Theatre Arts
HANDS ON A HARDBODY
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THE BRIDGES OF MADISON COUNTY
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CHICAGO
Keegan Theatre, 2018 COSTUME & WIG DESIGN Music by John Kander lyrics by Fred Ebb Book by Fred Ebb and Bob Fosse Choreography by Rachel Dolan Directed by Susan Marie Rhea and Mark A. Rhea Photos by Cameron Whitman "The costumes by Alison Samantha Johnson are more in line with the light-colored lingerie of the original 1975 production than the timelessly hip, all-black 1996 update."- Nelson Presley, Washington Post
"Clad in silky lingerie and fishnet tights, Velma Kelly, played by Jessica Bennett, opens the show with “Chicago” classic “All That Jazz.”- Eliza Phillips, The Hoya "At every turn, the cast is beautifully supported by evocative period costumes, and hair and makeup design."- Andre Hereford, Metro Weekly "...With dancers doing boy-girl bumps and grinds wearing Costume Designer Alison Samantha Johnson’s burlesque-inspired finery."- John Stoltenberg, DC Metro Theare Arts "Keegan clearly places the show in the time period, with period costumes, topped with bobbed coiffures, as designed by Alison Samantha Johnson." - Jeffrey Walker, DC Theatre Scene |
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WITCH
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Kaleidoscope
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"The costumes created by Alison Samantha Johnson are perfection, especially Evelyn’s caftans which are of gorgeous materials and brilliantly colored in jewel tones, of course, and accessorized with colorful jewelry, suggesting a “Kaleidoscope” of palettes. There are several of these caftans, each one suggesting a period of her life as it is passes. The daughters’ frequent changes of clothes suggest the different time periods and towns where their mother is performing. Spot on!" - Sara Dudley Brown, THE ZEBRA
Next to Normal
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"Alison Samantha Johnson subtly references the relationship between the characters in her costume design. Natalie emerges in pink, a reference to Diana’s red. Gabe returns in red to Dan, also in red. In “Song of Forgetting” Diana and Dan mirror each other’s outfits, showing an attempt at connection." Stephanie House, MD Theatre Guide
"Adding to the familiar nature of the story is Alison Samantha Johnson's rather contemporary costume design. We're led to believe that the story could take place in any middle class neighborhood and Johnson's design makes that point."
- Benjamin Tomchik, Broadway World
"Adding to the familiar nature of the story is Alison Samantha Johnson's rather contemporary costume design. We're led to believe that the story could take place in any middle class neighborhood and Johnson's design makes that point."
- Benjamin Tomchik, Broadway World
Monsters of the Villa Diodati
Written & Directed By Stephen Gregory Smith
Music By Matthew Conner
Creative Cauldron, 2016
Costume Design
"Persuasive period costumes" - Washington Post
"I adore the edginess to an era that could easily be fashionably drab otherwise." -DC Theatre Scene
"The costumes are both beautiful and functional, sometimes morphing into parts of the set itself. Some costume changes recall 1960s bohemia, appropriate for this particular summer of love." - BroadwayWorld.com
Written & Directed By Stephen Gregory Smith
Music By Matthew Conner
Creative Cauldron, 2016
Costume Design
"Persuasive period costumes" - Washington Post
"I adore the edginess to an era that could easily be fashionably drab otherwise." -DC Theatre Scene
"The costumes are both beautiful and functional, sometimes morphing into parts of the set itself. Some costume changes recall 1960s bohemia, appropriate for this particular summer of love." - BroadwayWorld.com
Sweeney Todd: The Demon Barber of Fleet Street
Book by Hugh Wheeler, Music and Lyrics by Stephen Sondheim
Directed by Walter Ware III
Red Branch Theatre Company, Colombia MD 2016
Costume Design
"Costumes by Alison Samantha Johnson deserve much applause. Johnson has created a wardrobe that seems to transcend different time periods. Ensemble members look as if they’ve had a rough night at an underground death metal concert. Sweeney is dressed in a combination of 19th century black formal wear and biker grunge, while Mrs. Lovett wears a seductive, yet tattered red slip. The amount of detail in these costumes is incredible, up to the matching tattoos of ensemble members and the patched jeans worn by Tobias Ragg." -MD Theatre Guide
"Johnson create(s) a striking symbolic piece of “costumery” for every member of the performing cast— a signature Sweeney tattoo that is hidden in a different location on each of the performers. This brings a sense of unity to the cast, as if they’ve all been branded by the horrors that await inside the tale" -TheatreBloom.com
Book by Hugh Wheeler, Music and Lyrics by Stephen Sondheim
Directed by Walter Ware III
Red Branch Theatre Company, Colombia MD 2016
Costume Design
"Costumes by Alison Samantha Johnson deserve much applause. Johnson has created a wardrobe that seems to transcend different time periods. Ensemble members look as if they’ve had a rough night at an underground death metal concert. Sweeney is dressed in a combination of 19th century black formal wear and biker grunge, while Mrs. Lovett wears a seductive, yet tattered red slip. The amount of detail in these costumes is incredible, up to the matching tattoos of ensemble members and the patched jeans worn by Tobias Ragg." -MD Theatre Guide
"Johnson create(s) a striking symbolic piece of “costumery” for every member of the performing cast— a signature Sweeney tattoo that is hidden in a different location on each of the performers. This brings a sense of unity to the cast, as if they’ve all been branded by the horrors that await inside the tale" -TheatreBloom.com
Three Penny Opera
By Bertolt Brecht and Kurt Weill
Directed by Matthew Gardiner
Signature Theatre, 2014
Wardrobe Supervisor
Stage Tattoos: Airbrush, Water & Alcohol Based
Into The Woods
By Stephen Sondheim
Directed by Charlie Gilbert
University of the Arts, 2008
Costume, Makeup & Wig Design
Award: University of the Arts Excellence in Costume Design, 2008
By Stephen Sondheim
Directed by Charlie Gilbert
University of the Arts, 2008
Costume, Makeup & Wig Design
Award: University of the Arts Excellence in Costume Design, 2008
Ballad Boys
Written By Alex Bechtel
Directed by Jenn MacMillan
Asprire Arts, Philadelphia Fringe Festival
2008
Costume & Set Design
Written By Alex Bechtel
Directed by Jenn MacMillan
Asprire Arts, Philadelphia Fringe Festival
2008
Costume & Set Design
The Cradle Will Rock
By Marc Blitzstein
Directed by Patricia Raine
University of the Arts
2007
Costume Design
