“Technically, the production is a colorful, eye-popping sensation. It features costume designer Lynly Saunders’ festively exuberant, 1930s outfits in an array of amazing hues, highlighted by substitute ‘music teacher’ Don Alonso’s wildly eccentric garb.”

- Ladue News

“…visually, it’s a giant leap away from realism to … surrealism?  fantasy?  cartoon?

Costumes, by Lynly Saunders, enthusiastically follow suit.  Much of the clothing follows a hint of the shapes of 1930’s Spanish style:  the women’s dresses, the uniforms of the police brigade, the high-waisted rather hippy military pants (that suggest Franco).  But the colors!  Wow!  In Figaro’s barber-shop scene, to display his art of creating beauty,  he spins a black-clad lady client away from him, unwinding and rewinding her skirt to reveal brilliant rainbow colors. Similar instants transform Rosina and Almaviva from normal eloping-wear to utter glitz and gypsy colors.  But Ms. Saunders strikes a real coup de couture in one of Almaviva’s disguises—a huge balloon of purple-and-pink checked pantaloons with a neatly-tailored skirted jacket.   It’s a wild mockery of those 17th Century “Spanish slops”—which were mocked by contemporaries (e.g. Ben Jonson) even when they were the height of foppish fashion.

So, visually the show mocks (or celebrates) either the avant-garde art of the 30’s—or the cartoon world where Bugs Bunny introduced all of us to Figaro.”

— Broadway World