Ludwig and Bertie - Theater for the New City

-Theatre Scene by James Navarrete

“The costumes by Anthony Paul-Cavaretta lend themselves to the era in which the story is taking place, from the classrooms, to the bedroom and even during war! Lady Ottoline Morrell, played by Alyssa Simon, always looks ravishing in her gowns and evokes a proper upper-crust upbringing.”

-New York Theatre Wire by Beate Hein Bennett

“…while the costume design by Anthony Paul-Cavaretta beautifully adds to the personality of a character as well as the shifts of period style in the play.”

-Berkshire Fine Arts by Rachel de Aragon

“The costume design by Anthony Paul-Cavaretta provided the correct amount of veracity without being overwhelming.”


Cyrano - Titan Theatre Company

-Classical NYC Reviews

“Anthony Paul-Cavaretta's costume design is truly impressive, allowing the actors to duck in and out of various characters throughout the play, while still maintaining the complicated silhouettes of 17th Century France.”

- Queens Chronicle by Mark Lord

“…sometimes changing costumes (the attractive handiwork of Anthony Paul-Cavaretta) at breakneck speed…” “The uncredited creator of his massive nose did a creditable job.”

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An Inspector Calls - Peterborough Players

-Monadnock Ledger-Transcript by Cheyenne Heinselman

“Sybil, who is shining with wit and poise thanks to Dee Nelson, and who is quite literally shining in dress thanks to the beautiful costume design of Anthony Paul-Cavaretta, a standout of the technical aspects of the production alongside the simple, yet stunning set design.”


The Tempest - Titan Theatre Company

Queens Courier by Cliff Kasdan

“The characters are colorfully costumed in both whimsical and realistic styles (Anthony Paul-Cavaretta costume design).”

Queens Chronicle by Mark Lord

“Kudos to …Anthony Paul-Cavaretta for the evocative (and sometimes provocative) costumes…”


Discover Opera: The Magic Flute - Manhattan School of Music

Operawire by Jennifer Pyron

“Anthony Paul-Cavaretta, costume designer, crafted pieces that were unbelievably exquisite and detail oriented. There was no lacking of the imagination in the character’s costumes and this paved way to the high-quality visual aspect of this program. The audience was transported to a night-at-the-opera with such rich quality of design.”


Steel Magnolias - Peterborough Players

The Arts Fuse by Jim Kates

“I assume that the costume designer Anthony Paul-Cavaretta takes responsibility for the hair, a crowning glory that should not go unappreciated given the setting and the action of this production. The changes that take place on the heads as well as inside the heads of the character reflect the movements of their lives, another subtlety in a comedy-drama that could have contented itself with stereotypes, but doesn’t.”