collage-professional
    • 2012 Best of DCMetro Theater Arts

    • Into the Woods
    • Best Costume Design of Production 
    • 2009 Washington Area Theatre Community Honors

    • Picnic
    • Nomination for Outstanding Set Design
    • Nomination for Outstanding Direction of a Play
    • 2006 Washington Area Theatre Community Honors

    • Biloxi Blues
    • Nomination for Outstanding Direction of a Play
    • 2004 George Mason University

    • Fenwick Fellowship for Research
    • The Costume Designer’s Search for Inspiration
    • 2001 George Mason University

    • Excellence in Teaching Award
    • Professional Associations

    • Kennedy Center American College Theater Festival
    • United States Institute of Theater Technology
  • EDUCATION

    • 1989 – 1990

    • Pennsylvania State University
    • MFA – Theatre Arts
    • Dual Concentration: Costume Design and Costume Production
    • 1986

    • Clarion University of Pennsylvania
    • BFA – Technical Theatre
    • Concentration: Costuming

    EMPLOYMENT HISTORY

    ACADEMIC TEACHING

    • 1993 – Present

    • George Mason University, Fairfax, VA
    • Professor
    • Teach courses in Theatrical Medium, Costume Design, Costume History, Draping and Drafting, Design Concepts, Seminar in the Major, Advanced Design and Construction, and Makeup
    • 2000 – 2007

    • Marymount University, Arlington, VA
    • Adjunct Professor
    • Teach courses in Survey of Fashion, Clothing Construction, and Apparel Design III – Advanced Draping
    • 2000 – 2004

    • Chautauqua Institution, Chautauqua, NY
    • Instructor
    • Taught adult summer session classes, From Page to Stage, Acting the Part, The Director’s Concept, and Dressing the Part
    • 1994 – 1999

    • American University, Washington, DC
    • Adjunct Professor
    • Taught undergraduate level courses in Scene and Costume Design
    • 1987 – 1991

    • Clarion University of Pennsylvania, Clarion, PA
    • Instructor
    • Taught summer session classes in Costume Design and Construction
    • 1986 – 1989

    • Pennsylvania State University, University Park, PA
    • Graduate Assistant
    • Full responsibility for teaching undergraduate classes in Costume Craft and Design

    PROFESSIONAL COSTUME DESIGN

    • 1995 – Present

    • Member of United Scenic Artists, Local 829
    • 2001 – 2010

    • Olney Theatre Center, Olney, MD
    • Resident Costume Designer
    • Designed 13 productions
    • 1994 – 2012

    • Theatre of the First Amendment, Fairfax VA
    • Designed 18 productions
    • 2007

    • RepStage, Columbia, VA
    • Designed 1 production
    • 2005 – 2006

    • Metrostage, Alexandria, VA
    • Designed 3 productions
    • 2004

    • Washington Shakespeare Company, Arlington, VA
    • Designed 1 production
    • 2001

    • Arena Stage, Washington, DC
    • Designed 1 production
    • 1996 – 2000

    • Kennedy Center Education Division, Washington, DC
    • Designed 3 productions and 3 remounts
    • 1991 – 1999

    • Woolly Mammoth Theatre Company, Washington, DC
    • Designed 10 productions and 2 remounts
    • 1989 - 2002

    • Fredericksburg Theater Company, Fredericksburg, VA
    • Designed 2 productions
    • 1996

    • Sherman Productions, Rockville, MD
    • Designed ABC after-school television movie special ELI’S COMING

    ACADEMIC PRODUCTION DESIGN

    • 1994 – 2010

    • George Mason University Players, Fairfax, VA
    • Designed 18 productions
    • 1993 – 1998

    • George Mason University Dance Department, Fairfax VA
    • Designed 45 dance pieces
    • 1992 – 2001

    • American University, Washington, DC
    • Designed 10 productions
    • 1984 – 1992

    • Clarion University, Clarion, PA
    • Designed 30 productions as a student and returning designer
    • 1987 – 1989

    • Pennsylvania State University, University Park, PA
    • Designed 3 productions during graduate school

    COMMUNITY PRODUCTION DESIGN

    • 2000 – 2005

    • Little Theatre of Alexandria, Alexandria, VA
    • Designed 5 productions

    COSTUME SUPERVISORY EXPERIENCE

    • 1993 – 1999

    • George Mason University, Fairfax, VA
    • Costume Director/Resident Designer
    • Responsible for eleven mainstage and six workshop productions per season
    • Supervised 12 – 15 professional staff and students per season
    • Primary liaison for guest designers, students, and faculty with dance, music, and theater departments and professional theater companies
    • Planned academic calendar and prepared weekly work schedules
    • 1991 – 1993

    • Shakespeare Theatre, Washington, DC
    • Male Draper/Tailor
    • Supervised costume construction team of 5 working in various historical periods
    • 1991

    • Harlequin Dinner Theatre, Rockville, MD
    • Head Draper
    • Instructed staff of 5 in women and men’s construction of period costumes for musical comedies
    • 1987 – 1991

    • Clarion University Summer Musical Theatre, Clarion, PA
    • Costume Shop Supervisor
    • Performed all aspects of costume production
    • Performed all responsibilities for pattern drafting and construction
    • Supervised staff of 10 students
    • 1986

    • University of Rochester Summer Theater, Rochester NY
    • Costume Shop Manager
    • Performed all aspects of costume production
    • Supervised staff of 12 students and volunteers
    • 1984

    • Summerfun Summer Theater, Montclair, NJ
    • Costumer
    • Supervised workroom staff of 8 students and volunteers
    • Supervised wardrobe staff of 8 students and volunteers

    CONSTRUCTION/TAILORING EXPERIENCE

    • 1993

    • Centre Stage, University Park, PA
    • Head Tailor
    • Responsible for 16 male American Colonial period costumes
    • 1992

    • Arena Stage, Washington, DC
    • Freelance Tailor
    • Patterned 3 male outfits for Restoration comedy
    • 1992

    • Center Stage, Baltimore, MD
    • Menswear Tailor
    • Responsible for 12 sets of quick-change country western costumes
    • 1989 – 1991

    • Studio Costume Shop, New York, NY
    • Tailor
    • Responsible for suit alterations of orchestra members in LIZA at Radio City

    CONSTRUCTION/DRAPING EXPERIENCE

    • 1998

    • Arena Stage, Washington, DC
    • Freelance Draper
    • Patterned 4 women’s outfits for a period drama
    • 1991

    • Hartford Stage, Hartford, CT
    • Draper
    • Responsible for creation of multi-layered women’s clothing
    • 1990 – 2001

    • EuroCo Costume Shop, New York, NY
    • Draper/On-site Alterations
    • Created costume patterns for various Broadway productions and Hollywood films
    • 1989 – 1991

    • National Shakespeare Company, New York, NY
    • Draper/Costume Construction
    • Constructed period costumes for repertory company

    1989 – 1991

    • Studio Costume Shop, New York, NY
    • Draper
    • Duplicated original costumes for cast replacements of Broadway and touring companies
    • 1989 - 1990

    • Michael-Jon Costume Shop, New York, NY
    • First Hand
    • Duplicated and resized patterns for theme parks and industrials
    • 1989

    • Juilliard School, Costume Shop, New York, NY
    • Pattern-Maker
    • Created patterns and worked with a construction team of 3 stitchers to create costumes for dance, opera, and theater
    • 1986

    • Centre Stage, University Park, PA
    • Draper
    • Responsible for 8 female 1930’s cruise costumes
    • 1986

    • Centre Stage, University Park, PA
    • Craft Artisan
    • Responsible for 10 male fantasy costumes
    •  

    WIG STYLIST EXPERIENCE

    • 2000

    • Circle in the Square, New York, NY
    • Wig Stylist
    • Responsible for maintaining 9 Restoration comedy wigs
    • 1989 - 1991

    • Saturday Night Live, New York, NY
    • Wig Stylist
    • Responsible for styling character wigs for television
    • 1986

    • Centre Stage, University Park, PA
    • Wig Stylist
    • Responsible for maintaining 13 period and fantasy wigs

    MUSEUM EXPERIENCE

    • 1997 – Present

    • Hillwood Museum & Gardens, Washington, DC
    • Associate Curator of Costumes and Textiles
    • Conduct archival research and catalog findings
    • Coordinate preservation and display procedures
    • Present public lectures throughout the year

    MUSEUM EXHIBITIONS

    • Ingenue to Icon: 70 years of fashion from the collection of Marjorie Merrweather Post
    • June 2, 2015 – January 17, 2016
    • Hillwood Museum & Gardens, Washington, DC
    • Wedding Belles: Bridal Fashions from the Marjorie Merriweather Post Family, 1874-1958.
    • June 18, 2011 – January 16, 2012
    • Hillwood Museum & Gardens, Washington, DC
    • An Invitation to the Ball: Mrs. Post's Fancy Dress Costumes of the 1920's.
    • March 14 – July 12, 2009
    • Hillwood Museum & Gardens, Washington, DC

    PRESENTATIONS/WORKSHOPS (selected list)

    • Behind the Seams: The dress collection at Hillwood. Lecture, September 2010
    • Hillwood Estate, Museum & Gardens, Washington, DC
    • New York Luxury Department Stores. Lecture, June 2010
    • Hillwood Estate, Museum & Gardens, Washington, DC
    • Fashion Research “Post” and Present. Lecture, May 2010
    • Arts at Mason Annual Board Meeting, George Mason University, Fairfax, VA
    • The Essential Ingredients of Theater. Lecture, May 2010
    • Great Performances at Mason: Olympia Dukakis as ROSE, George Mason Univeristy, Fairfax, VA
    • Elegant French Fashions, 1900-1950. Lecture, April 2010
    • Hillwood, Estate Museum & Gardens, Washington, DC
    • All the World's a Stage: Costuming Shakespeare. Lecture, November 2009
    • Faculty Arts Board, George Mason Univeristy, VA
    • The 1950s and Oldric Royce of New York. Lecture, November 2009
    • Corcoran Masters Program, Hillwood Estate, Museum & Gardens, Washington, DC
    • The Fashions of Hillwood and the Art of Design. Lecture, July 2009
    • Westminster at Lake Ridge, Alexandria, VA
    • Masterpieces in Fabric - Art Deco Fashions of the 1920s. Lecture, June 2009
    • Hillwood Estate, Museum & Gardens, Washington, DC
    • An Invitation to the Ball. Lecture, March 2009
    • Public Exhibition Opening, Hillwood Estate, Museum & Gardens, Washington, DC
    • Mrs. Post's Dressing Style at Hillwood. Lecture, September 2008
    • Hotel Tourism & Relations Lecture, Hillwood Estate, Museum & Gardens, Washington, DC
    • Fashions of the Roaring 20s. Lecture, February 2009
    • Hillwood Estate, Museum & Gardens, Washington, DC
    • Children’s Clothing at Chautauqua. Lecture, June 2006
    • Chautauqua History Lecture Series, Chautauqua Institute, Chautauqua, NY
    • From Page to Stage. Lecture, April – May 2006
    • Osher Lifelong Learning and Arlington Learning in Retirement, Fairfax and Arlington, VA
    • The Costume Designer’s Search for Inspiration. Lecture, November 2005
    • Fenwick Fellows Fall Lecture Series, George Mason University, Fairfax, VA
    • Images of Dress at Chautauqua. Lecture, July 2005
    • Chautauqua History Lecture Series, Chautauqua Institute, Chautauqua, NY
    • Dressing in the Style of Art Deco. Lecture, August 2005
    • Hillwood Museum and Gardens, Washington, DC
    • Ready-to-wear in the U.S.A. Lecture, October 2004
    • Arlington Leaning in Retirement Institute Arlington Public Libraries, Arlington, VA
    • A Liberal Dose of Costume. Panel/Lecture, March 2004
    • United States Institute of Theater Technology, Long Beach, CA
    • Dress for Success! Lecture, October 2001
    • Hillwood Museum and Gardens, Washington, DC
    • Tech Day. Events Coordinator, August 2000
    • Educational Theatre Association, George Mason University, Fairfax VA
    • Portfolio and Resume Workshop. Workshop presenter, February 2000
    • United States Institute of Theater Technology, George Mason University, Fairfax, VA
    • Historical Threads. Costume Symposium Coordinator, May 26 - 30, 1999
    • United States Institute of Theater Technology, Washington, DC
    • Marjorie by Day, Marjorie by Night. Lecture, February – April 1997
    • Two-part lecture on fashions worn by Marjorie Merriweather Post from 1903-1967
    • Hillwood Museum and Gardens, Washington, DC
    • A Walk in the Shop, from community to Broadway. Lecture, January 1996
    • United States Institute of Theater Technology, George Mason University, Fairfax, VA
    • The Costumer. Workshop Presenter, January 1995
    • United States Institute of Theater Technology, University of Maryland, University Park, MD

    PUBLICATIONS

    • A Novel Approach to Costume Design. USITT Handbook for educators, Fall 2006
    •  
    • Costume Designer’s Guide to Historical Resources. George Mason University, 2005
    •  
    • Reflections on The Heiress, a Resource Guide. George Mason University, 2003
    •  
    • Keeping her Toes Post Toasty. Preservation, v. 53 no. 1, January/February 2003, p. 67
    •  
    • Best Foot Forward. Hillwood Post, v. 2, no. 2, Fall/Winter 2002
    •  
    • Caps Off. Dramatics, v. 70, no. 8, April 1999, p. 20-24.
    •  
    • Basic Bags. Dramatics, v. 69, no. 3, November 1977, p. 32-36.
    •  
    • In the Bag. Dramatics, v. 68, no. 2, October 1996, p. 46-48.
    •  
    • Victoria’s Other Secret. Dramatics, v. 67, no. 5 January 1996, p. 23-25.
    •  
    • Putting on the Weight. Dramatics, v. 65, no. 3, November 1993, p. 40-43.
    •  
    • A Small Price to Pay for Period Footwear. Reprinted in Dramatics, v. 63, no. 9, May 1992

    HONORS/AWARDS

    • 2005 – 2006

    • Little Theatre of Alexandria
    • The Pearl Mahaffey Award for Most Outstanding New Member
    • 2004

    • George Mason University
    • Fenwick Fellowship for Research
    • 2001

    • George Mason University
    • Excellence in Teaching Award
    • 1995

    • Washington Theatre Awards Society
    • Helen Hayes Outstanding Costume Design Award
    • 1995

    • American College Theatre Festival
    • Costume Design Award
    • 1994

    • Washington Theatre Awards Society
    • Nomination for Helen Hayes Outstanding Costume Design Award
    • 1993 – 1999

    • George Mason University
    • Exceptional Performance Award
    • 1992

    • United States Institute of Theater Technology
    • Nomination for Herb Gregg Outstanding Journal Article Award

    PROFESSIONAL ASSOCIATIONS

    • United Scenic Artists, Local 829, Costume Division
    • United States Institute of Theater Technology
    • Costume Society of America
    • Victorian Society of America
  • Current course taught are located at 
    Theater.gmu.edu/academic/syllabi.html

     
    • THR 101 - Theatrical Medium
      Credits: 3 (NR)
       
      Explores theater from the inside workings of production to informed and lively engagement with the art. Enhances an understanding of the nature of theater in society.
      Notes: Fulfills Mason Core requirement in arts.
       
       
    • THR 235 - Costume Crafts
      Credits: 3 (NR)
       
      This course serves as the foundation and prerequisite for costume courses in design and construction. Costume Crafts will introduce the principles of apparel design and construction for stage and screen costumes. Requirements for this course will include the complete construction of two items and the compilation of a sample notebook containing important construction techniques.
       
       
    • THR 332 - History of Fashion and Dress
      Credits: 3 (NR)
       
      Explores evolution of silhouette, color, fabric, accessories, and make-up appropriate to development of clothing during specific historical eras. Offers broader understanding of sociological context influencing Western dress.
      Notes: May be repeated for total 9 credits if specific course content differs.
       
       
    • THR 335 - Costume Design
      Credits: 3 (NR)
       
      Project-oriented class emphasizing the art and process of designing costumes for the stage and screen, including historical period, script analysis, design concepts, color theory, and costume rendering.
      Prerequisite(s): THR 230 or permission of instructor.
       
       
    • THR 339 - Principles of Design
      Credits: 3 (NR)
       
      This course serves as an introduction to the principles of theatrical design. Course explores various design responsibilities and methods to create visual images for the stage through script analysis, research, and production team collaboration.
      Prerequisite(s): THR 230 or permission of instructor
       
       
    • THR 342 - Makeup Design
      Credits: 3 (NR)
       
      Project-oriented class emphasizing makeup for different performance spaces, character age analysis, facial anatomy, and specialized application for theater, opera, dance, film, and television.
      Prerequisite(s): THR 230 or permission of instructor.
       
      THR 343 - Costume Pattern Drafting
      Credits: 3 (NR)
       
      Project-oriented laboratory class on pattern development through drafting and practical experience in construction of stage costumes.
      Prerequisite(s): THR 235 or permission of instructor.
       
      THR 345 - Puppetry
      Credits: 2-4 (NR)
       
      Exploring of puppetry through various building and performance styles, through original work
       
      THR 497 - Independent Study
      Credits: 1-6 (RT)
       
      Individual research and creative project in the area of design and/or technology in consultation with design faculty.
      Prerequisite(s): Open only to theater majors with 90 credits and special permission of department chair
      Notes: May be repeated for a total of 24 credits, provided suffix citing specific course content is different
    • Summer Brave

    • William Inge
    • George Mason University, 2011
    • ​Rashomon

    • Fay and Michael Kanin
    • Port City Playhouse, 2010
    • Nude with Violin

    • Noel Coward
    • Little Theater of Alexandria, 2010
    • Ah, Wilderness!

    • Eugene O’Neill
    • George Mason University, 2009
    • Picnic

    • William Inge
    • Little Theater of Alexandria, 2009
    • — Nominated for Best Director WATCH Award
    • — Nominated for Best Play WATCH Award
    • Enchanted April

    • Matthew Barber
    • Little Theater of Alexandria, 2008
    • Could Angels Be Blessed

    • Nancy Kiefer
    • George Mason University , 2007
    • Broadway Bound

    • Neal Simon
    • Little Theater of Alexandria, 2006
    • Biloxi Blues

    • Neal Simon
    • Little Theater of Alexandria, 2005
    • Nominated for Best Director WATCH Awards
    • The Heiress

    • Ruth and Augustus Goetz
    • George Mason University, 2004
    • Lost in Yonkers

    • Neal Simon
    • Clarion Summer Theater, 2003
    • The Glass Menagerie

    • Tennessee Williams
    • Clarion Summer Theater, 2002
    • Shayna Maidel

    • Barbara Lebow
    • George Mason University, 2001
    • The Dining Room

    • A. R Gurney
    • George Mason University, 2000

    Professional Information

    • Dual MFA in Costume Design and Theater Technology from Penn State University
    • Associate Professor of Theater Design at George Mason University
    • Production Manager, Set and Costume Designer for the GMU Players
    • Artist Associate, Resident Costume Designer, Olney Theater Center
    • Costumes and Textiles Curator, Hillwood Estate, Museum and Gardens
    • Regional Education Chair Costume Society of America
    • Nominated for two Helen Hayes Awards, receiving the Outstanding Costume Design Award
  • RASHOMON at Port City Playhouse

    “Director and set designer Howard Vincent Kurtz is making his Port City Playhouse debut with the production. He seems to have understood the unique potential of the company for the smaller scale production of plays that offer a close look at human reactions."
    — Brad Hathaway, Alexandria Gazette Packet, November 11, 2010

    “‘Rashomon’ is a compelling production that explores the mysteries and foibles of human interaction and its subsequent interpretation. Perfectly cast and dramatically directed and costumed by Howard Vincent Kurtz, it is highly recommended."
    — Jordan Wright, Alexandria Times, November 9, 2010

    “Director Howard Vincent Kurtz has crafted a technically superior production. The backdrop, evocative of a bamboo forest–a frequent occurrence in Japanese culture–created depth and dimension. Each character stepped into the ‘triangle’ created by bamboo stems as they told their story (a fabulous blocking technique that further served to unify the director’s objective)."
    — Mari Davis, ShowBizRadio, November 9, 2010

    NUDE WITH VIOLIN at Little Theater of Alexandria

    “The text has its delights but is not packed with big laugh lines that can be stacked one on top of the other to build a sense of hilarity. Instead, there are individual comments, rejoinders and asides that draw more chuckles and smiles than bursts of laughter. The play is more notable for its sense of style than its high comedy, and director Howard Vincent Kurtz is always a fine choice to head any production of a stylish piece. …The members of the family are at the core of the ensemble, however, and Kurtz has assembled a cast for these roles and directed them so well that each is a distinct personality. …’Nude with Violin’ may not be Coward’s finest hour, but in the hands of Kurtz’ crew it delivers a few fine hours for a fall evening.”— Brad Hathaway, Connection Newspaper, September 9, 2010

    “Great cast, great performances by all. Nice job by director and set designer Howard Vincent Kurtz."
    — Rich Massabny, Arlington Weekly New TV, September 9, 2010

    PICNIC at Little Theater of Alexandria

    • — Nomination for Outstanding Set Design WATCH Award
    • — Nomination for Outstanding Direction of a Play WATCH Award
    • — Nomination for Outstanding Play WATCH Award

    “Little Theatre of Alexandria's production of ‘Picnic’ is a vivid example of how the combination of meticulous casting and a director with a keen eye for the subject matter can substantially improve a play ... Director Howard Vincent Kurtz and his finely tuned cast of 12 maintain that period atmosphere of small-town Kansas, while adding edgy depth and dimension that reinvigorates the story … In Inge's construct, security means entirely different things to young Madge and the middle-aged Rosemary. One sees it as liberation, the other as restriction. As a series of skillfully played small moments lead to life-changing resolutions, Kurtz's pacing and energy are fluidly dynamic to capture the sense of reality. Kurtz also designed the set, a stunningly visual celebration of Midwestern Americana. Three-dimensional and solid, the two homes and the shared back yard in which these lives transform is wonderful eye candy."
    — Michael J. Toscano, Washington Post, October 2, 2008

    “Step back with the creative talent of the Little Theatre of Alexandria to an era that may seem simpler now, but which teemed with troubles and passions at the time. Director Howard Vincent Kurtz recreates the feel of the ‘50s with a solid production of the 1953 Pulitzer Prize for Drama winner, William Inge’s "Picnic.” The burgeoning affair between Keith’s 'pretty one and Razzino’s bare-chested drifter is at the center of the play, but in Kurtz’ mounting, a role that often seems in other productions to be a sub-plot takes on increased importance through the superb performance of the actress playing the part of a school teacher terrified at the prospect of spinsterhood…. This play is often revived in professional and community theater long after most of those that date to the same period have long disappeared from the stage. This is because it is such a satisfying evening of theater when performed intelligently and with sensitivity as it is here."
    — Brad Hathaway, Gazette Packet, September 25, 2008

    “Howard Vincent Kurtz directs a cast that ranges from thoroughly acceptable to very good in a production that proceeds through Inge's apparently rambling, but actually well structured story, drawing attention to its considerable strengths and avoiding some of the pitfalls of its excesses and its period peculiarity. Rather than make the '50s either topic nostalgia or of ridicule, he treats the period of this period piece with respect…. There is a solid feel to the entire production with care evident in each element. Kurtz designed the set himself and it shows attention to such details as the patches on the screen door as well as cooperation with the other members of the design team in its dramatic black, gray and white backdrop of telephone poles…"
    — Brad Hathaway, Potomac Stages, September, 20, 2008

    ENCHANTED APRIL at Little Theater of Alexandria

    “Howard Vincent Kurtz and his cast and team of designers create an entertaining evening with the material with sterling performances by at least four ladies and some fun material from the men in their circle as well…. The contrast between first and second acts isn't just a matter of exposition versus resolution. It is also a difference in locale, for the entire first act takes place in gloomy, rainy, foggy London town, while the second is in glorious, colorful, sunny Italy. Visible through the wisteria-covered arches of the villa's colonnade is a lovely backdrop of the Cinque Terre terrain. It was painted by the scenic painting class that director/set designer Kurtz teaches at George Mason University. They seem to have learned their lessons well."
    — Brad Hathaway, Potomac Stages, April 19, 2008

    “Overall I felt this was a good show… The set was amazing. The set designer for Enchanted April was Howard Vincent Kurtz. Between the first and second act the curtain went down during intermission. The set underwent a complete transformation. When the curtain went up for the second act there was a round of applause. It was so bright and cheerful. The mural that was all along the back wall was very detailed and very bright and colorful.

    “Something we did not talk about in the first act was the large wardrobe in the center of the stage. The characters would open it reveal a stack of newspapers or later different parts of the bedroom. They would close the wardrobe door and then reopen in the next scene and all of a sudden there were different items inside the wardrobe. There were lots of hidden doors and lots of flexibility. It was a really nice design. It kept the show moving a long without having to move lots of items a round to set up different scenes. I like the creative design for the first act."
    —Mike and Laura Clark, Show Biz Radio, April 26, 2008

    BROADWAY BOUND at Little Theater of Alexandria

    “Director Howard Vincent Kurtz keeps the pace domestic, avoiding either excessively theatrical gimmicks in the humor of the piece or overly melodramatic pauses in the more touching moments. He gets a delightful scene out of the Act II session, where Argersinger's Eugene draws from Gaskin's otherwise terse stint as the mother, a flood of her memories of her youth. In this one scene, the warmth and humanity of Simon's youthful memories fill the theater with good feelings."
    — Brad Hathaway, Potomac Stages, September 15, 2005

    BILOXI BLUES at Little Theater of Alexandria

    • — Nomination for Outstanding Direction of a Play WATCH Award

    “Whenever a production reaches the uniformity of quality that this one does, credit has to go both to the director and to the producers, in this case that would be Howard Vincent Kurtz, Marian Holmes and Russell Wyland. Kurtz is known in the local theater community as a costume designer at both professional and community theaters, but he makes his directorial debut at LTA with this production. He and his colleagues have recruited a marvelous team and given them the leadership necessary to pull off a superb show, but he deserves kudos for the design as well because he did both the set and costumes. It isn't a one man show, however, and Ken and Patti Crowley must be singled out for a very effective lighting design as must David B. Hale who handled the sound design with taste."
    — Brad Hathaway, Potomac Stages, March 31, 2005