• 1995 Washington Theatre Awards Society

    Dream of a Common Language
    Helen Hayes Outstanding Costume Design Award

    1994 Washington Theatre Awards Society

    Strindberg in Hollywood
    Nominated for a Helen Hayes Outstanding Costume Design Award

    Professional Associations

    United Scenic Artists, Local 829, Costume Division

  • Costume Design Resume

    •  2012 – 94

    • Theater of the First Amendment, Fairfax, VA
    • STAY, Heather McDonald
    • TWO BIT TAJ MAHAL, Heather McDonald
    • 3 HOTELS, Rick Davis
    • THE LADY FROM THE SEA, Rick Davis
    • GRIMM TALES, Mary Hall Surface
    • DOCTOR FAUSTUS, Rick Davis
    • TIGERTIGERTIGER, Tom Prewitt
    • FAULKNER’S BICYCLE, Heather McDonald
    • DREAM OF A COMMON LANGUAGE, Heather McDonald, Helen Hayes Award
    • 2010 – 02

    • Olney Theatre Center, Olney, MD
    • KING OF THE JEWS, Cheryl Faraone
    • 1776, Stephen Nachamie
    • DOUBT, Jack Going
    • FIDDLER ON THE ROOF, John Vreeke
    • BROOKLYN BOY, Jim Petosa
    • ENEMY OF THE PEOPLE, Jim Petosa
    • HEDDA GABLER, Halo Wines
    • OLIVER!, Brad Watkins
    • LEND ME A TENOR, Jack Going
    • SHE LOVES ME, Jim Petosa
    • 2007

    • RepStage
      Howard Community College, MD
    • SHAYNA MAIDEL, Peg Denitoure
    • 2006 – 05

    • MetroStage, Alexandria, VA
    • BECOMING GEORGE, Brett Smock
    • LAST 5 YEARS, Jane Pesci-Townsend
    • ALL NIGHT STRUT!, Tom W. Jones II
    • 2004

    • Washington Shakespeare Company, Arlington, VA
    • WAITING FOR GODOT, Dot Newman
    • 2001

    • Arena Stage, Washington, DC
    • 2001 – 97

    • Kennedy Center for the Performing Arts, Washington, DC
    • LITTLE WOMEN, Albert Takarauckas
    • ANGEL’S VOICES, Gary Race
    • 1999 – 92

    • Woolly Mammoth Theatre Company, Washington, DC
    • THE GIGLI CONCERT, Tom Prewitt
    • WANTED, Jeff Church
    • THE FOOD CHAIN, Nicky Silver
    • GOODNIGHT DESDEMONA, Lee Mikeska Gardner
    • STRINDBERG IN HOLLYWOOD, Howard Shalwitz, Helen Hayes Nominated
    • BILLY NOBODY, Howard Shalwitz
  • CAN’T SCARE ME: THE STORY OF MOTHER JONES at Theater of the First Amendment

    “...this First Amendment production is elegant, polished, and elegant to the last detail. In the first place, Lee’s physical appearance is the very embodiment of Mother Jones, down to the last detail of her staunchly Victorian garb, marvelously designed by Howard Vincent Kurtz.”      
    —Terry Ponick, DC Theatre Scene, October 19, 2011

    LIVE WIRE at Theater of the First Amendment

    “Desginer Howard Vincent Kurtz’ costumes transports the audience back to a bygone era in TFA’s LIVE WIRE that delivers vibrant 30’s Radio…”
    —Jenet Dechary, Manassas Patch, April 20, 2011

    DINNER WITH FRIENDS at Olney Theatre Center

    "Costume designer Howard Vincent Kurtz uses color and style effectively to reflect each character’s evolving emotional state, mixing and matching the colors and designs on cue."
    Debbie Jackson, DC Theatre Scene, September 2, 2010

    “Everything, the script, Jim Petosa’s direction, the acting, set and costumes, all come together for a realistic look at marriage and the rocky road paved by close friends.”
    —Adrienne Lawrence, Fredrick New Post, September 2, 1010

    KING OF THE JEWS at Olney Theatre Center

    "Costumes were of the period. All but the rabbis and the young boy were in finery that reduced the impact of the external world’s cruelty. In Act II the men’s costumes and hats seemed, well, more like the mad-hatter’s party in Alice in Wonderland."
    — David Siegel, Potomac Stage, March 21, 2009

    1776 at Olney Theatre Center

    "Howard Vincent Kurtz' period costumes are a fine representation of the styles of the time with sumptuous fabrics for many gentlemen but simple garb for others."
    — Brad Hathaway, Potomac Stages, April 27, 2008

    FIDDER ON THE ROOF at Olney Theatre Center

    "The production has its visual flourishes, most strikingly in Howard Vincent Kurtz's nightmarish costumes for the dream scene, and the wedding canopy that hangs above the entire stage during the ceremony for Tzeitel and Motel."
    — Susan Berlin, Talk in Broadway, November 21, 2007

    "The peasant costumes aprons, skirts and kerchiefs for the women, vests, jackets, pants and prayer shawls or tzitzit hanging from shirt tails for the men by Howard Vincent Kurtz are appropriately muted."
    — Lisa Traiger, Washington Jewish Week, December 7, 2007

    BROOKLYN BOY at Olney Theatre Center

    "Howard Vincent Kurtz's costumes are serviceable without usurping the characters."
    — Lisa Traiger, Washington Jewish Week, July 23, 2007

    A SHAYNA MAIDEL at Rep Stage

    "Costume Designer Howard Vincent Kurtz has made the differences between the two sisters palpable; the younger New Yorker all in fashionable colorful dresses, perfect makeup and well groomed hair, while the newly arrived other sister begins in drab beiges and looks old beyond her real years, and slowly changes though still showing the effects of what she lived through."
    —D avid Siegel, Potomac Stages, October 16, 2007

    ANYTHING GOES at Olney Theatre Center

    "James Wolk's scenic design takes its inspiration from the travel posters of Adolphe Mouron Cassandre, blending the clean lines of Art Deco with vivid primary colors. The costumes by Howard Vincent Kurtz add to the general sense of luxury, and Larry Munsey must be cited for his wigs, especially the matching platinum blonde wigs for Reno's "Angels" and Bonnie's copper-colored flip."
    —Susan Berlin, Talk in Broadway, April 12, 2006

    LEND ME A TENOR at Olney Theatre Center

    "James Kronzer's cream, crimson and chrome set which greets the audience as they enter the theater promises a classy presentation of a well known piece."
    "Kronzer's work is then matched by Howard Vincent Kurtz' crisp 1930's costumes as the evening progresses. Valerie Leonard, resplendent in one of Kurtz' finer creations, an elegant purple evening gown, carries the lunacy further as the leading lady who thinks seducing the star will advance her career. Also a kick is Halo Wines appearing to have just as much fun playing the role of the opera's board member who dresses for the fund raiser in a gown which Kurtz designs to work with its description ('How do I look?' 'Like the Chrysler Building.')"
    —Brad Hathaway, Potomac Stages, May 13, 2006

    BECOMING GEORGE at Metro Stage

    "Designer Howard Kurtz provides Taylor with trouser outfits that emphasize the commanding posture she adopts."
    —Brad Hathaway, Potomac Stages, April 30, 2006

    THE LAST FIVE YEARS at Metro Stage

    "Bush is a more seductive comic actor… placing his baseball cap backward, sassily — the low-key costumes are by Howard Vincent Kurtz."
    —Celia Wren, The Washington Post, June 23, 2005

    WAITING FOR GODOT at Washington Shakespeare Company

    “The costumes by Howard Vincent Kurtz are absolutely perfect.”
    —Peter Fay, Around Town, WETA aired April 25, 2003

    "Costume designer Howard Vincent Kurtz uses color and style effectively to reflect each character's evolving emotional to the audience.”
    —Brad Hathaway, Potomac Stages, April 29, 2003

    SHE LOVES ME at Olney Theatre Center

    "James Kronzer provides another appealing scenic design, creating a pastel world rather than a too-colorful one and Howard Vincent Kurtz provided costumes to match."
    —Brad Hathaway, Potomac Stages, November 29, 2001


    "Howard Vincent Kurtz has created funny, sumptuous costumes on a minimal budget."
    —Llody Rose, Washington Post, January 24, 1994