Zhanna Goldentul
Zhanna Goldentul
University of Louisville
Costume and Makeup Design

 

Press and Reviews, 2016-2018

The Beyond, Project faust, 2018

Collaboration with the Louisville Ballet, Louisville Orchestra, and Kentucky Opera
Featuring: Requiem and Project Faust

Choreography by Stephen Baynes and Adam Hougland
Garrett Sorenson, Chad Sloan, Jorgeandrés Camargo and Emily Albrink – Soloists

  • Zhanna Goldentul certainly had a ballet dancer’s body in mind with her costume development for this performance. Wearing tight, Lycra body suits and eye masks the dancers looked as if they had been dancing in the fires. The costumes gave them the flexibility needed to move the heavy cords around and climb the scaffolding with ease. With the addition of a beautiful red skirt, the dancers transformed into Marguerite’s townspeople during a Dance portion of the story-line, then quickly ripping them off to become demon residents once more.

 

Miss Ada B. Wells, 2017

Directed by Nefertiti Burton, University of Louisville, BWW Review:

  • Zhanna Goldentul's costumes are near-to-perfect, and Kevin D. Gawley, who also managed scenic and lighting design, accomplishes the crucial projection work.

King Lear, 2016

By William Shakespeare
Directed by Jennifer Pennington, University of Louisville

Review by Keith Waits, Louisville Arts

  • King Lear here is a handsome production with much commendable work, but for me it misses the depths of what the play truly is….. Director Pennington appears to acknowledge this with a slow fade out on the Fool wistfully alone onstage in his final moments. It is a subtle touch indicative of the finer points the production is striving for. She is well supported by superb design work from Zhanna Goldentul (costumes), Jenn Calvano (sound design), and most especially Kevin Gawley, who designed the set and lighting. 

Fences, 2016

By August Wilson
Directed by Baron Kelly, University of Louisville

Review by Keith Waits, Louisville Arts

  • Director Baron Kelly’s production may not be quite as fine as his very strong staging of Wilson’s The Piano Lesson last season, but it holds up very well. Kevin Gawley’s sets and lighting design do a good job of setting time and place, and Zhanna Goldentul’ s costumes serve both character and story effectively.

Bloodline Rumba, 2016

By John Chenault
Directed by Nefertiti Burton, University of Louisville

Review by Keith Waits, Louisville Arts

  • It may be oversimplification of the undoubtedly more nuanced history, as all dramas inevitably are, but it is a pretty good story with a fairly satisfying resolution. The impact of the play owes a great deal to a magnetic lead performance from Sidney Edwards as Sara. Her beautifully realized physical presence evokes a time and place, (kudos to Zhanna Goldentul’s costumes) and her well-observed dialect calls attention to the heart of the theme, allowing Edwards to create a woman of uncommon strength and integrity.