Teresa Snider-Stein

Costume Designer

Teresa earned her MFA from the School of Drama at Yale University and a BA from Ohio Wesleyan University. After working as a professional costume designer in theatre, film, commercials, and television she joined the Department of Theater faculty at Brooklyn College in January 2008.

 A veteran of 20 years On and Off Broadway and of regional theatre around the country, she has designed costumes for nearly a hundred productions. Selected credits include: I’m not Rappaport (Broadway & regional tour); Everett Beekin (Lincoln Center); and The Late Henry Moss (Signature Theatre Company, NY ) She designed the original productions of the Pulitzer Prize-winning The Young Man from Atlanta, (Signature Theatre, Huntington Theatre, and Alley Theatre); Raised in Captivity (Vineyard Theater and South Coast Rep); and 36 Views (Huntington Theatre, Boston, MA) where her experience residing in Japan greatly augmented her designs for the production.

Historical periods and their relationship to current issues, and the personal dramas encountered in everyday experience, have long held fascination for her. Cross-cultural and international experiences, including a year-long residence in Japan, bring a global perspective to her design work.

Ms. Snider-Stein has had the pleasure of working with numerous distinguished directors including Doug Hughes, Daniel Sullivan, Evan Yionoulis, David Warren, Joseph Chaiken, Thomas Bullard, David Esbjornson, Mel Shapiro, Garry Hynes, James Houghton, Michael Kahn, Carey Perloff, Hal DeWindt, JoAnne Akalaitis and others.

For nine years as the resident costume designer at Signature Theatre in New York City, Ms. Snider-Stein particularly enjoyed the intensive year-long collaboration with the various playwrights in residence. She designed the costumes for over 35 productions by Romulus Linney, Lee Blessing, Edward Albee, Horton Foote, Adrienne Kennedy, Sam Shepard, Arthur Miller, John Guare, and Maria Irene Fornes. Working directly with each of the playwrights she was able to focus on specificity of character and tap into each author’s particular point of view. Through participation in this in-depth exploration of individual playwrights’ work, she was part of the team that helped cement the Signature Theatre’s playwright-centric techniques.

New York credits include Playwrights Horizons, the Public Theater, Lucille Lortel Theatre, Classic Stage Company, the Vineyard Theatre,Primary Stages, Irish Repertory Theatre, The Jewish Repertory Theatre, Mabou Mines, Village Light Opera Company, Ensemble Studio Theater, and Women’s Project & Productions. Regionally she has worked at South Coast Rep, Goodspeed Opera Company, The Alley Theatre, New York Stage and Film, Dallas Theatre Center, Williamstown Theatre Festival, Ford’s Theater, Coconut Grove Playhouse, the Huntington Theatre Company, George Street Playhouse, Philadelphia Theatre Company, Whole Theater, Portland Stage Company, and Paper Mill Playhouse. Most recent theatrical costume designs include a new adaptation of Anna Cora Mowatt’s "Fashion!" and the Tiyatoglobal production of MIKA at the Trusteeship Council Chamber at the United Nations, NYC. MIKA was created in answer to Secretary General Ban Ki-Moon’s initiative to end violence against women worldwide. Film and television credits include work on 54, Billy Bathgate, occasional work on The Sopranos and years at The Late Show with David Letterman.

Ms. Snider-Stein was awarded the Bronze Medal for Costume Design at the 2005 World Stage Design International Exhibition for “Drowning” by Marie Irene Fornes, NYC Signature Theatre Company.

She is a member of United Scenic Artists Local 829 and Arts Westchester Artist Roster.

Additionally, as the founder of History Addressed, she designs innovative curriculum blending costume design with visual arts, social studies, and language arts programs in primary and secondary schools. These innovative projects allow students with different learning styles and language skills to absorb the course lessons more successfully, leading to increased literacy.

A costume “speaks” before the actor has a chance to say a word. The importance of costume design is often an afterthought, but it is vital to the success of every production.