Initiated in 1998 in honor of costume designer Ruth Morley, one of our profession’s leading designers in theatre and in film, this award is given at the final League luncheon in June. Ruth served on the League’s Board of Directors. Her costumes for Annie Hall, Inherit the Wind and Deathtrap are memorable.
Read more about Ruth Morley.
This award was formerly titled the Ruth Morley Designing Woman Award.
Recent award recipients include:
Jane Cox is a lighting designer for theater, opera, dance and music based in Brooklyn, New York. This season’s designs include Color Purple (directed by John Doyle) currently running on Broadway; Noises Off directed by Jeremy Herrin (Broadway); Hamlet directed by Lyndsey Turner (with Benedict Cumberbatch); and a new musical of Amelie (directed by Pam MacKinnon). Upcoming projects include the new play Roe at the Oregon Shakespeare Festival, directed by Bill Rauch; a third production of The Flick by Annie Baker (directed by Sam Gold) at the National Theatre in London; Cherry Orchard on Broadway and Peer Gynt at Classic Stage Company.
In 2014, Jane was nominated for a Tony award and a Drama Desk award for her work on Machinal. Other exciting recent designs include All the Way on Broadway (Tony award for Best Play); Head Over Heels, a new musical with music by the Go-Gos at Oregon Shakespeare Festival; Lucia di Lammermoor at Sydney Opera House; Picnic on Broadway; The Whale at Playwrights Horizons; The Ambassador Project, a stage show of Gabriel Kahane’s album directed by John Tiffany; Allegro and Passion at CSC and Love and Sex at Lincoln Center, directed by Sam Gold. In the 2012-13 season, Jane was awarded the Henry Hewes Design Award for her work on The Flick at Playwrights Horizons, and nominated for a Lortel and a Drama Desk Award.
Jane is a company member of the Monica Bill Barnes Dance Company, who are currently working on three projects – Three Acts, Two Dancers, One Radio Host with Ira Glass; a new museum workout with illustrator Maira Kalman; and Happy Hour, a piece involving karaoke, cocktails and suits. Jane has an ongoing relationship with the Oregon Shakespeare Festival, and long standing collaborations with directors John Doyle, Sam Gold and Bill Rauch, among others, as well as with choreographer Doug Varone, with whom she was awarded a Bessie for light and dance. She maintains personal and professional connections with Dublin and London; and has been teaching about light and theater design to anyone who will listen at Princeton University since 2007.
Donyale Werle obtained her BFA in painting from the University of New Mexico and her MFA in set design from the Tisch School of the Arts at New York University. She has designed for multiple Broadway shows, including Bloody Bloody Andrew Jackson for which she received a 2011 Tony nomination. Her design for Peter and the Starcatcher won her the 2012 Tony award. She has also received 2011 Obie for Sustained Excellence of Set Design.
Werle’s designs focus on sustainability. She uses found objects, thrift shop finds, and many other materials she purchases second hand. She is the co-chair of the pre-post production committee for the Broadway Green Alliance. Her set design for the 2009 production of Broke-ology at the Lincoln Center featured a set built and decorated from products purchased at Habitat for Humanity’s ReStores.
Judith Dolan is the recipient of the Ruth Morley Design Award for 2014.
JUDITH DOLAN, costume designer, has designed internationally for numerous companies, including Dublin’s Abbey Theatre, Theatre Clwyd in Wales, The Acting Company, The Shakespeare Theatre, Goodman Theatre, the Irish Theatre Company, London’s Menier Chocolate Factory, Houston Grand Opera, New York City Opera, the National Theatre of Romania, and the Old Globe Theatre, among others. At Houston’s Alley Theatre, where she is currently Associate Artist, her work includes You Can’t Take It with You, The Seafarer, Harvey, The Lieutenant of Inishmore, Arsenic and Old Lace, The Glass Menagerie, A Midsummer Night’s Dream, Macbeth, As You Like It, and Theresa Rebeck’s new play, Fool. Dolan has collaborated with Harold Prince on many productions on and off Broadway including Candide (Tony Award),The Petrified Prince (Lucille Lortel Award) and LoveMusik, with music by Kurt Weill, as well as Parade and Hollywood Arms (by Carol Burnett and Carrie Hamilton). Other credits include Lewis and Clark Reach the Euphrates and Travesties, both directed by Gregory Boyd. She has an M.F.A. in Costume Design and a Ph.D. in Directing and Design from Stanford University. Dolan is a Professor in the Department of Theater and Dance at the University of California, San Diego.
Peggy Eisenhauer won the Ruth Morley Design Award in 2013.
Peggy Eisenhauer has been designing on Broadway for 24 years, and is known as the longtime design partner to Jules Fisher, a 28-year collaboration. She was selected as one of Variety’s 100 Women of Impact in Hollywood 2010, and is the recipient of two Tony awards and eight nominations (2013 “Lucky Guy”).
Ann Roth won the Ruth Morley Design Award in 2012.
Ann Roth won the Academy Award for Best Costume Design for The English Patient, and received the following Broadway nominations: 2011 Tony Award (The Book of Mormon), 1997 Drama Desk Award (Present Laughter), 1986 Tony Award (The House of Blue Leaves), 1985 Drama Desk Award (Design For Living), 1979 Tony Award (The Crucifer of Blood), 1976 Tony Award (The Royal Family), 1976 Drama Desk Award (The Royal Family), 1965 Tony Award for Best Producer of a Play (Slow Dance on the Killing Ground).
Christine Jones won the Ruth Morley Design Award in 2011.
Christine Jones won a Tony Award ® in 2010 for scene designs for American Idiot, a musical based on the punk rock band Green Day’s concept album of the same title. Previously she drew a Tony nomination for her designs for the ground-breaking musical Spring Awakening. Both shows were staged by Michael Mayer. Other outstanding Broadway credits include the scene designs for Everyday Rapture, also directed by Mayer and starring Sherie Renee Scott; and The Green Bird, directed by Julie Taymor, for which Ms. Jones received a Drama Desk nomination.
Off-Broadway career highlights include the designs for the musical Coraline; The Book of Longing, with music by Philip Glass, based on the poems of Leonard Cohen; Much Ado About Nothing for Shakespeare in the Park; Flesh and Blood, Nocturne, and First Love at New York Theatre Workshop; a revival of Lanford Wilson’s Burn This starring Ed Norton, Catherine Keener and Dallas Roberts at Signature Theatre; and People Be Heard for Playwrights Horizons. She has designed for numerous regional theatres and opera companies, including New York City Opera, Houston Grand Opera, the Minnesota Opera Company, and the Denver Opera Company.
She conceived and is artistic director of Theatre for One (www.theatreforone.com), which describes itself as “A portable performing arts space for one performer and one audience member, that turns public events into private acts, making each performance a singularly intimate exchange.”
Raised in Canada, Ms. Jones received an undergraduate degree from Montreal’s Concordia University. She holds an M.F.A. from New York University, where she is currently an adjunct faculty member at the Tisch School of the Arts.
Susan Hilferty has designed over 300 productions across the globe including the United States, the UK, Canada, Japan, Australia, Korea, New Zealand, Mexico, Canada, Malaysia, Spain, Brazil, Germany, and South Africa. Her many Broadway designs include Wicked (Tony, Outer Critics Circle, and Drama Desk awards and Olivier nomination), Hands on a Hardbody, Spring Awakening (Tony nomination) Lestat (Tony nomination), the 2013 revival of Annie, Into the Woods (Tony and Drama Desk nominations; Hewes Award) and Frank Wildhorn’s Wonderland. Her designs for opera include Rigoletto for the Metropolitan Opera and Manon at LA Opera and Berlin Staatsoper. Her designs for New York’s off-Broadway theatres are innumerable and include Richard Nelson’s Apple Family Plays, August Wilson’s Radio Golf and Jitney.
She works with such well-known directors as Athol Fugard (the South African writer with whom she works as set and costume designer and often as co-director on over 32 productions since 1980), JoAnne Akalaitis, Laurie Anderson, Arin Arbus, Christopher Ashley, Walter Bobbie, Anne Bogart, Gregory Boyd, Jonathan Butterell, Oskar Eustis, Robert Falls, Frank Galati, Garry Hynes, David Jones, Selina Cartmell, Moisés Kaufman, Tony Kushner, Mark Lamos, James Lapine, Michael Longhurst, Richard Nelson, Des McAnuff, Marion McClinton, James MacDonald, Emily Mann, Joe Mantello, Michael Mayer, Neil Pepe, Bart Sher, Rebecca Taichman, Robert Woodruff, Doug Wright, and the late Garland Wright.
Hilferty also designs for film, dance (Alvin Ailey), the circus (Ringling Bros. & Barnum and Bailey) and concerts (Taylor Swift SPEAK NOW World Tour). Hilferty’s many awards include an OBIE for Sustained Excellence in Design, the Lilly Award and the Ruth Morley Design Award from the League of Professional Theatre Women. In addition, she Chairs the Department of Design for Stage and Film at NYU’s Tisch School of the Arts.
Anna Louizos is a New York City based Scenic Designer who has received Tony Award nominations for her work on In The Heights (also Drama Desk nomination for Outstanding Scenic Design), High Fidelity, and The Mystery of Edwin Drood (also Drama Desk nomination for Outstanding Scenic Design).
Broadway Credits include: School of Rock: The Musical, Dames At Sea, It Shoulda Been You, Honeymoon In Vegas, Cinderella (also National Tour), The Performers, Irving Berlin’s White Christmas (Drama Desk nomination for Outstanding Scenic Design, also UK, Toronto, National Tours), Avenue Q (also London, Toronto, Europe, Las Vegas, National Tours), Curtains starring David Hyde Pierce and Debra Monk (Drama Desk nomination for Outstanding Scenic Design), Baby It’s You, All About Me starring Michael Feinstein and Dame Edna, Golda’s Balcony (also National Tour), Steel Magnolias, and To Be or Not To Be.
Off Broadway Credits include: The Substance of Fire; Just Jim Dale (also London Tour); The Tribute Artist; Sons of the Prophet (Roundabout); Olive and the Bitter Herbs, In Transit (both Primary Stages); Vanities: The Musical, Birdie Blue (both Second Stage); Crimes of the Heart, The Foreigner, Speech and Debate (all Roundabout); Based on a True Story (MTC); Altar Boyz (NWS); Jonathan Larson’s Tick, Tick…Boom! (Jane Street).
Regional Production Credits include: Deathtrap (Bucks County Playhouse); Fly, Arsenic and Old Lacestarring Betty Buckley and Tovah Feldshuh, Sarah Plain and Tall (all Dallas Theatre Center); Disney’s Aladdin(5th Avenue Theatre); Minsky’s (Ahmanson); Disney Live’s Winnie the Pooh (World Tour).
Art Direction Film and TV: “Sex and the City” (HBO). Feature Film: The Secret Lives of Dentists.
Jill BC Du Boff
Jill BC Du Boff is a sound designer for theatre, radio, television, film and special events. She has been working in audio since 1994, and has had the opportunity to work on and off-Broadway, for National Public Radio, on various popular television shows, and independent films. Throughout her career, her work has taken her all over America and has been heard all over the world, but she calls New York home. Since 2009 she has been the Sound Design professor at Sarah Lawrence College
Wendall K. Harrington
Wendall K. Harrington, called “the godmother of all projectors” by John Simon in New York Magazine, has been working in the field of projected media for live events since the mid 1970’s. Ms. Harrington has been lecturing on Projection Design for theatre since the early 1990s.
Broadway designs include: All The Way, Annie, Driving Miss Daisy, Grey Gardens, They’re Playing Our Song, The Elephant Man, My One and Only, The Heidi Chronicles, The Will Rogers Follies, Having Our Say, Company, Racing Demon, Ragtime, John Leguizamo’s Freak, The Capeman, Putting it Together, and The Who’s Tommy. Off Broadway work includes: Angels in America, Hapgood, A Christmas Carol at the Paramount;Merrily We Roll Along (four times!), and the ill-fated Whistle Down the Wind. Opera design: Werther at the Met, Julie Taymor’s The Magic Flute in Florence, Italy; A View from the Bridge at Chicago Lyric and the Met, Die Gezeichneten andLucia Di Lammermoore at LA Opera, The Photographer at BAM, Transatlantic, Grapes of Wrath, Rusalka for Minnesota Opera. For ballet: Pictures at an Exhibition, Opera,Cinderella; The Firebird, and Anna Karenina for Alexei Ratmansky; Othello for ABT, Ballet Mechanique for Doug Varone. Concert work includes The Talking Heads’ “Stop Making Sense” and Pete Townshend’s “Psychoderelict” as well as tours for Chris Rock and Simon and Garfunkel. As design director of Esquire magazine, Ms. Harrington was responsible for the re-design and re-launch of the “Men’s Magazine of the 90’s.” Later, as editor-at-large for Esquire, she conceived and edited Randy Shilts’ “My Life on the AIDS Tour,” nominated for a National Magazine Award and published in Best American Essays of 1990.
Ms. Harrington is the recipient of the Drama Desk Award, the Outer Critics Circle Award, the American Theatre Wing Award, the TCI Award for Technical Achievement, The Michael Merritt Award for Excellence in Design and Collaboration, the Obie Award for Sustained Excellence of Projections, USITT Education Award, and named 2015 Players Club Person of the Year.
Natasha Katz is a Lighting Designer who works extensively in the worlds of Broadway, Opera, and Ballet. She recently won the 2016 Tony Award for Best Lighting Design of a Play for her work on Long Day’s Journey Into Night. It was her sixth win, and 13th nomination.
Among her over 50 Broadway show credits include designs for School of Rock, An American in Paris(Tony Award), Gigi, Skylight, Aladdin, Motown, Once (Tony Award),Follies, Sister Act, Elf, Collected Stories, The Addams Family, Impressionism, Hedda Gabler, The Little Mermaid, The Coast of Utopia: Salvage (Tony Award), A Chorus Line (revival),25th Annual Spelling Bee, Tarzan, Aida (Tony Award), Sweet Smell of Success, Twelfth Night, Dance of Death, Beauty and the Beast, The Capeman, Gypsy. She has subsequently recreated her designs for many of these productions around the world.
She has lit such luminaries as Zachary Quinto, Jake Gyllenhaal, Mike Tyson, Jessica Lange, Helen Hunt, Mary Louise Parker, Christopher Plummer, Elaine Stritch, Cathy Rigby, Nathan Lane, Bernadette Peters, Claudette Colbert, Rex Harrison, and has designed concert acts for Shirley MacLaine, Ann-
Margret, and Tommy Tune.
In the world of Dance, Natasha is a frequent collaborator with choreographer Christopher Wheeldon, with projects including The Winter’s Tale, Alice’s Adventures in Wonderland, Cinderella, and Tryst, all at the Royal Opera House in London. Other collaborations with Mr. Wheeldon include Continuum (San Francisco Ballet), Carnival of the Animals and An American in Paris (New York City Ballet). Her other dance work includes American Ballet Theatre’s production of Don Quixote and productions with companies including San Francisco Ballet, Dutch National Ballet and National Ballet of Canada.
For the Opera stage, her credits include Die Soldaten for the New York City Opera, two productions of Norma for Joan Sutherland: the Opera Pacific in Costa Mesa, California, and the Michigan Opera Theatre in Detroit, Michigan, She has also worked with The Royal Opera on Cyrano de Bergerac , directed by Francesca Zambello.
Her film work includes Barrymore starring Christopher Plummer, and Mike Tyson: The Undisputed Truth. She has also lit the HBO Television specials Mambo Mouth and Side-
Her permanent audio-
visual shows include The Masquerade Village at the Rio Casino, Las Vegas, and Big Bang at the Hayden Planetarium in New York, and for Niketown in New York City. and London.
A New York City native, Natasha trained at Oberlin College, and early in her career was mentored by Roget Morgan.
Heidi Ettinger, under her married name Heidi Landesman, made theatrical history when she became the first woman ever awarded a Tony for her set design of the musical “Big River.” Her work for that show (for which she also received a Tony as co-producer and several other awards, including the Drama Desk and Outer Critcs Circle prizes) was followed by her third Tony as designer of “Secret Garden” and her fourth nomination for producer. In all, she has been nominated for seven Tonys, won an Obie for Sustained Excellence, and has a mantelful of other prizes and nominations.
Ms. Ettinger’s career on Broadway began with the design for the Pulitzer prize winning “‘Night Mother” by Marsha Norman and has continued without interruption (except for the birth of three sons) ever since. Among her favorite designs include the Michael Mayer production of “Triumph of Love,” the Jerry Zaks production of “Smokey Joe’s Cafe,” the folk artistry of “Tom Sawyer,” an enormous abstract elevator for Disney’s “Hunchback of Notre Dame” in Berlin, the calamitous but beautiful “Red Shoes,” and a number of productions at The 2nd Stage, The Public, and several residential theatres. She also served as co-producer for the Sondheim/Lapine hit “Into the Woods.” Most recently, she designed the set for the new opera by Stephen Schwartz (composer and lyricist of “Wicked”), “Seance on a Wet Afternoon,” based on the film of the same title, which will be produced in the spring of 2011 by The New York City Opera Company.
She is a graduate of Occidental College and received her Master’s degree from the Yale School of Drama, on whose Board she now sits as Advisor. She is also a member of the Boards of the Municipal Arts Society and The Hudson Valley Shakespeare Festival. Her work was recently featured in the “Curtain Call” exhibit at The Lincoln Center Library for the Performing Arts.
Carrie Robbins’ design work features 30+ Broadway shows, including Class Act, Grease (original), Agnes of God, Yentl, Octette Bridge Club , Sweet Bird of Youth (Bacall), Frankenstein, Happy End (Streep), Boys of Winter, Cyrano (Langella), & Shadow Box (Ruehl).
Her awards and nominations incl. 2012 recipient of the Irene Sharaff Lifetime Achievement Award presented by the Theatre Development Fund & the tdf/Costume Collection with the support of the Tobin Theatre Arts Fund. 2 Tony (Noms.), 5 Drama Desk, Maharam, USITT/Prague International, L.A. Dramalogue, Henry Hughes, F.I.T-Surface Design, & Audelco, among others.
Robbins’ costumes for the Irving Berlin musical White Christmas have played major cities in the USA, Broadway, & Great Britain. Her regional work includes M. Butterfly and On the Verge, for director Tazewell Thompson (Arena Stage) and the Gershwin musical American in Paris by Ken Ludwig for director Gregory Boyd (Alley Theatre, Houston) as well as The Tempest(Anthony Hopkins as Prospero) & Flea in Her Ear (director Tom Moore at Mark Taper Forum), many productions for the Guthrie (MN), Williamstown, and many others from Alaska to Buffalo.
Robbins is an MFA grad from the Yale School of Drama and was Master Teacher of Costume Design at the NYU Tisch School of the Arts for many years. She is extremely proud of the extraordinary number of award-winning, successful young costume designers and costume teachers across the country who came out of her classes.
Tharon Musser was an American lighting designer who worked on more than 150 Broadway productions. She was termed the “Dean of American Lighting Designers” and is considered one of the pioneers in her field.
Musser was best known for her work on the musicals A Chorus Line and Dreamgirls. A Chorus Line was the first production of Broadway to use a fully computerized lighting console instead of manually operated “piano boards”
Marjorie Bradley Kellogg
Scenic designer and writer Marjorie Bradley Kellogg is an Associate Professor of Theater at Colgate University. She lives in Franklin NY.
Most recently, she designed Passions for the Glimmerglass Festival in Cooperstown NY, and Othello at the Guthrie Theater in Minneapolis MN. In May 2014, she received the Robert L. B. Tobin Award for Sustained Excellence in Theatrical Design.
An updated version of her two-part novel, Lear’s Daughters, was published in 2009. She is the editor of The New Franklin Register.
California-born Willa Kim studied painting and illustration on scholarship at what is now called the California Institute of the Arts. After graduation she began working in studios and at the insistence of one of her instructors, began designing for the theatre. What has resulted is a most prolific career as a designer for dance, theatre, opera and television.
She was recently inducted into the Theatre Hall of Fame, making her one of only a handful of costume designers so honored.
Kim won Tony Awards for Tommy Tune’s The Will Rogers Follies and Duke Ellington’s Sophisticated Ladies starring Judith Jamison and Gregory Hines and Tony nominations for Bob Fosse’s Dancin’, Peter Allen’s Legs Diamond, Andrew Lloyd Weber’s Song and Dance and Goodtime Charley starring Joel Grey.
She has designed over 150 ballets including Jiří Kylián’s Dream Dances andNomads, Robert Joffrey’s Remembrancesand Gamelon, Glen Tetley’s Daphnis and Chloë and Sphinx, Margo Sappington’sRodin and Under the Sun, Michael Smuin’s Shinju, more than 50 works for Eliot Feld and ballets by Jack Cole, John Butler, Kenneth MacMillan and Erick Hawkins. Her designs for Michael Smuin’s ballets The Tempest and Song for Dead Warriors both received Emmy Awards.
Kim’s other credits include Jean Genet’s The Screens (Drama Desk, Maharam and New York Critics’ Poll Awards), Maria Irene Fornes’ Promenade (Drama Desk Award), Sam Shepard’s Operation Sidewinder (Drama Desk Award), the Robert Lowell trilogy The Old Glory (Obie Award), Woman Before a Glass, starring Mercedes Ruehl (Obie Award), the original Broadway production of Tom Stoppard’sJumpers, Victor/Victoria starring Julie Andrews, Jonathan Miller’s Long Day’s Journey Into Night starring Jack Lemmon, Edward Albee’s Malcolm, John Guare’s Four Baboons Adoring the Sun and Lydie Breeze, Tommy Tune’s Grease and Busker Alley, and the operas The Stag King, The Magic Flute, Rossignol, Help Help the Globolinks, Tosca and Turadot.
She is a recipient of the USITT Costume Award, the Patricia Zipprodt Award for Innovative Costume Design and the TDF Irene Sharaff Lifetime Achievement Award.
For American Ballet Theatre, Kim has designed the costumes for Dennis Nahat’s Brahms Quintet (1969) and Ontogeny (1971) (for which she also designed the scenery); Glen Tetley’s Contredances (1979) and Sphinx (1977); Sir Kenneth MacMillan’s The Wild Boy (1981) and Michael Smuin’s Peter and the Wolf (1992).
Jennifer Tipton is an internationally recognized lighting designer whose distinctive designs have redefined the relationship between lighting and performance. Tipton has been an important presence throughout her prolific career in dance, drama, and opera productions of all scales, and she is regarded as one of the most versatile designers working today. Best known for her work in dance, Tipton’s painterly lighting evokes mood and defines and sculpts movement. Preferring a small but powerful palette of colors, she pioneered the use of white light in theatre and dance. In Twyla Tharp’s In the Upper Room (1986) and Fait Accompli (1983), for instance, her strategic placement of white lights coupled with manufactured fog allowed dancers to enter and exit the performance space from upstage rather than the wings. They materialize, seemingly out of nowhere, only to disappear into a void, thereby reinforcing the progression of the dance as it advances and recedes, explodes and implodes. For both small theatre and Broadway productions, Tipton’s artistry interacts intimately with the work’s physical appearance and emotional resonance. Her subtle, shifting lighting for Eugene O’Neill’s A Moon for the Misbegotten (2005) gave visual support to the play’s delicate balance between vitality and deep sadness; in the final scene, the cleansing warmth of approaching dawn affirms the sense of peace and forgiveness finally achieved by the protagonists. As a committed teacher, Tipton has influenced a generation of lighting designers, and her dramatic imagination continues to push the visual boundaries of lighting design in new and exciting directions.
Jennifer Tipton received a B.A. (1958) from Cornell University. She has designed lighting for numerous dance performances for such companies as the New York City Ballet, the American Ballet Theatre, Twyla Tharp Dance, and the Paul Taylor Dance Company, and for theatrical productions at such venues as St. Ann’s Warehouse, the Public Theatre, and the Metropolitan Opera, among many others. Since 1994, she has served as an adjunct professor of lighting design at the Yale University School of Drama.
Jane Greenwood is a costume designer for the stage, television, film, opera, and dance. Born in Liverpool, England, she works both in England and the United States. She has been nominated for the Tony Award for costume design eighteen times.
Greenwood’s work includes designing for over 100 productions, The Ballad of the Sad Cafe (1963), her first Broadway play, to Hamlet with Richard Burton (1964), 70, Girls, 70 (1971), Romantic Comedy (1979), The Sisters Rosensweig (1993), and Stephen Sondheim’s Passion (1994).
In addition to her many Broadway credits, she has designed costumes for many productions for the Manhattan Theatre Club, recently Accent on Youth (2009), Lincoln Center Theater, recently Belle Epoque, 2005, and The Roundabout Theatre Company, Waiting for Godot (2009), A Month in the Country (1994–95), Outer Critics Circle Award nomination, and She Loves Me (1992–93).
In England, she was nominated for the Olivier Award for her costume designs for She Loves Me (1995).
Her television work includes several Public Television plays for “The American Playhouse”, made-for-television movies, such as In the Gloaming, HBO (1997) and the miniseries Kennedy (1983).
For opera, she has designed for the Metropolitan Opera House, such as Ariadne in 1987. For dance, she designed the original costumes for the Alvin Ailey dance Night Creature (1974).
She teaches at the Yale Drama School. Greenwood received the Theater Development Fund Irene Sharaff Award for Lifetime Achievement in 1998.
Greenwood has been awarded the 2014 Tony Award for Lifetime Achievement in the Theatre. The executive directors of the Broadway League and American Theater Wing said, in part “She has made a significant imprint on the history of Broadway with her artistry. Her work has not only elevated the craft of costume design but has inspired generations of designers to come.”