Please click on individual show titles from the drop menu for production images and archival credits.

Elissa BernardThe Chronical Herald
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"Costume designer Sean Mulcahy succeeds in bringing classic characters to life with colour, texture and what must be millions of sequins on Lord Farquaad alone. The wood-patterned leotards on Pinnochio (Jeigh Madjus) and cookie cutter outfits of the conformist Duloc Greeters are especially nice." (Shrek, The Musical. Neptune Theatre)
Lin YoungMooney on Theatre
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"The women’s in particular really pop on stage, with their bright colours and varied shapes; I drooled particularly over the gown worn by Christopher Allen as the Courtesan, which looks gorgeous on his towering form." (The Comedy Of Errors, CanStage SiHP)
Dana EwachowMooney On Theatre
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"One of the most impressive aspects of the play was how it depicted the passage of time. The ageing of the characters was done really well. Set and costume designer Sean Mulcahy managed to slowly show the physical changes of several characters over a span of 25 years." (Driving Miss Daisy, HGJT)
Elissa BernardChronical Herald
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"The musical revs up higher for Supercalifragilisticexpialidocious with the Jamaican Mrs. Corry (Michelle E. White) in the park’s carnivalesque Conversation Shop with wild, bright costumes including a yellow tartan skirt, mauve tutu, Dr. Seuss-like head dresses and pink and green hair... Halifax actor Marty Burt as the tightly wound Mr. Banks, blind to how his desire for order is thwarting love within his family, is excellent in creating a pained human being inside the banker’s suit. Kirstin Howell as his actress-turned-society wife is a very sympathetic character, beautiful in her creamy Edwardian dresses and yearning for approval and affection. Visually, Mary Poppins is beautiful." (Mary Poppins, Neptune Theatre)
Greg BurliukThe Kingston Whig-Standard
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"The set and costume design by Sean Mulcahy is all brightness and light, almost cartoon-like, but so cheerful it puts a smile on your face even before the play starts." (SUDS! The Rcoking 1960's Musical, TIP)
Martin MorrowThe Star
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"In this staging, set in 19th-century Venice by director Matjash Mrozewski, the Dromios look like Italian variations on Charlie Chaplin’s Tramp. Costume designer Sean Mulcahy has kitted them out in lumpy brown suits and the kind of pointy fedora popularized by Chico Marx....Fulton's fiery Adriana and Badr, as a gentle Luciana who looks like she stepped out of a Renaissance Madonna painting, give the show more Italianate flavour than any prop gondola could do." (Comedy Of Errors, Canadian Stage)
Elissa Bernard
Elissa BernardThe Chronicle Herald
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Costume designer Sean Mulcahy, who did the costumes for Mary Poppins, decided to veer away from popular cartoon images. Instead of storybook colour pop, he went for grit and realism. Except for Little Red Riding Hood, the palette is browns and dirty whites with sumptuous, patterned fabrics for the rich folk. The Witch with her creepy extended fingers is feral in toxic greens and ratty clothing. (Into The Woods, Neptune Theatre)
Gregory BunkerCharlebois Post
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It is 1865, and the American Civil War has just ended. Confederate Caleb DeLeon (Brett Donahue) has returned home, injured, after four years of fighting. His home is dilapidated from war (fantastic set and costumes courtesy of Sean Mulcahy) and occupied only by Simon (Sterling Jarvis)—the former, long-time slave of Caleb’s father. (The Whipping Man, HGJT)