“The show also boasts a vivid set that persuasively evokes New York’s culturally vibrant Washington Heights neighborhood. So much so that theatergoers might be tempted to step onstage and check out the view.

It’s the creation of scenic designer Anna Louizos, who also worked on the show’s off-Broadway (2007) and Broadway (2008) productions. And not unlike the set — complete with representations of a bodega and the George Washington Bridge — that earned her Drama Desk and Tony award nominations.”

“Anna Louizos’s painted sets perfectly capture the flashy world of old Broadway”

“So, as the expression goes in all murder mysteries, “Whodunnit?”
The answer: scenic designer Anna Louizos.
But I don’t mean “Whodunnit?” in the negative sense – as in “Who did the crime?” No, in the case of CLUE ON STAGE at the Bucks County Playhouse in New Hope, Pennsylvania, Anna Louizos has dunnit — the finest job of everyone involved.”

“It’s Richard Brinsley Sheridan’s always deliciously nasty 1777 The School for Scandal as directed pretty much flawlessly by Marc Vietor with a helpful period set by Anna Louizos.”

“Design elements are first-rate, from Natasha Katz’s lighting, which detonates into full-tilt rock-stadium mode at appropriate moments, to Anna Louizos’ clever sets, with their amusing details and fluid reconfigurations. Louizos’ costumes are also fun, in particular the tricked-out school uniforms the kids wear for the climactic Battle (with Dewey channeling Angus Young from AC/DC in his own schoolboy-wear); and there’s a fabulous sight gag involving Lawrence in full glam-rock drag, courtesy of self-appointed stylist Billy (Luca Padovan, a treasure).”

“Anna Louizos’ marvelous scenic design straddles the rarified world of the school and high-tech world of pop music, and her costume designs burst with wit. Her ensembles for the kids’ folks tell audiences everything they need to know about these adults and the transformation that the school uniforms undergo is side-splitting.”

“Bright lights go up on a staging area in the elegant hotel where the lavish Steinberg/Howard wedding will be held that afternoon. It will serve as the bedrooms of members of the wedding party, along with the beauty salon, various service areas and the ladies room where the bride tries to hide when she gets cold feet. Anna Louizos’ two-tiered stage is designed for farce, providing plenty of doors to slam, closets to jump out of, and toilet stalls to throw up in, once the wedding preparations become complicated. A smartly staged opening number introduces the hackneyed characters and the super character actors who almost convince us that they’re fresh and funny.”

“Anna Louizos’s perky sliding sets miraculously keep pace with the speeding story line, which winds up deploying singing ancestral Hawaiian statues and an airborne squad of Elvis impersonators...As you may have inferred, “Honeymoon” doesn’t have a serious thought in its head. It is very serious, however, about creating a well-assembled entertainment in which every improbable element seems to spring from the same, dementedly logical sensibility. And that point of view is not one of snarky condescension toward the town of its title, but of amused professional respect.”

“In a typical off-Broadway experience, the theatre is a bit black box meets Broadway theatre house. This is an especially fitting aesthetic for a production of Avenue Q, as it helps the audience figuratively enter a ramshackle street in the “outer borough of New York City.” The set itself initially comes across as underwhelming (think high-budget high school), but it holds a world of surprise and soon sets itself apart as an outstanding component that trumps many the Broadway or West End production. Anna Louizos and her team have done a stellar job of building a versatile, interactive set that engages and wows the house night after night.”

“Anna Louizos production designs as opulent as an MGM Technicolor movie. From the village market with pigs, produce and pastries to the masked ball at the palace, the visual splendor never pales. The trees move, the scenery moves, the chandeliers move. They must have spent days on technical rehearsals.”

“the set itself drew me in. The design was functional and believable. As the lights dimmed I was in the forest. The lighting was amazing and the subtle changes helped advance the story and create the correct mood for each and every scene.”

“What does work for everybody is the eye candy of Anna Louizos’ oversize sets, which nicely fill the Broadway Theatre’s vast stage.”

“It’s a beautiful, lavish production, with gorgeous Art Nouveau inspired sets by Anna Louizos and costumes by William Ivey Long.The costumes alone are a reason to go: a candy hued confection of bright colors is onstage just for you. And the split second transition of poor Cinderella to ballroom Cinderella has to be seen to be believed. Everyone, kids and adults alike, gasped at this magician’s trick- it’s pretty darn wonderful. And the pumpkin coach and puppet horses? Gorgeous, gorgeous, gorgeous, and oh so cleverly done on a huge revolving setpiece.”

“Scenic design by Anna Louizos brings this fairytale world to life with forests, ballrooms and a pumpkin that miraculously turns into a horse-drawn carriage. Louizos carries her set with a youthful aesthetic, adding components that young viewers may enjoy, such as friendly raccoon and fox puppets that pop out of trees and white horses covered in Christmas lights that spin around the stage.”

“The sharp scenic design by Anna Louizos presents a multi-level set that’s believable as an upper-middle class home. The set works just as well in the beginning of the play, when the characters are happy and comfortable, as it does later, when financial troubles cause the Hodges to scale down their lifestyle.”

“Anna Louizos’ pine green townhouse parlor, where the action is centered, has the scent of old money, with its chandelier, liquor tray and lush daybed. Gregory Gale’s colorful caftans would do Diane von Furstenberg proud.”

“Every good farce needs an equally good set and Anna Louizos does not disappoint, providing a scrumptious well-appointed townhouse drawing room replete with wedding cake ceiling molding, seamless sliding doors, and a rock-solid period staircase.”

“Scenic designer Anna Louizos does wonders with bamboo to create both the island and the Lost Boy’s hideout. The pirate ship looks like it is ready to sink at any moment, like it’s been on one too many Deadliest Catch missions and magically appears and vanishes like the Flying Dutchman.”

“Studio 54 has been persuasively refashioned into a facsimile of a 19th-century English music hall by the set designer Anna Louizos, whose beautifully rendered flats sweep us from a convivial dining room to a cathedral graveyard to a steam-swathed train station.”

“Anna Louizos’s fantastically elaborate sets are perfect—the onstage train actually got applause on the night I saw the show.”

“The real star is Anna Louizos’ magnificent set, a rotating behemoth of Addams Family formidability that is practically its own character. That makes three grandes dames who deserve a bow.”

“Anna Louizos’ set design deserves special mention, not just for its visual impact but also for the smoothness and speed of the often major changes.”

“The visuals, too, are wonderful, starting with Anna Louizos’s stellar scenic design: Its renderings of everything from a World War II army camp and a Vermont inn to The Ed Sullivan Show and a swank New York nightclub reflect a go-for-broke extravagance absent even in today’s biggest musicals. (The finale landscape, fluttering snow included, is gorgeous enough, but an Impressionistic Manhattan skyline in an earlier scene is almost as gaspworthy.) ”

“The most compelling movement onstage is achieved by Anna Louizos’s set, which seamlessly and wittily shifts among Rob’s bedroom, record store and street and club scenes.”

“The physical production is first-class. Anna Louizos provides sumptuous turntable sets that bring the audience right into the heart of a town in Provence. I have rarely seen such a handsome and inventive use of stage space. ”