"King Xerxes is a Mafia boss, the sought-after Romilda a flapper and star of the club run by Xerxes’ brother Arsamene – a politician trying to distance himself from the mob. On an excellent set by Antje Ellermann, Einhorn manages to make all this lucid and hilarious." (Robert Croan, Pittsburgh Post-Gazette, February 20th, 2006)


The Tender Land

"You can only hope that Copland finally understood what an affecting, honest and musically elegant work this modest opera can be in a sensitive production, like the one that opened here on Thursday night at Bard College, part of the school’s SummerScape festival. […] The sets by Antje Ellermann and costumes by Michelle R. Phillips evoke the requisite Walker Evans images: the farmhouse with peeling paint; the field of golden wheat; the rickety fence; Laurie and her little sister, Beth, in gingham dresses; Ma Moss on the porch in her wicker rocker." (Anthony Tommasini, The New York Times, August 6th, 2005)

"The Tender Land, which tells of a farm girls rebellion against her tight- knit family, has felt anemic in prior revivals, but here, with a gorgeous set by Antje Ellermann, expert direction by Erica Schmidt, strong conducting by James Bagwell, and piercing lead performances by Anne Jennifer Nash, Vale Rideout, and the radiant Jennifer Dudley, it felt like a major work on an intimate scale." (Alex Ross, The New Yorker, August 1st, 2005)


Nine Parts of Desire

"Antje Ellermann’s set is a marvel of efficiency and almost a sculpture in and of itself." (Steven Oxman, Los Angeles Times, September 16th, 2005)

"Antje Ellermann strikes me as the most interesting young set designer now working in New York. Here she uses such elements as tiled floors, stone walls, plastic curtains, worklights and a small stream of water to create a war-damaged Iraqi building onstage." (David Barbour, Lighting & Sound America, October 11th, 2004)

"Antje Ellermann’s stunningly realistic scenic design instantly transports. We are able to visually connect to the destruction of this country. Destroyed buildings, mounds of garbage, and a dirty river that runs across the stage keep us firmly grounded in this fractured environment. There is a palpable sense of danger throughout." (Robbie Wachs,, March 26th, 2006)

"Antje Ellermann deserves recognition for her striking set design that juxtaposes opulent, turquoise marble against sandbags and rubble. The close proximity of wealth and turmoil reflects Raffo’s belief that the struggle for survival unites these incredibly different women." (Robert Bergin, The Daily Californian, January 30th, 2006)

"Often [in solo shows] we have just the performer and a near-blank stage. But in Nine Parts of Desire, the lighting, sound and sets are just as important – and effective – as Raffo’s stories. Together they weave a seamless whole that is evocative and subtly beautiful." (Jenny Sandman, CurtainUp, October 7th, 2004)

"Antje Ellermann’s set is fantastic – suggestive of a beauty rudely interrupted by stray bombs. Layer upon layer of an ancient city crisscross the stage, separated by little rivers, fallen walls, and sandbags. It is the perfect background for Raffo to perform on." (Kelly McAllister,, October 4th, 2004)


The Belle of Amherst

"Antje Ellermann’s spare yet tellingly detailed set, with its glimpse of the yard outside the cottage, is particularly praiseworthy." (Elyse Sommer, CurtainUp, October 27th, 2004)

"Antje Ellermann’s detailed sets transform the stage into a dusty village home. The props – from a rolled out fabric bed, smoking pipe, straw broom, cooking and tea supplies – support the ethnographical context with their authentic simplicity and fold seamlessly into the gripping action." (Gabrielle Mitchell-Marell,, November 9th, 2004)



"The lively and natural rhythms of a kitchen (the excellent set is by Antje Ellermann) under the control of a lovingly stern chef give this opening an affability and credible ease…" (Bruce Weber, The New York Times, November 25th, 2003)

"Antje Ellermann’s set is so convincing that you are tempted to sneak onto the stage and taste the food, which Guevara cooks while acting." (The New Yorker, December 1st, 2003)

"The color signature of Michael John Garces’ bright and lively production is yellow – the sun-warmed shade of yellow that set designer Antje Ellermann has splashed on the walls of the big, open, airy kitchen in the Havana mansion where Gladys the cook (Zabryna Guevara) is performing culinary miracles for a New Years party in 1958." (Marilyn Stasio,, November 20th, 2003)