"...Ann Marie Gordon, Ghost From a Perfect Place/ St. Enid and the Black Hand/Pageant..."
"...Rarely have I seen a group of performers so committed to a director's vision, their material, and one another. Often productions are judged on the way they look rather than what's happening on the stage, and should you attend, you won't see a brilliant set, although Ann Marie Gordon's oversized postcards, side stages, and high-quality slides set the scenes more than adequately..."
"...At the table are Lisa Byrd, production director for Ballet Austin; Ann Marie Gordon, set designer known for her work with the Vortex and other avant-garde theatre houses; Karen Maness, UT Performing Arts Center resident scenic artist and adjunct professor; Jennifer Rogers, co-owner of Light Bastard Amber, a freelance Austin lighting design company; Leilah Stewart, who designs sets for St. Edward's University as well as virtually every small theatre company in Austin; and Susan Tsu, nationally known costume designer and, until recently, longtime head of the Costume Design program in the UT Department of Theatre & Dance..."
"...The names on the Sleeping Beauty production team are familiar: Content Love Knowles, co-writer, composer, musical director, performer; Ann Marie Gordon, scenic designer; Jason Amato, lighting designer; Kari Perkins, costume designer. They've established the look, the sound, the rhythm, the feel of many a Vortex production..."
"...Now that nearly 80 years have passed since its debut, The Children's Hour is alive and well, having received a West End revival starring Keira Knightley and Elisabeth Moss just last year. Though Hellman's pages have yellowed a bit during the intervening years of social change, I was thrilled to find Ann Marie Gordon's fantastic set not a bit dusty as it played its preshow performance..."
"...Ann Marie Gordon, Moby Dick/The Music of Erica Zann/The Scarlet Letter..."
"...At some points, I felt I was being treated like a child who couldn't be trusted to get all the jokes. Ann Marie Gordon's set, though attractive and pleasantly complemented by Patrick Anthony's dramatic lighting and Ann Ford's period costumes, restricts the City Theatre's already small stage, leaving a no-man's-land at center..."
"...CELEBRATE 15 YEARS OF WORD OF MOUTH WOMEN'S THEATRE with a special art-packed anniversary party! In honor of a decade and a half of producing theatre from the female perspective, much of it created and written locally, and to mark the opening of their upcoming production, Journey, the Word of Mouth Women are hosting a three-hour extravaganza. The celebration begins at 7pm with an art show featuring work by Pilar Castrejon, Ann Marie Gordon, Pam Jarvis, Shamaan Ochaum, and Colleen Sommers, to be followed at 8pm by music from Diana Jones and Carye McGarity..."
"...The lead actress and actor prizes were given to Jennifer Underwood and Jacques Colimon, respectively; Cara Canary received the outstanding young actress award; and the entire cast was honored for its work as well. The show's designers weren't ignored either, with awards going to Ann Marie Gordon for her set, Patrick Anthony for his lighting, Helen Parish for her props, and David DeMaris for his sound...."
"...This passion project of Vortex Associate Artistic Director Heather Barfield, devised by the ensemble and directed by Barfield, weaves events of the recent past involving surveillance, security, and other Patriot Act-y nonsense loosely into Aeschylus' Prometheus Bound. Mythological fire-stealing, human-protecting Prometheus and whistle-blower Edward Snowden are combined, played with a quiet passion and strength by Trey Deason, who spends the majority of the play in chains, mounted on a large box enclosed by glass (just one part of Ann Marie Gordon's simple yet menacing set), with only a keyboard and dial-up Internet access to accompany him on his quest for freedom of knowledge..."
"...On the set designed by Ann Marie Gordon, a hearth dominates the back of the raked stage, the tree roots that entwine it reinforcing its mythic connotation. From this hearth, the son, Steve, repeatedly emerges, almost as if from a place of birth..."
"...Conceived and directed by Vortex Producing Artistic Director Bonnie Cullum and written by Cullum, Sarah Saltwick, Lorella Loftus, Teresa Cruz, and the ensemble, Performance Park itself is an exceptionally lofty undertaking. Scenic design by Ann Marie Gordon and Griffon Ramsey transforms the entire property, with lighting by Patrick Anthony, sound and video engineering by David DeMaris, choreography by Toni Bravo, costumes by Pam Fletcher Friday, and original music by Chad Salvata, Tyler Mabry, DeMaris, and Sergio R..."
"...Much of the production team consists of longtime members of the Vortex family. Ann Marie Gordon and Griffon Ramsey are designing the sets; Patrick Anthony is doing the lighting; Pam Fletcher Friday is designing the costumes..."
"...The ensemble cast is rock solid, with standout performances by Chelsea Manasseri as Berenice Sadie Brown and Jago Mystiek as John Henry West. Ann Marie Gordon's Southern-fried set design comes complete with a screen door, and Benjamin Taylor Ridgway's costumes are pitch-perfect 1940s Americana...."
"...If Ann Marie Gordon's set design is the show's body, Jason Amato's lighting is the circulatory system. A giant dragon's wing dominates most of the stage, housing a suggested mirror nearly large enough to hold the Countess' vanity..."
"...Individually, each performer is great to watch, but together they've committed to a shared physical language that Storm Still needs. Ann Marie Gordon has designed a great set for the Vortex's outdoor stage, where light and sound from the bar and food trailer inevitably bleed over..."
"...From beginning to end, A Perfect Robot is a perfect production. Ann Marie Gordon's sleek, spartan set gives way to captivating projections courtesy of video designer Eliot Gray Fisher, and David DeMaris' sound design adds layers of high-tech cacophony to the mix..."
"...Ann Marie Gordon's set design is realistic and appealing. It conveys the confines of a fixed-rent Manhattan apartment well..."
"...The design elements mostly hit the mark, with Lowell Bartholomee's video projections casting slick, sharp exteriors on a window/scrim to the rear of Ann Marie Gordon's creative and functional set, which includes hidden panels for the creepiest of entrances. Complementing the set is an appropriately spooky, shadowy lighting design by Patrick Anthony..."
"...Pythia Dust, ethos/Vortex Repertory Company (2004). From the Chronicle review: "The retro mood is further enhanced by the electronic patter of computer guidance system Cosmetica – think a sultrier HAL 9000 – and by Jason Amato's glorious candy-colored concert lights, twisting and twirling pop art patterns across Ann Marie Gordon's crystal-columned starship bridge stage (which appears to be a nod to the Fortress of Solitude in the Christopher Reeve Superman movies)." – Robert Faires..."