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Performer Match: Lou Ann Barton

1-20 of 99 results for Ann Marie Gordon

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Hello Muddah, Hello Fadduh!
The Jewish Community Association of Austin production of 'Hello Muddah, Hello Fadduh!' is that rare revue where you actually care about the characters and what happens to them
Arts Review  February 17, 2006, by Barry Pineo
"...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..."

Applause! Applause!
Austin Critics Table nominations, 2004-2005
Arts Story  May 27, 2005, by Robert Faires
"...Ann Marie Gordon, Ghost From a Perfect Place/ St. Enid and the Black Hand/Pageant..."

Sisters Under the Scrim
Six of the finest theatrical artists in Austin discuss their work behind the curtain designing lighting schemes, mixing sound, and creating and constructing sets and costumes and how their careers have been affected by the fact that they're women.
Arts Story  September 12, 2003, by Molly Beth Brenner
"...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..."

Working Beauty
In spinning a fairy tale of gifts, outsiders, and thorns, Bonnie Cullum's own story gets told
Arts Story  March 11, 2005, by Robert Faires
"...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..."

The Children's Hour
Design takes center stage in Different Stages' revival of Lillian Hellman's drama
Arts Review  January 13, 2012, by Adam Roberts
"...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..."

Austin Critics Table Nominations, 2002-2003
The full list of nominations for the 2002-2003 Austin Critics Table Awards, recognizing outstanding achievements in local theatre, dance, classical music, and visual art
Arts Story  May 9, 2003, by Robert Faires
"...Ann Marie Gordon, Moby Dick/The Music of Erica Zann/The Scarlet Letter..."

Quills
Different Stages doesn't light up the dark corners of this gothic comedy about the Marquis de Sade
Arts Review  January 11, 2013, by Jillian Owens
"...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..."

Calendar Listings
  June 9, 1995
"...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..."

Pleasure of the Paynes 2016
Annual theatre awards think Terminus is the living end
DAILY Arts  October 27, 2016
"...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...."

The Vortex's Privacy Settings: A Promethean Tale
Ancient myth meets modern surveillance memorably in this devised work at the Vortex
Arts Review  June 9, 2016, by Shanon Weaver
"...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..."

St. Enid and the Black Hand
In Vortex Repertory Company's mesmerizing St. Enid and the Black Hand,' an archetypal family enacts a fairy tale with many-layered meanings
Arts Review  January 28, 2005, by Jacqueline May
"...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..."

The Vortex's Vampyress
Chad Salvata’s gothic opera is the perfect treat for the season of ghouls, sensual and spooky
Arts Review  October 12, 2017, by Shanon Weaver
"...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..."

Vortex Repertory Company's Storm Still
Gabrielle Reisman's script refashions King Lear into the daughters' story, and the Vortex stages it with admirable heart
Arts Review  September 14, 2017, by Elizabeth Cobbe
"...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..."

Vortex Repertory’s A Perfect Robot
Sarah Saltwick’s timely script elegantly explores the tension between idealized automatons and messy humans
Arts Review  January 26, 2017, by T. Lynn Mikeska
"...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..."

Different Stages' 4000 Miles
The grandmother in the tiny Manhattan flat is the heart of the quiet, thoughtful 4000 Miles by Amy Herzog
Arts Review  March 24, 2016, by Elizabeth Cobbe
"...Ann Marie Gordon's set design is realistic and appealing. It conveys the confines of a fixed-rent Manhattan apartment well..."

Different Stages' Dracula
Despite atmospheric design work and some strong acting, the production never quite realizes the sensuality and lyrical ferocity in Steven Dietz's script
Arts Review  December 3, 2015, by Shanon Weaver
"...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..."

The Grand Designs of Ia Ensterä and Jason Amato
PHOTO GALLERY  July 17, 2015
"...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..."

When the Rain Stops Falling
Strong writing and a robust cast make Different Stages' production stay with you
Arts Review  July 9, 2015, by Adam Roberts
"...Staging by Blumensaadt and assistant director Carol Ginn is simple and effective, allowing the text to breathe and strong cast the girth to plumb its depths. Similarly streamlined is Ann Marie Gordon's set, which smartly provides everything needed to support the story while steering clear of any intrusion..."

Pythia Dust
The Vortex's star-spanning musical is out of this world, but it doesn't really go anywhere
Arts Review  March 5, 2015, by Elissa Russell
"...Welcome aboard the Pythia Dust, the intergalactic space vessel that zips from planet to planet under the command of three inviting hypernauts: Captain Aranzia, navigator Sintela, and science officer Hypernica. Ann Marie Gordon's scenic design is composed of various gizmos that look at once futuristic and retro..."

Changelings
The Vortex's staging of Reina Hardy's magical new play, Changelings, casts a uniquely compelling spell
Arts Review  January 22, 2015, by Elissa Russell
"...Overall, the entire production is visually arresting. Ann Marie Gordon's scenic design, which looks as though it were ripped out of a pop-up book, lends the perfect fairy-tale feel to the experience and is complemented by Patrick Anthony's dreamlike lighting..."

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