George Loomis, The New York Times Tue, 2012-10-16 01:00
Vicki Mortimer’s compartmentalized décor creatively sets most of the action in a single, dreary room for the Protector and Agnès; a forest is on one side and on the other, as well as above, are modern workrooms for the Angels. Jon Clark’s lighting is both effective generally and helps to demarcate the opera’s scenes.
