"Cameron Anderson's intriguing designs for the show add a touch of mannerist distortion to an essentially realistic approach. Her chief symbols are cages and picture frames: images of confinement suggesting that each of our main characters -- Maria; her father, Don Ruiz, and her husband-to-be, Don Pedro -- is trapped by conflicting desires."
~ Minneapolis Startribune
"Add Cameron Anderson's eye-catching scenic design -- a visual riff on William Morris and the English Arts and Crafts Movement -- and Michael McAleer's lavish costumes evoking the foppish society, and you have the makings of an enchanting production."
~ The New York Times
"In its opening scenes, "Heddatron," which runs through Feb. 25 and is directed by Mr. Timbers, appears to be an easy if enthusiastic amalgam of these previous works, albeit with enriched production values. (The artful sets and lighting are by Cameron Anderson and Tyler Micholeau, respectively; Jake Pinholster is the video designer.)"
~ Ben Brantley of The New York Times
"Scribe Elizabeth Meriwether ("Nicky Goes Goth") and helmer Alex Timbers, who directs all work done by Les Freres Corbusier, artfully communicate the fun they had in deconstructing Ibsen's seminal 1890 drama and applying their modern sensibility to it. Working on a garishly lighted (by Tyler Micoleau) stage that designer Cameron Anderson has carved up into domestic settings of surreal contempo ugliness, creatives assign principal roles, plot elements and Ibsen's own backstory to modern-day characters (human and humanoid) for zany enactment and comment."
~ Variety
"Just as soon as you catch your breath from one bit, the next is there for you to savor. A very fashionable-yet-functional set by Cameron Anderson allows for the explosions from one world to the next and back again."
~ New York Theater.com
"The complex set by Cameron Anderson is pretty impressive for such an intimate space."
~ Broadway.com
"The look of Underground is handsome, with video projections across the set designed by Cameron Anderson, smoky lighting by Jane Cox and ready-for-action street wear designed by Heather McArdle. The piece is expertly put together. But the greatest interest of the piece is the strange sense that it offers, perhaps intentionally, a view into the mind-set of young Middle Eastern terrorists today."
~ New York Times
"The luxurious drapery that designer Cameron Anderson uses to cover the back wall for Martha Mitchell's apartment stays up, minus the pink-and-gilt furniture, as a backdrop for this piece as well. At first, like the black evening gown and diamonds that Noel wears, it seems incongruous for Penny's tales of missing arms and screaming burn victims. But ultimately the incongruity works, and not just because Daniel Kotlowitz's skillful lighting transforms Martha's meringue-like curtain to Penny's creeping jungles and muddy rivers. It works because this is a civilized woman, talking to other civilized people in a civilized place, about the completely barbaric and appalling acts that civilized people can commit."
~ Boston Globe
"Cameron Anderson's stunning scenic design is among the best of local work this year: two weathered porches, the beach (with real sand) with the backdrop of a tall painting of a wing to represent the title's mythical dreamer and a staircase ascending to the sky."
~ Star-Telegram
"Josh Epstein's stylish lighting nicely complements Cameron Anderson's fluid set, dominated by three rotating walls and a huge screen that provides a cinematic background, complete with images of subways, high-rise buildings and taxi cabs."
~ New York Times
"The opera opens in the scullery of Don Magnifico's mansion, and set designer Cameron Anderson immediately topped that with her exquisite Don Ramiro's library set, its ceremonious quality as a place of solitude overrun by the deranged highlighted by D.M. Wood's lighting design."
~ New York Examiner
"Director Kevin Newbury's new production and Cameron Anderson's striking sets, have deftly and spiritedly plunked the composer's 19th-century version of Perrault's 17th-century fairy tale 'Cinderella' into the era of the Great Depression and bathtub gin. The concept works surprisingly well."
~ The Ithica Journal
"Scenic designer Cameron Anderson's minimal, whimsical sets — especially the surreal, representative forest in the final act — were beautifully illuminated and alternatively shadowed by David Martin Jacques' subtle lighting design."
~ The Denver Post
"Adding hugely to the production's success is the simple, movable walled set of Cameron Anderson and the sensitive lighting scheme of David Martin Jacques. And a wave of the switchblade goes to Andy Moss, who created those gritty, grueling fight scenes."
~ Rocky Mountain News
"A cleverly tilted stage, designed by Cameron Anderson, puts the audience at the feet of Screwtape in his gray, foggy office, and traps them there in hell with him for the entire play."
~ The Star Ledger
"The duo's office bivouacs on a narrow, receding platform, suspended in blackness. Behind a cluttered desk and comfy armchair, a ladder with a curiously serpentine shape — as if half melted by hellfire — stretches upward. Smoke eddies in sinister fashion around this surreal workspace, and at one point, the lurid lighting reveals that the seemingly black backdrop is, in fact, studded with skulls. (Cameron Anderson is scenic designer and Tyler Micoleau the lighting designer.)"
~ The Washington Post
"Toadpipe's postal method is dandy — a variation on e-mail that involves fireballs shot through a pneumatic tube. It's one of the fiendish delights of Cameron Anderson's set, a cozy study with two ladders (one leading heavenward and the other down below) all raked at a sinister angle."
~ The Washington Times