From Peers:

"I was knocked out by the visuals."
- Stephen Sondheim

"The interplay of musical and visual arts can be a fascinating experience for audiences, but it takes somebody of the talent of Anne Patterson to do it in a way that is enriching, yet sensitive and respectful of both art forms. She has a clear sense of the practical issues involved in bringing design into the concert hall."
- Simon Woods, Executive Director, Seattle Symphony

"Anne Patterson's creativity in creating an environment for live performance is extraordinary. Her perceptive translation of the music into visual elements transforms the concert experience."
- Robert Spano

"Anne Patterson achieves an elegance of visual imagery in her designs for orchestral music. It is always clear that her work emerges from a deep sensitivity and understanding of the music and respect for the artists involved in the presentations and for BAM as an institution."
- Joseph V. Melillo, Executive Producer, Brooklyn Academy of Music

From The Press:

"The set by Anne Patterson featuring a sand floor, vintage chairs for the audience, an abstract bridge, projections and a pool of water is so apt in its sleek, contemporary design and meditative atmosphere, it could almost make for a fascinating art installation independent of the play being performed there."
Native Guard, Alliance Theatre, Atlanta

"Upon entering the space, audience members are given a hang-tag with the word "Remember" printed at the top. During the intermission, the audience is invited to walk onto the set and pin their remembrance (a name, a moment, and idea) on the floor to ceiling canvas wall that is also used as a massive screen for the stunning video projection created by Adam Larsen. The simple set evokes the sandy Mississippi beach where so many of Trethewey's poems reside. A simple bench, boardwalk, a pebble-filled pool of water and rocks that appear to have washed-up on the stage become crucial way-markers as the poems are brought to life. Anne Patterson's set is like good poetry - less is more. As the sand sifts beneath your feat as you find a seat, you can't help but be transported to the Gulf Coast."
Atlanta INtown
Native Guard, Alliance Theatre, Atlanta

"Director Patterson's designs were enormously effective... the performance had most of the sold-out crowd on their feet and cheering."
Bay Area Reporter
Le Martyre de St. Sebastien, San Francisco Symphony

"Patterson's visual additions were at once properly subdued and brilliant, elevating music and text into a complete and enveloping sensory experience."
Atlanta Journal Constitution
St. John Passion, Atlanta Symphony

"Anne Patterson's radiant costumes and her lustrous set cast a bright glow on a fine production."
The New Yorker
As You Like It, Harold Clurman Theater, NYC

"The tricky transitions ... flow deftly on set designer Anne Patterson's multiple platforms."
Washington Post
Cabaret, Arena Stage

"Anne Patterson's costuming is both apt and blithe..."
Back Stage
Much Ado About Nothing, Harold Clurman Theater, NYC

"Anne Patterson's set... was an ingenious solution to the Wheeler Opera House's notoriously small and difficult stage."
The Denver Post
La Boheme, Aspen Music Festival

"The Atlanta Symphony Orchestra moved into uncharted terrain by adding an inescapable visual component... It's a fascinating experiment to behold, worth experiencing."
The Atlanta Journal-Constitution
A Midsummer Night's Dream, Atlanta Symphony