On "GUERRILLA" by El Conde de Torrefiel at Dublin Theater Festival(full article here)
One of the surtitles quotes: “When the art world starts taking the piss, there’s going to be a bloodbath.” While some may not enjoy becoming an object of their own gaze or drawing lines between contrasting and contradictory ideas, this reviewer appreciated the skilful manipulation of both cognitive and sensory attention by Guerrilla.
The Reviews Hub (full article here)
What's the worst that can happen?
Irish times. (full article here)
On "ETERNAL" by Daniel Fish at Ontological-Hysteric Theater:
This is an intellectual pleasure; more surprisingly, "Eternal" is emotionally resonant. The installation would fit neatly in a gallery, but the captive audience at the Incubator Arts Project is one of its essential materials. It matters that we sit for the duration (in uncomfortable chairs), and are made to watch, in real time, what these two performers go through and what they build.
The New York Times.
The surrounding have been stretchily confined in black latex—the walls glisten; we must enter through hanging flaps of shiny black plastic—and the S&M dungeon aesthetic can't be an accident. Torture is what we're here for, both our own and that of the actors. Experimental theater often plays with our masochistic impulses, playing odd tantric games in an effort to relocate our pleasure center.
Time Out New York.
On "OWNED" by Julian Sheppard at TBG Theater:
"Blanca Añón’s scenic design really creates and sets the tone for the entire play. A typical dive bar with a wall of dartboards, tacky neon signs, and a row of bar stools, the place could have been a little more worn in but the atmosphere it evoked was exactly right. And in a brilliant twist the audience is seated behind the bar, allowing everyone the opportunity to see into a rare and private world, reserved solely for bartenders. It’s as if we are being granted access to a behind the scenes locale, it feels almost vulnerable in a way, but a true sense of ownership can be seen watching the care in which these men tend to their bar. It doesn’t actually belong to them but watching the action from behind the bar makes you feel like it should."
New York Theater Review
"Through the set, designer Blanca Añón creates an atmosphere that is simple, realistic, and well utilized by the actors. Extensively using many of the props, the actors navigated the space so effectually and effortlessly I felt like a comfortable regular."
Woman Around Town
"A novel idea with Owned is how the set has the audience observing the scenes from the bartenders' point of view. The entire back of the bar is exposed to us with dishwasher, trash can, and everything else the audience does not normally get to see at a bar. That includes the refreshing ability to observe the actors’ entire bodies, rather than just waist up. Director Sam Helfrich and scenic designer Blanca Añón clearly communicated well during their collaboration on this production."
On "CINÉTICA" by Ana Cembrero Coca. 1st prize at Dance On Camera Festival NYC 2010:
"Blanca Añón, the set designer of CINETICA, one of the shorts nominated by the Jury for the Festival prize. The environments she created for this short directed by Ana Cembrero are extraordinary."
DFA Journal
On "DISQUIET" by Anna Brenner at The Living Theater:
"All of the players do justice to the material and move gracefully in the small space, resourcefully and cleverly laid out by Blanca Añón."
nytheater.com