"Set Designer Ryan McGettigan won me at the get-go. The front curtain was painted to resemble a giant Japanese woodblock print depicting a luscious fox from ear-tips to tail on a charcoal-gray wood-grained background. The single set was dominated by a giant abstract tree, shaped with great curved branches of laminated wood and a semi-hidden ladder in its branches, where it became a perch for the Owl. The tree’s curves were repeated by rolling wood forms that served as a badger’s den, a swell slide, a resting hammock, and little underground warrens." - Susan Galbraith, DC Theatre Scene

"In addition to the laughs, Glimmerglass’s production doesn’t stint on nostalgia. With “Vixen,” Janacek crafted a palindromic story, which begins and ends with creatures blithely convening in the woods." - Joel Rozen, New York Times

"Ryan McGettigan’s set, centered on a tree made of bark strips, nicely melded the human and animal worlds" - Heidi Waleson, Wall Street Journal

"Set designer Ryan McGettigan created a central tree from gleaming scraps of wood, its roots extending into curls and slopes to suggest various nests and warrens. High in the tree an owl perched, while porches and porticos suggested the Forester’s house and a local tavern. ... Moments of repose were beautifully set against McGettigan’s magical watercolor-inspired forest and Mark McCullough’s hauntingly beautiful lighting scheme of glowing browns and greens." - Judith Malafrontev, OperaNews

"Choreography by Eric Sean Fogel is admirably resourceful in defining the organic plasticity of the forest, as are set designs by Ryan McGettigan, costume designs by Erik Teague, and lighting designs by Mark McCullough." - Charles Geyer, La Scenca Musicale

"It can tempt directors and designers into cutesiness, but E. Loren Meeker and set designer Ryan McGettigan crafted something organic-seeming, largely autumnal rather than vernal visually — and, in a sense, emotionally." - David Shengold, Gay City News

Karli Cadel - Photography