"Emerging from behind giant, wrought-iron gates (the piece de resistance of Susan Zeeman Rogers's stunning set) that signify the social barriers that keep Lily from the life she longs to lead, the performers..."

"Innocents is full of magical moments, in which the deft deployment of the small highly versatile cast, the simple but suggestive set and the effective use of original chamber music combine to create stunning images.    Wrought-iron gates serve as both a deconstructed proscenium and a sort of gilded cage."

"Director Rachel Dickstein, in collaboration with scenic designer Susan Zeeman Rogers, create the most interesting visual metaphor for Innocents, the theater-dance adaptation of Edith Wharton's The House of Mirth currently running at the Ohio Theater.    Interspersed throughout the cavernous theater space are gigantic wrought iron gates.  As the play swirls through Manhattan and its environs of the early twentieth century, these gates are swung by the company as the piece shifts from location to location.     When combined with the rich brocaded wall that backs the stage, and the sometimes opulent drapes that are pulled across it, the gates give one the sense of both the interiors and exteriors of the mansions that once graced Fifth Avenue and Madison Avenue.    The gates also serve to emphasize the strict moral and societal order of Wharton's world as well as the sense of the inclusion felt by Innocents heroine Lily Bart, a woman born middle class, but left penniless at her father's death, who must rely on the generosity of an aunt to sustain her pretensions."