"Coleridge never finished the poem, so Ms. Bustamante and the director, Elena Araoz, are free to go wild at the end. And they do. The big finish, which puts Susan Zeeman Rogers's clever set to the test, is both tragic and optimistic."

"...the production does succeed beautifully...in its stagecraft. Set designer Susan Zeeman Rogers captures both the drabness of Christabel's day-to-day life and the looming power and mystery of the forest and of Enid. The stage is framed with rough, burlap-mesh covered cutouts of trees, and tree silhouettes as a backdrop. But everything hides a secret and a potential for transformation- trees contain drawers and cupboards; Enid emerges from a drawer in a piece of furniture that mutates from a burly kitchen table to a girl's delicate bed- and just when you think all the tricks have been played out, the final scene completely transforms the space yet again. Marrying simplicity with mystery and a touch of stage magic, the play's physical world is...perfectly realized..."

"...Susan Zeeman Rogers' set literally unfolds bit-by-bit, capturing both our attention and our eye. As the play progresses, large objects are rearranged and transformed into completely new environments; from the nooks and crannies, hidden objects, props, and even a brand new set are produced to propel the story forward."

Feature Article: Coleridge Comes to SoHo, on a Budget by Mark Blankenship for the Sunday New York Times