…“a memorable set. Ibsen's "spacious garden-room" and glass-walled conservatory become a dim, permeable hothouse space ­— separated only by thin strands, reaching from floor to ceiling — and a multitude of light bulbs swinging eerily from above. Static rain runs constantly down the back wall; a television, similarly grainy, has been integrated into the book and magazine-laden table at center stage, occasionally providing a cacophony of voices. Most unnervingly, the back of the stage is lined by potted plants connected to IV drips.”

Ghosts. 2010.  Elina Mishuris. Washington Square News

“The most noticeable star of the play is the set. Created by Fiammetta Horvat, it is little more than a series of strings that descend from the ceiling, giving the actors transparent rooms to inhabit. It works more like a boxing ring than a stage.”

Ghosts. 2010. Whistness. Quazen.com

 …"a smart modernist set treatment by Fiammetta Horvat and echoes solidly the main ethos of Ibsen.”

"Fish wires run vertically linking the stage floor to the ceiling.  These lines form a cage and transparent means for the audience to watch the drama unfold.”

…"an image of rain back lit on clear material adds to the human and weather dreariness.” 

Ghosts. 2010. Rugarberry.com

 …”the ultra-cool set by Flammetta Horvat […]its very unique and disturbing elements: different length wires with working light bulbs attached dangle from the ceiling, hospital I.V. bags hang over numerous potted plants spanning the back of the stage, a transparent cage created out of fish wire maps out the main playing area and three television screens separate the stage in thirds, showing a flurry of images that echo the actors' interior feelings.”

Ghosts. 2010. Maura Kelley. Offoffonline

…”the set is a vast presence.”

“The entire space becomes an exercise in transparency and illumination, thickly stylized.” […] ”… visual brilliance…”

Ghosts. 2010. Joseph Samuel Wright. Theatre is easy. theasy.com