PRESS

For Broadway Bound...
"Nicole Bianco's two-tiered wooden loft set simulates Simon's seaside city home."
-Joan Aucoin, Cape Cod Chronicle
"Nicole Bianco's detailed, two-level set of a working class household easily lends itself to the episodic nature of the play. For Neil Simon fans this is a must see."
-Johanna Crosby, Wicked Local Orleans
For The Fantasticks...
"It lies in the fact that even before you find your seat, you are instantly aware of the mood that will be set in this world the audience will become a part of for the next few hours by allowing the set alone to transport you there. Monomoy can always pride itself on its wonderful sets, but with this show in particular did it have an added effect in again associating the reality we know with the somewhat farfetched nature of the show"
-Kristen Morale, Broadway World Boston
"Though scripted, the musical has something of that improvisational feeling, and sets are often minimal. Set designers do sometimes come up with something striking, though, as has Monomoy's Nicole Bianco."
-Cindy Nickerson, Cape Cod Times
For Biloxi Blues...
"Nicole Bianco's set is fluid throughout the show. Bunk beds on casters move from the barracks to coach train cars. THe pink and white striped prostitute's hotel room with floating bed plus USO dance hall serves to soften the totally Army green canvas of soldiers and their stark surroundings. ..Watch for two impressive curtain call scrims with the faces of local and notable WWII veterans.. And applaud."
-Joan Tacke Aucoin, Cape Cod Chronicle
"Similarly, the set design, courtesy of Nicole Bianco, serves triple duty - as a train boxcar, an army barracks and a USO dance hall - by cleverly moving, striking and reassembling the same set pieces to create the needed effect."
-Steve Ross, Cape Cod Times
For The Underpants...
"The Monomoy makes you forgive some of the corny, over-the-top farce factors and allows you to lose yourself in a truly entertaining evening of theatre. Nicole Bianco's set design of the slightly seedy flat is imaginative, all askew angles and austere props."
-Carol Panasci, Cape Cod Times
"Nicole Bianco's asymmetric, multiangular set of the Maske's two-bedroom flat in 1910 Dusseldorf appears as a character itself... Like the Maske apartment dwelers themselves, this home is filled with sharp edges in an on-going flux of changing emotions. Only the laundry line of a lady's bloomers, panties, slips, corsets, and brassieres remains anchored on a solid cord."
-Joan Tacke Aucoin, Cape Cod Chronicle