“One of the stars of the show is designer Isabella Andronos. The production captures the masque quality of the opera superbly. The choreography moves the fantasy characters around with a ballet-like formality. This is enhanced by beautiful costumes set against a serviceable stage design suitable for the small space. The designer Isabella Andronos is in some ways the star of the show. The women are elegant, the men quite dandified. Only the two humans are in day-to-day dress and move and act in naturalistic manner in contrast to the mostly studied formality of the fantasy characters.”
John O’Brien, 15 May 2016, The Fairy Queen
Con Opera’s The Fairy Queen showcased a wide range of skills and an enjoyable production

“These successful costume designs by Isabella Andronos complement her set design which blends the enchanted wood with a salon turned upside down as supernatural beings get close to the mortals. Headpieces, costume fabrics and props successfully magnify the essence of each being onstage, whether they are fairies or gods.”
Paul Nolan, 17 May 2016, The Fairy Queen
Con Opera: The Fairy Queen @ Sydney Conservatorium of Music

“The set is the third character in this play. Designed by Isabella Andronos, it is detailed and dim and full of secret nooks and crannies. The dark wood and cloudy backdrop put us in mind of Harry Potter, and that is never a bad thing.”
Alana Kaye, 25 November 2016, The Screwtape Letters
TN Review: The Screwtape Letters [Seymour Centre]

“Although the strength of Screwtape was in its comedic and intellectual balance, represented by the respective performers, the production elements were crucial to its ability to fly as a bespoke spectacle. Isabella Andronos has already claimed awards for her work, and is sure to climb quickly as a clearly talented visionary and execution expert. The apothecary-style stage surrounded by scraps of letter paper backed by a stormy scrim gave the costumes punch and the interludes a confident dynamism. The slippers were a game-changer, as was the black paper/white suit remix.” 
Brodie Paparella, 25 November 2016, The Screwtape Letters
BWW Review: The Screwtape Letters was Sinfully Entertaining at Seymour Centre

“You quickly realise that this production is more like an episode of a reality TV show than a play. Costume designer, Isabella Andronos, has given the characters that ‘I’m Rich But Also A Bit Trashy’ kind of look, which is typical of the latest generation of reality television stars. Miss Candour wears a leopard print skirt that could easily be something from Snooki’s wardrobe. It’s easy to relate any one of these characters in to a number of celebrities. The couple with an age gap as extensive as their height differences, Sir Peter and Lady Teazle, could easily be Brynne and Geoffrey Edelston or Hugh Hefner and Crystal Harris, or Hugh Hefner and any one of ‘thousands’ of other women.”
Alison Maher, 8 May 2015, The School For Scandal
The School For Scandal: Review

“Bold stage design and strong ideas characterise this production of Richard Brinsley Sheridan’s comic masterpiece. Designer Isabella Andronos (who, like Burrowes, is a recent NIDA graduate) throws up a heavy-browed false proscenium that focuses our attention very effectively. A wide gold curtain sweeps apart to reveal a sparely furnished, white box set. Periwigs and pannier skirts are dispensed with. The look and attitude is high-end Westfield Bondi and everyone under 30 arrives with mobile phone in hand, natch.”
Jason Blake, 1 May 2015, The School For Scandal
Review – The School For Scandal

“Isabella Andronos’ set and costume designs are mischievous and refreshing, adding to the Sydney theatre landscape an exciting aesthetic that is reflective of a particular generational and cultural segment. The representation of dominant social tribes is important in the understanding of our selves, and Andronos’ contribution is an acute study of the way things are, for some of us, in the absolute now.”
Suzy Wrong, 24 May 2015, The School For Scandal
Review: The School For Scandal

“Production Designer Isabella Andronos has converted the New Theatre black box space to a proscenium theatre complete with gold curtain allowing dramatic reveals of the changes of set occupying the stark white stage fitted with rear double doors and side doorways. The story takes place in a series of rooms including Lady Sneerwell’s boudoir fitted with chaise lounge and a rainbow clothes rack and Sir Teazle’s living room complete with a family portrait and tributes to his wife’s pug. Andronos’ costume design also helps establish the various characters and stereotypes from the solid colors of the young socialites, the patterns and graphic clothes Charles and his carefree friends wear and the reserved suits favored by the older characters.”
Jade Kops, 1 May 2015, The School For Scandal
BWW Reviews: School For Scandal Proves The Comedy Of Manners In 1770’s London Society Is Still As Relevant Over Two Centuries Later

“The straight lines of Andronos’ bright, white, set, the play moves quickly and smoothly. Scenes changes are swift, with minimalist props and colourful, carefully co-ordinated costumes making sharp statements about place and time. The opening scene typifies this. Gold curtains open and through double doors thrown open at the back Eleanor Stankiewicz as Lady Sneerwell enters. Servants bring her a tray with a line of cocaine and a cocktail, both of which she takes elegantly.”
Carol Wimmer, 2015, The School For Scandal
The School For Scandal

“The production values are excellent. Isabella Andronos’ handsome stage design is very white and very ‘now’ and the costumes aided instant character recognition.”
Geraldine Worthington, 3 May 2015, The School For Scandal