additional photos provided by Cory Pattak, copyright protected images
"Wilson Chin’s striking scenic design suggest that liminal space between reality and what’s happening in Diana’s head."– André Hereford, Metro Weekly
"Scenic designer Wilson Chin’s chic, bilevel set functions as both the Goodman household and a window into Diana’s mind. A large circular cutout at the top of a flight of stairs opens and closes like an eye, as if to signal the divide between Diana’s inner and outer reality, and leaving the audience to constantly wonder: Are we in or are we out?"– D.R. Lewis, Washington City Paper
"Director and designers work together masterfully to create an atmosphere bringing us up close to a chaotic world. We see a single eye projected in black and white on a gray backdrop as we enter the theatre. Whose eye is this? What does it see? What does it mean? Creating intensity, we often see the same characters on stage in a huge mirrored projection behind them. This technique is clever, unique and powerful in magnifying every character’s feelings."– Paula Kaplan-Reiss, Berkshire On Stage
"A fascinating physical production serves its characters well as they move from stage to screen and back again. Scenic designer Wilson Chin and projection designer Nicholas Hussong have created the visual aspects of this show perfectly, compelling the eye and thrilling the heart of the audience."– J. Peter Pergman, The Berkshire Eagle
