Scenic designer Mark Wendland deserves a medal for fashioning so many different ways to display them, while Aaron Rhyne’s projections are also clever complements.
New York Daily News
Neon signs and projections (designed by Aaron Rhyne) flood Mark Wendland’s largely bare set, and it is as if these words are shouting the meaning that Weitz’s characters so desperately crave.
Director Trip Cullman gives the play an efficient, nicely polished production, with a minimalist, industrial look and frequent neon and projected titles, wryly signposting new scenes. (The sets are by Mark Wendland, the lighting by Matt Frey and the projection design by Aaron Rhyne.)
New York Observer