REVIEWS

“It’s astounding to observe how such a minimalistic set can create such an immersive atmosphere, directing the audience’s attention toward the core of the show — the captivating music and the talented musicians.” — Maia Penzer, The Daily Free Press

“The minimalistic set designed by Wilson Chin and Jimmy Stubbs and the lighting design by Aja M. Jackson provide exactly what is needed for the story to be distilled to its essence of what it means to be human and for the actors to shine. A simple archway defines the café, and a phone booth, crib, tables, chairs, and benches anchor the scenes. The vignettes that comprise the production are simple but intensely intimate stories of longing and desire.” — Michael Hoban, Theater Mirror

“The problem of changing the locations of four stories, told simultaneously, has been cleverly solved by Wilson Chin and Jimmy Stubbs’s deceptively complex set. The staging’s set pieces seamlessly move in and out: the transitions are simple and crisp . . . A wonderful set change occurs as late as the curtain call: a wall that’s designed to look like a parked bus is raised to reveal the rest of the members of the orchestra. It also serves as a sort of makeshift party platform for the final musical numbers. Also fun is the peripatetic public phone cubicle that the Telephone Guy rolls around the stage during most of the production as he patiently waits and waits.” — David Greenham, The Arts Fuse

“The set by Wilson Chin and Jimmy Stubbs transitions among several locations in a way that is both evocative and efficient.” — Don Aucoin, The Boston Globe

"The production is a visually stunning watch, too: Wilson Chin and Jimmy Stubbs’ ingenious set design effortlessly transforms the stage into a variety of locales, while Miranda Kat Giurleo’s costumes are spot-on, especially the musicians’ bright blue uniforms, which stand out amid the muted backdrop of the town."– Nate Hall, The Tufts Daily