Chicago Tribune

Under the excellent direction of Ronan Marra, May and Eddie are feral animals - all instinct. Caged up in that ratty motel (Melania Lancy’s scenic design creates a terrific shoe box effect), the setting itself takes on larger metaphorical dimensions. A hotel room, in theatrical terms, is a trap.  - Nina Metz

TimeOut Chicago

Melania Lancy’s ratty fleabag set - a narrow silver of a dump with audience members seated on either end - and Julie Ballard’s dusky lighting make into something intimate, haunting and, most crucially, harder to shake off...” - Christopher Piatt

Daily Herald

The latest occurs within the grey-green walls of set designer Melania Lancy’s appropriately confining cut-rate motel room whose faded curtains and threadbare rug fail to lighten the grim mood or remove the sense of entrapment Marra emphasizes by having the audience flank the stage, effectively boxing the characters. - Barbara Vitello

ChicagoCritic.com

I Aaron Snook is effective as the crazied stuntman, Eddie, who drives from Montana to the edge of the Mojave Desert to a seedy motel (terrific set design by Melania Lancy) to reunite with his long love May, played by Simone Roos. - Tom Williams

Windy City Times

Melania Lancy’s scenic design encapsulates shabby motor-court decor right down to the algae-green shower curtain; Anthony Ingram’s sound design resurrects such venerable careless-love classics as Why, Baby, Why?; Laura M. Dana’s costumes reflect the sun-baked textures of Shepard’s southwestern desrt regions; and Julie Ballard’s nimble split-second lighting effects hit every mark mandated by the enigmatic text. - Mary Shen Barnidge