2012 Craig Noel Award nomination, Scenic Design

"Goldstein's staging deploys striking in-the-round tactics, especially designer Wilson Chin's terrific setting of tattered overhangs, wharf ropes and rusted metal flooring, which scores a coup when the saloon transforms amid copious dry ice into the barge."– David C. Nichols, Los Angeles Times

"Creeping waves of fog blanket the stage, which scenic designer Wilson Chin imaginatively transforms into a variety of nautical settings with the simplest of rough-hewn materials- ropes, rusty steel plates and ripped canvas. Combined with Paul Peterson's subtle but relentless sound design and Austin R. Smith's evocative lighting, the design team makes the ocean a living, breathing character in the story. Physically, the show's a wonder."– Pam Kragen, North County Times

"Wilson Chin's scenic design is so authentic playgoers will think they are actually aboard the barge. From the inventive rope work, and the transition from bar to ship, every scene is transporting."– Diana Saenger, La Jolla Light

"...truly breathtaking stagecraft (including a scene change that, deservedly, received thunderous applause). Wilson Chin's set is a wonder of minimalism as it easily evokes a barroom and a barge at sea; among other great inventions is the figurative use of ropes as a doorway. The transition from tavern to fog-enshrouded barge is easily the most eloquent, artistic scene change in memory."– Tony Frankel, Stage and Cinema

"The set evokes the weathered decay of any seaport, and the set change between Acts I and II is itself a work of art."– Josh Baxt, Culture Vulture