"Barbara is our guide for what appears to be a sort of theme-park installation portraying the end of civilization thousands of years earlier. She animates Jules and Jo by pulling levers and plays percussive accompaniment to the story's more dramatic moments, in a booth to the left of the 21st-century set. (Wilson Chin is the designer.)"

– Ben Brantley, New York Times

"The stage curtain immediately pulls back to reveal Wilson Chin's impeccably detailed set, a brightly lit basement laboratory/studio apartment, with a fish tank whose vast significance is only revealed in Boom's final inspired moments."

– John Del Signore, Gothamist

"The visual aesthetic of the play is fantastic. It looks beautiful, and the effects employed to highlight major shifts in plot are right on the money, and fit entirely with Timber's concept of breaking the fourth wall throughout. Much credit should be given to set designer Wilson Chin and lighting designer Marcus Doshi for making that happen."

– Matt Johnston, nytheatre.com

"The amazingly detailed set is by WIlson Chin."

– Matthew Murray, talkinbroadway.com