"This show, developed from a cabaret originally produced in Canada, takes place in a ghostly carnivalesque netherworld, designed with ghoulish atmosphere by Scott Davis. The remnants of a rickety wooden roller coaster wrap around a small, antique proscenium. While riding that creaky coaster, six teenagers — all members of a school choir — met their gruesome ends when their car leapt the tracks." - Charles Isherwood

"The Paramount has, of course, a huge stage and Spelman and her designer, Scott Davis, hit on the inspired idea of making the Kit Kat Klub a basement operation, allowing for a huge descending staircase into the depth of its depravity, meaning that characters with a conscience, or a doubt, can stand thereupon, half in, half out, partaking just the same but with an eye on the door. And you also get a glimpse of the street, where the stones fly and glass breaks." ... "Most productions of this show try to work within one palette: these designers are explicitly working with collision. That's why this is such a great "Cabaret": it makes sense of the show's organizing principle of overgrown children playing with decadence while the consequences of the apolitical life play out above them, finally oozing down into their playpen."

"The largest and biggest looming character of the whole affair is the house itself courtesy of Scott Davis’ scenic design and Eleanor Kahn’s props. The outside of a two-story home, its first floor and small backyard patio have been created with meticulous attention to detail. Kitchen cupboards contain period-appropriate Welch’s jelly jar glasses, dinnerware and packaged foods. A closet contains vintage coats and suitcases. All rooms are tastefully decorated with period-appropriate furniture, too. Window seats are placed along side many walls, so scenes can be watched from those perches or even through the home’s many glass-less windows. The audience is limited to only 28 patrons, and from the onset, as Ellie and Beau go about their final party preparations, you’re encouraged to explore the home."

"Davis's set for the show is truly a stunner — the design uses silhouettes of the requisite farm buildings and re-creates the contours of the Plains, emphasizing young American's fragility against the undulating earth. But some productions of this Rodgers and Hammerstein masterpiece, especially ones that emphasize its current of sexual unease, end up being dark and heavy. Not so here. There is a light sun rising and stars in the heavens... " - Chris Jones

"Ms. Rockwell, a leading director of musicals in Chicago...has made the most of the small stage, festooned with an antique proscenium and evocative, faded amusement park bric-a-brac by the designer Scott Davis." - Charles Isherwood

"Ride the Cyclone could have felt like a fringe musical, but it did not. Part of that was the lavish production (particularly the clever set by Scott Davis) it was given at MCC." - Cara Joy David

"As directed by Rachel Rockwell, “Wimpy Kid” is faithful to the books on which it’s based: The set is dominated by a gigantic sheet of notebook paper, which forms the backdrop and spills over into the orchestra pit. Most of the scenic elements are built or projected in the black-and-white, rudimentary two-dimensional style that is the visual signature of Mr. Kinney’s books..." - Dominic P. Papatola