David Roberts, Theatre Reviews Limited
“superb projection design”
Marc Miller, offoffonline
"…colorfully supported by Ryan Belock’s whimsical New York City projections"
Carole Di Tosti, Blog Critics
"elusive painted projections…stage 1960s New York City and 18th-century England adroitly…the team’s artistry [affects] Daisy’s/Melinda’s environments and consciousness with appropriate, minimalistic fanfare.”
Stanford Friedman, NY Theatre Guide
"Ryan Belock’s impressionistic, painterly projections of New York are pretty…"
Lexi Orphanos, theasy.com
"[Ryan Belock] creates a world of wonderful plasticity...projections in watercolor shift the environment from Manhattan street corner to old English drawing room. By opting for projections that are resonant of a children's book, the magic of the play remains viable. There are no strings or wild feats in the name of theatrical realism, and this allows the joys of the plot to continue riding higher and higher.”
Deb Miller, DC Metro
“background projection… sets the various locales with recognizable landmarks in New York and London, while paying homage to the Pop-Art style of 1965”
William Wolf, New York Calling
"inventive use of projection"