"Shelley Barish’s set embraces the bucolic tranquility of the woodlands, with trees filling in around the edges and a ramp (emblematic of both castle rooms and hillsides) serving as the space’s focal point. Even the vaunted round table is rustic in design, a cross-section of a great tree supported by several stylishly shaped logs. Camelot, it would seem, exists in careful accord with the natural world."
Killan Melloy, WBUR, May 2017
"Moreover, this Japanese accent is echoed in a design that artfully deploys Asian-derived scenic elements — sliding screens, lightwood ramps and a high, horizontal strip of Momi paper across which projections swim — and music. (The scenic design is by Shelley Barish; the affecting multicultural score and sound design are by Arshan Gailus.)"
Carolyn Clay, WBUR, December 2017
"Incident at Our Lady of Perpetual Help is full of candidness, warmth, and quick pacing much due to the cast’s authentic and believable chemistry as a relatable, flawed, and dysfunctional family. Tempers flare, judgments are passed often, and the O’Shea family is set in their routines within a meticulously-detailed and functioning wood paneled kitchen plucked straight out of the 70s. From an afghan blanket on a chair to knickknacks on shelves to photos and notes smattered on a corkboard to greenery gathering in a kitchen window, set designer Shelley Barish’s remarkable blast from the past kitchen lies in the details."
The Sleepless Critic, March 2022
"Ruhl allows that you could do the play with 'a table and two chairs.' That's not the Lyric way. Shelley Barish sets this production in a kind of shared attic of houses and memories. There's a stack of books stretching from floor to ceiling, as if it were holding up the house. The dustily bric-a-brac includes tennis racket, hurricane amps, a candlestick, a victrola, and an overturned Radio Trail wagon. A spiral iron staircase leads to a second playing level. It's all imagination, and imaginatively detailed."
Jeffery Gantz, Boston Globe, October 2014
"The set that director Larry Coen and set designer Shelley Barish have devised isn't exactly simple, but its a hoot. The stage floor conjures a board game with its snaking path; on the back wall are more paths, with the four locales depicted, and a white door with a question mark on it (as 'What's behind door no.1')."
Jeffery Gantz, Boston Globe, November 2013