Although Mr. Kraar brings a decidedly contemporary bent to the tale, his play stays admirably rooted in the spirit of the underlying biblical story.  The playwright brings specificity and welcome context to the reason why Lot’s wife ultimately turns back to gaze upon the devastated city.  Indeed, the work imbues Edith with an earthy sensuality and passionate individualism that turns her tragic end into a revolutionary act of self determination.  Don’t Look Back has been simply yet elegantly staged (the direction is by Wayne Maugans) and enacted with urgency by a quartet of actors who play members of the family on the run.

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– Adrian Dimanlig, Interludes          

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As the audience enters the space, two gloved individuals dressed all in black are tending to a vast, rumpled grey sheet spread across the playing space: not smoothing out the wrinkles but rather carefully defining them, crafting each ridge, each tiny mountain range of fabric.  Occasionally they pause to look up at the night sky (as projected on the scrim overhead) or to gaze into an unseen horizon.  The quiet care these two Shadows take, coupled with the sound of Aviva Leong's Hebrew recitation, creates a meditative sense of a prepared space.  I love when designers are clearly working in concert to create one unified experience, and that's happening in spades here.  Director Wayne Maugans makes good use of the arena space, finding new ways to physically activate the family's trek.  Tuânminh A Đỗ's evocative projections across set designer David Esler's night sky scrim marry well with Fan Zhang's sound design to increase the tension as the destruction looms closer and closer.  I'm a particular fan of Peri Grabin Leong's meticulously detailed costume design work here: this family is from neither now nor then, but held in some in-between space.

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– Zelda Knapp, A Work Unfinishing          

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The ceiling of the HERE’s black box is a square of tightly stretched fabric. Across it stars are projected, along with churning clouds, and mysterious divine lights that drift above the plain the family is forbidden to look back upon.  When the play reaches its peak, the sky and stage turn red as the family struggles across the stage through the storm that is obliterating Sodom.  Years later, when Annie and Molly visit their mother—now a frozen pillar of salt, wrapped in pale knit fabrics—they tell her about their lives and, in a private moment, Edith shockingly breaks her stillness and nods gently.  Such moments shine bright throughout the evening, resulting in a play that seems at once classic and fresh.

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– Celia Ipiotis, Eye on the Arts