The Far Country- Yale Repertory Theater, 2024

A breathtaking design enhances the gently told story of “The Far Country."

— Hartford Courant review by Christopher Arnott

Designed by Kim Zhou, the set design displays this message of resilience amidst suffering, quite literally. The set carries the inscriptions that Chinese immigrants carved on the walls of Angel Island in real life. According to Peña, this design element is crucial to not only the telling of the story but in evoking the idea of Angel Island as “both a detention center and a palace for art and poetry.”

— Yale Daily News Review by Jane Park

Ralph B. Peña’s production has a modernist flair, with Kim Zhou’s scenic design contributing large hanging slabs that are sometimes windows or paintings…. the presentation seems aimed to keep us aware of the theatrical nature of these characters who are emblems more than persons. At times, the tone is reminiscent of Brechtian theater, with its sense of how situations define us, and how we may yet alter the script — with a chosen name, a different reply, a professed uncertainty about tears as signs of sorrow or joy, or the Chinese characters carved in a wall, able to make the loneliness and heartbreak of one person belong to all.

— New Haven Independent review by Donald Brown

Scenic designer Kim Zhou’s brooding set gives the audience the impression of being imprisoned in a gloomy, subterranean space, with windows and the suggestion of a nearby seascape just above and out of reach. Eventually, the carved poetry will appear on its walls. The poems will also sit at the emotional center of this 2022 play by Lloyd Suh, which earned a finalist nod for the Pulitzer Prize last year.

— Daily Nutmeg review by Kathy Leonard Czepiel

Kim Zhou’s scenic design offers some amazing visual in conjunction with lighting designer Yichen Zhou and projection designer Hanna S. Kim. At one point Moon Get tells the history of Angel Island and the history that exists literally physically in the walls of the building. The visual representation of this on the set are a stellar with images that look so textured you want to go on stage and see if they are real.

— One Man’s Opinion

* The Far Country at Yale Repertory Theatre and its production team were nominated for 6 Connecticut Critique Circle Awards in 2024, including Outstanding Production.

The Baroness - Playhouse on Park, 2025

Scenic designer Kim Zhou has created a luxurious bedroom with a sitting area and a convenient balcony for Rolf. This is one time when the large Playhouse on Park stage doesn’t create problems.

— Two on the Aisle, Review by Karen Isaacs

….we whole-heartedly give major kudos to the stunning scenic Design by Kim Zhou and Costume Designs by Jimmy Johansmeyer– absolutely stellar.

— The Howard Theater Review

Storming around the glamorous bedroom, the nifty scenic design is by Kim Zhou, Street chews the scenery with relish…

— Connecticut Critics Circle, review by Tom Holehan

The set is the bedroom of the Baroness, wonderfully designed by Kim Zhou at the von Trapp home and there are many humorous moments when Street is seen on the phone yelling at people.

— Talkin Broadway, reivew by Zander Opper

The scenic design by New York City-based Kim Zhou brings Elsa’s guest bedroom in the Von Trapp mansion to the low-ceilinged Playhouse stage. It evokes the time period of “The Sound of Music” and a post at the front corner serves as the door to the suite.

— Patch, reivew by Nancy Sasso Janis

Sex and the Abby - The Brick Theater, 2025

Some of that can be credited to the steady hand of director Emily Lyon, who establishes the time and place from the moment we enter: The truncated arches and single iron candelabra of Kim Zhou’s set place us instantly in a convent.“

— Theatermania review by Zachary Stewart

Noises Off - Legacy Theater, 2025

Major technical kudos go to designer Kim Zhou whose perfectly detailed two-story set at opening spins around after intermission to reveal a realistic backstage area.

— Connecticut Critics Circle, Review by Tom Holehan

Kim Zhou’s set design features seven doors, so that characters are always going in or out of them just missing each other. The set has the look of a low-budget tour, which is part of the play’s premise. In Act Two, the set turns around and we see the backstage chaos.

— Berkshire Fine Arts review by Karen Isaacs