Angela Weber Miller’s set design is part-train station, part-stage, but also part-cathedral of sorts. Lofty rafters hang above, drawing the eye heavenward as the Emcee and others look down as gods, judges, and specters of a long-past world. A window interfaces with Smooch Medina’s projection design to set the scene for various storefronts and traveling sequences. Miller’s set is a gallery unto itself, undeniably pleasant to look at, and yet, haunting in its capacity for emptiness.