Angela Weber Miller's scenic design suggests a New York ripped from the funny pages. The upstage wall during the street scenes is an impressionistic skyline on a tilt, with vintage billboards and storefronts sketched in bold, black lines. The set for the Mission echoes this skewed, angular geometry, whereas the Hot Box (and ultimately the absolutely spectacular set for the craps game in the sewer) are all exaggerated curves. It's a terrific wink and a nod to suggest the tension between the upright and the wicked, one of the many delightful battles that enliven the show.