The "wow" factor of many set designs lies in their enviable resplendency — their evocation of worlds in which most of us wouldn't mind spending the rest of our days. The Maltz Jupiter Theatre's Annie and Other Desert Cities come to mind, with their lush and livable milieus of money well-spent. Others, like our winner, reside on the opposite extreme, reminding us of places we hope to never see or, since it's a historically grounded piece, to never see again. The Timekeepers is set in a labor camp, and with his design for Island City Stage's production, Michael McClain took the bold gamble of fencing in his set with row after row of barbed wire. Inside the richly detailed, modified chicken coop were wonderfully curated objects, from the makeshift toilet — AKA, a metal bucket — to the vintage Victrola to, most important, the box of broken watches we understood to have been removed from the remains of Holocaust victims and whose existence is the only thing keeping the play's two central characters alive. Those obtrusive wires were a constant reminder of the characters' hopelessness, but at the same time, when the drama heated up inside the camp, you forgot they were there. This set might not have worked on a larger stage, but with its already inherent sense of confinement, Empire Stage provided an ideal environment; it was the best set we've ever seen in that room.