Look hard enough and most scenic designs betray their transience: the way the entire flimsy structure shakes at the slamming of a door, or the way the tops of buildings rooflessly taper off just before the lighting grid. Stage artifice inevitably exists somewhere, which is why realistic set designs are harder to perfect than conceptual ones. But I'll be damned if Amico's two Midwestern houses and shared backyard of Picnic (at Palm Beach Dramaworks) didn't look positively air-lifted from the play's 1950s setting, with nary a theatrical cog or plank or beam in sight. No facet of the set was stunning for its own sake; Amico's contributions generously complemented the production's other designers. Each element, from the disconnected shed where characters escaped the hot-blooded throngs to the functional (!) water pump, proved significant to director William Hayes' naturalistic evocation of everyday life. Trees towered behind the impressive midcentury wood structures, littering the roofs with leaves and allowing lighting designer Donald Edmund Thomas to refract sunlight across the sweltering exterior. Kansas, you never looked so good.