It's about time someone recognized Jennifer Zeyl, whose fringe work has helped define the world of some good shows and has often been the saving grace of productions otherwise lost in their own universes. Her see-through apartment walls let us peek into the urban angst of the protagonists of last season's stellar [sic]
; the grassy, peek-a-boo fun-house hill she created for Washington Ensemble Theatre's Handcuff Girl Saves the World
was the only thing the show had to offer. Her pièce de résistance, however, has to be the instantly familiar hovel constructed for the slacker twentysomething speed freaks of WET's Finer Noble Gasses
--you could practically smell the manic disarray of the place. If Zeyl's name is in the program, you'll at least be safe in knowing exactly where you are.