Lincoln Center Theatre's production of Christopher Shinn's new play, Dying City, directed by James Macdonald, took place on a square platform in the center of the Mitzi E. Newhouse Theatre. The design team included Anthony Ward (sets and costumes), Pat Collins (lighting), and Aural Fixation (sound). Two actors played three roles in the confines of a living room furnished simply with a brown-leather sofa and a television set. A few minutes into the play, you noticed that the sofa and TV weren't where they had been a few moments before. In fact, the entire stage slowly rotated. “It was designed to make one full revolution in 90 minutes,” says Paul Smithyman, associate production manager for Lincoln Center Theatre. Flying Diamond Studios in Astoria, NY, built the stage using reclaimed planking set in a frame of steel I-beams with a crane bearing attached to the frame for the electric motor that sat under the center of the stage and geared down to move very slowly. The automation was by Hyde Power in Brooklyn, NY. “It worked beautifully,” says Smithyman. “The only drawback was in rehearsal. If the director wanted to go back, he had to wait for the stage to go back as well.”