Evan Smith's Psych, the December offering at New York's Playwrights Horizons, got a bit lost in the holiday rush but it was, in fact, a perfect case study in how to create an imaginative, flexible design for a contemporary play. Smith's script tracks the downward slope of one Sunny Goldfarb, clinical psychologist in training and part-time dominatrix, who suffers mightily when her worlds collide. The action is scattered over a dozen locations, so set designer Kyle Chepulis created a curved back wall made up of 24 RP screen panels and, a few pieces of furniture aside, let LD Frances Aronson do the rest. Lighting the wall on both sides, Aronson used swift changes of color and template to move the action from scene to scene. “Behind each panel was a unit with a template, a unit with a [Wybron] CXI [color-mixing] scroller, a unit with Lee 201,” and a fourth unit in another color, says Aronson, who adds that she and Chepulis set up a demo of the scenery/lighting concept at the Flea Theatre (where Chepulis works regularly with Psych's director, Jim Simpson) to test it. In addition to providing a blank canvas for the light plot, the RP screen also facilitated a number of effects devised by Aronson using silhouettes. Altogether, it was the very model of a modern theatrical lighting design. Aronson's plot used ETC Source Fours exclusively, with four City Theatrical AutoYokes also employed. Control was handled by an ETC Obsession 600 console. Equipment was provided by Fourth Phase. Psych ran through the end of December.