It's easy to build a set. It's not easy to design a set that brings on more surprises than the play itself. But that's exactly what Keely Enright achieved with Oliver Twist. What starts out looking like a dull, depressing box (and serves as one for the orphanage scenes) unfolds, revealing layers of depth that even the script doesn't — hidden entrances, well-disguised set pieces, even a ceiling trap door. When your set has a painting scheme that works no matter where your play travels, in a play where locations are as plentiful as characters, you have definitely designed something special. Can we please have some more of this kind of design in Charleston?