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Jo Mielziner - The set featured a realistic portrayal of a dilapidated New Orleans apartment with a fragmented structure to allow the audience glimpses into the characters' lives.

Maria Björnson - The set included a jaw-dropping, grand chandelier that 'crashes' as a pivotal moment in the show, and a multi-level stage to represent the opera house.

David Korins - The set is known for its wooden, dual-level design that includes a rotating stage and stairs, reflecting the dynamic and evolving nature of history.

John Napier - The set features a giant, revolving barricade to showcase the epic scale of the story, along with various levels to portray the social hierarchy.

Jo Mielziner - The set presents an ethereal, dream-like quality with transparent screens to reflect the memory play aspect, and period-appropriate furnishings representing a St. Louis apartment.

Eugene Lee - The set is characterized by imposing gears and clockwork visuals, representing the industrial and mechanical aspects of the fictional Land of Oz.

John Napier - The set transforms the stage into a larger-than-life junkyard filled with oversized trash items that provide a playground for the feline characters.

Jo Mielziner - The set features a skeletal structure of the protagonist's house, symbolizing the crumbling facade of the American Dream.

Oliver Smith - The set depicts the gritty streets of New York's Upper West Side with urban backdrops and versatile structures for the intense dance scenes.

Richard Hudson - The set includes iconic Pride Rock and the sweeping Savannah, with an innovative use of puppetry to bring animals to life.

Boris Aronson - Set in the Kit Kat Club, the set oozes a decadent and dingy atmosphere, with a mirror reflecting the audience and a sense of immersion into the cabaret world.

Lee Simonson - The minimalist set design deliberately lacks props and scenery, using only chairs, ladders, and tables to suggest the setting, focusing on the storytelling.

Tony Walton - The set features a stark, vaudevillian setting, with a prominent bandstand and minimal props, allowing the choreography to stand out.

Boris Aronson - The set illustrates a dark, oppressive atmosphere to reflect the Salem witch trials, with rough wooden beams and sparse interiors.