The Night Waltz starts with the 3 Armfeldt women, the rest of the cast behind a voile curtain
Some small scenes were played "in one" on the stage extensions
The first time we see the Egerman rooms
Anne and Henrik in the Egerman parlor
A transition - the Liebeslieder quintet moves curtains and furniture
Now, Soon, Later
The Glamorous Life
Theater scene - we used the glorious boxes in the house and played in front of the red curtain
Desiree's digs - using both voile curtains and red curtain to help frame the scene
"Liasons" - we backlit the wallpaper drop for this nostalgic, wistful number
"The target is that portrait - her eye" - Count Malcom palmed the knife and the portrait was quickly flipped to a duplicate with a knife handle in the eye
"In Praise of Women"
"Every Day a Little Death"
We used the red curtain to help with split scenes - here the beginning of "Weekend in the Country"
"Weekend in the Country" - split scenes
Henrik's solo - "Weekend in the Country"
"Weekend in the Country" finale - End of Act I
Act II also begins with Liebeslieder singers in front of red curtain
Arrival of Count Malcom and Charlotte to Armfeldt Estate
Charlotte and Anne make plans
Liebeslieder transition - "The Sun Sets Low" reprise
Love in the country.
"It Would Have Been Wonderful" - Two men, two urns. A duel of words.
"Perpetual Anticipation" - the house flew out ever so slowly as the dining room table came downstage
Transition into Dining Room
Dining Room Scene - sadly the voile curtain was off spike on the day of photos
More Liebeslieder mischief in the transition out of the dining room. They threw leaves as the story moved deeper into the woods.
The trees all tracked to different overlapping positions and the foliage borders moved lower as we moved deeper into the woods
"Send In The Clowns" - Desiree's bedroom
"The Miller's Son"