In this piece, the space was an environmental surrounding with the audience set up in a three-quarter thrust. The upstage area had a proscenium with three sliding doors that could assist in opening or closing the space.

With this world, it became important to help the audience always understand where we were, as the lighting was going to be the only key to most scene changes. As a result, a vocabulary of cool, broad diagonals sweeping through the space equating outside and steeper, warmer light with the addition of turning on the practicals to a low level as inside.

Because of the eye's natural tendency to grow accustomed to color, it was vital to give each scene a touchstone of color in order to keep the audience aware of what they were looking at. The upstage area would typically act as the opposite for whichever scene we were in, if the main space was warm indoors, cool light swept through the upstage, thus ensuring that the audience could keep track of what they were seeing. The Gods were given a bright clear white as their color, which helped establish that they were not of the world that the rest of the characters dwelled.

This juxtaposition of color also served to underlay what Tim was creating with characters to help understand whose world we were in by using color to subtlety tone scenes. Cruel Shui Ta’s scenes had a chill to them, while gentle Shen Teh's scenes were warm and encompassing. This helped emphasize the cruelty that was heaped on Shen Teh during her wedding scene by making it the warmest and enveloping scene while her fiancé left her at the altar.