Curtains became the architecture for All's Well That Ends Well at New Swan Theatre Festival. Rather than building heavy scenic structures, I treated drapery as the central language of the production: structure, threshold, concealment, and reveal.

In Roussillon, blue drapery and heraldic signage created a clear, ceremonial court. A pedestal for the rings became a visual anchor, allowing the production to return to an object charged with promise, pursuit, and disguise.

When the action shifted to Florence, the curtains opened into warmer stucco, vines, and topiary forms. That transformation changed the emotional temperature of the stage, giving the production a flexible world for romance, deception, and theatrical play without overbuilding the space.

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