The set of the production is also remarkable. It is spare, though elegant: a large carpet adorned with cherubs, several luxurious chairs, a gilt bed. But the use of these minimal props is often ingenious. The box Nabo arrives in, for instance, converts into his sleeping quarters and ultimately becomes a crucifix. A floor-to-ceiling six-paned mirror backs the action and is repositioned throughout the play to subtly hint at geographic, temporal, and even moral divisions. When slanted forward under bright stage lights, it reflects the scenes that play out in front of it. But when the lights dim, the audience can see behind it. Toward the end of the play, an engrossing scene shows Marie reciting Hail Marys at the front of the stage while behind the hazy mirror, in dim blue lighting, dancers move to African beats.