the hut.

The chancel may be lighted by a number of incandescent bulbs hidden at
the sides of the scene, with the light so shielded that it shines on the
altar and not into the hut. An especially effective place to put a
strong light is inside the box representing the altar, with a hole cut
in the top of the box so that the light shines up, giving a central
radiance to the appointments of the altar and throwing into prominence
the face and costume of each person who approaches it. If any of this
light seems glaring it can be softened and diffused by masking it with
amber or straw colored cheesecloth.

Some form of search light is practically a necessity for producing the
heavenly radiance that shines upon the angel. If procurable, a "baby
spot light" is the best appliance, but lacking this, an automobile lamp
and its battery can be used.

It is important that all light in the hut should go out when the vision
of the chancel appears so that the hut becomes merely an inner
proscenium or dark frame around the rich picture of the altar. This of
course does not mean that the lantern in the brazier need be
extinguished as the light given by that is negligible.

After the angel ceases speaking the tableau of the altar scene should be
held as the music grows louder and louder through the final crescendo;
then, when the final note has been sung, blot out the stage by
extinguishing all lights. Give a moment of darkness during which the
back wall of the hut is replaced, and the old woman slips out of the
nearest opening in the scenery. Then turn on the front lights which
illuminated the hut during the first part of the play.