In the final act, the nocturnal garden scene (where the audience is afforded perfectly bright night vision), these cubes are suspended at angles, rather like Daniel Libeskind's design for the V&A. Why? Maybe because Le Nozze Di Figaro, a subversive tale of class and gender relationships, is about how people slot, or not quite slot, together in everchanging ways, ways not necessarily neat or obvious. The Count's social position at the end is certainly askew.