Diar is playing the commoner bride. She looks impressive in her costume, swathed in silks and velvets. You hope the audience doesn't recognize the costume as having made previous appearances minus its hastily stitched Icemere coat of arms.
You keep your eyes on the royal seats as much as you can during the performance. As the play unfolds, you can see their faces clearly enough to have a sense of how the play is being received. The audience, as usual, makes their pleasure or displeasure known vocally enough that you're in no danger of missing their reaction.
Cenone's face is as icy as the fake snow that blows across the stage during the final battle, his lips compressed into a thin line. It's clear that he's drawing a parallel between the paranoid tyrant onstage screaming at his dutiful sons and certain modern families.
Liathar and Falathar are, too. You see Falathar lean in to talk to his brother during the scene where the brothers are sent into a hopeless battle by their father. Cenone glares at them suspiciously, as though he fears they'd plot treason in a busy theater.
The audience murmurs. You can feel them taking the message, too, see their quick glances at the royal seats.
At last the final curtain closes, and you breathe a sigh of relief. For better or worse, the performance is over.
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