Overall, the play utilizes minimal use of choreography. There are not many actions performed other than walking, sitting, and simple gestures. Movement is only used when necessary, such as to portray the task their characters are doing or convey more emotion. This minimal movement focuses the audience’s attention on the words spoken. There are two scenes, however, in which the choreography is very distinct compared to the other portions of the play: the painting scene and the burning of the paper scraps of Sammy Costas’ numbers scene. In the painting scene, a man with synesthesia demonstrates his exuberant and peculiar way of painting. The man is very emotional and passionate in the act of painting in this scene, as portrayed by the actor. The actor uses broad hand movements to demonstrate painting. He even gets on his hands and knees and moves all over the stage. He uses a brush prop and waves it everywhere. The scene gives off an almost whimsical feel with the large movements along with the changing colors of the stage floor. The scene gives deep insight into the mind of the synesthetic. In the burning of the paper scraps of Sammy Costas’ numbers scene, Sammy Costas is very emotional because her memory is inundated and breaking with the overwhelming quantities she has memorized. She is desperately trying to relieve the pain of her numerous memories by writing down the memorizations she made during her shows and burning the papers, hoping that this would erase those memorizations from her mind. Another actor dramatically burns the papers for her by getting on his hands and knees, taking out a lighter, and stretching slowly with the lit lighter from the ground and raising it above is head. The slow dramatic movements in this awkward stance make the scene very powerful. These movements convey the desperation of the characters and entrance the audience.