The piece was presented at the Salle du Gesù in Montreal, from March 21 to April 6, 1946. Pellan then designed the costumes, but also the sets, make-up, furniture and accessories for the production. Six backdrops were painted by the artist with the help of his students from the Montreal School of Fine Arts. These six extremely colorful paintings do not evoke any real place, but rather suggest a street, the garden of Olivia or the home of Orsino. Nicole Clément even says that “in the sets, there is no question of structuring the scenic space, on the contrary we are witnessing a flattening of it. It is the painting effect and not the scenic effect that emerges from the whole19. The painting effect of the decor will then be found in connection with the costumes. The almost pictorial organization – if not scenic – will be organized in the contrast of the colors of the costume with those of the canvas.

The costumes follow the same logic of geometric shapes, ornaments or patterns as in pictorial art, creating an atmosphere close to that of the circus. The so-called ridiculous characters wear buffoon costumes: the greedy Sire Tobie wears upholstery on which a fork and a knife are painted, while the Feste clown is wearing a tricorne for the least eccentric where there are three faces with different expressions at the end of each of the horns. The almost futuristic uniform of the officers looks more like a comic book superhero costume than a Shakespearean character