Paul Weitz staged the dressing room scene with Hailey and Dee Dee in the same manner as the season one scene of Hailey's first pre-rehearsal with Dee Dee.

Paul Weitz wanted music that was "stirring and invigorating and to some degree triumphant." Thomas Adès' powerful four-movement orchestral work, 'Asyla,' Op. 17 (1997), fit the bill. A composer of huge imagination, Adès' operas include 'Powder Her Face' (about the notorious Duchess of Argyll, and featuring a salacious sex scene onstage), 'The Tempest' (based on the William Shakespeare play) and 'The Exterminating Angel' (inspired by the Luis Buñuel film), which featured the highest note ever believed to be sung on the stage of the Metropolitan Opera.

Faust, along with the rest of the dancing throughout the season, was choreographed by Kelly Devine. Kelly has been nominated for two Tonys for her choreography of Broadway shows 'Come from Away' (2017) and 'Rocky' (2014).

Paul Weitz originally considered Delacorte Fountain for the dance scene, but decided to move it to the sculptures of Hans Christian Andersen and Alice in Wonderland near the boat pond, where he had spent a lot of time as a child. Says Weitz, "The Catch-22 of having success like Rodrigo has in a creative pursuit is that it can pull you away from doing it for its own sake, which is essentially a childlike state. So, bringing it to the kids' area of the park seemed appropriate."

The final episode of the series.