This scene, in which Diomedes woos the faithless Cressida, represents a reinforcement of some of the themes that have already been introduced in the play such as loyalty and betrayal, lust and infection, manipulation, ignorance of public duty, and the major theme of futility. It also represents the beginning of a shift in character in Troilus since this is the event that inspires his redemption as a warrior, although it can be argued that "redemption" is too strong a word since his moral lapse has already caused severe damage.
Cressida appears in this scene, again, as a manipulator in the love game, but Diomedes proves that he will not be as easily "played like a fiddle" as was Troilus. Although Diomedes' infatuation with Cressida has caused him to ignore the code of chivalry by failing to stay and entertain Hector, he, unlike Troilus, has no intention of allowing his amorous aspirations to make him absent from the battlefield. It can be argued that, in this sense, Diomedes has proven himself to be morally superior to Troilus.
Ulysses has orchestrated events so that Troilus may bear witness to his lover's betrayal. Up to this point, Ulysses has been presented as a wise manipulator. One would be justified in questioning Ulysses' intentions in this scene. Was he following the code of chivalry in bringing this matter to Troilus' attention and offering advice, or did he have an underlying motive of playing with the young Trojan's mind? Either way, both objectives are met.
Troilus appears in this scene as the wronged lover who now has visible proof of Cressida's betrayal. He is obviously beside himself and is contained only by efforts of great restraint by Ulysses. The theme of betrayal leaps to the forefront here as we recall Calchas' earlier betrayal of the Trojans, and Helen's betrayal of Menelaus. Troilus runs parallel to his brother Paris in that they have both put their passion ahead of their duty.
Thersites appears as the railing malcontent who underscores the theme of futility. Thersites serves primarily as an obnoxious chorus throughout the play who can find no good in anyone. However, his sarcastic voice echoes a fundamental truth when he says that "all is war and lechery". Indeed, this proves to be a fundamental truth of the play.
As for the staging of this scene, I certainly see it taking place outside at night. The ominous themes that prevail in this scene would not have the same impact if it were staged on a bright sunny day. The mood of the scene, as I see it, is necessarily engulfed by darkness.
The set design should be kept simple, since the action in this scene requires little adornment to make its point. Calchas' tent would be on the left side of the stage (from the perspective of the audience), and there should be a tree to the right of center stage, behind which Troilus, Ulysses, and Thersites can bear witness to the main action with secrecy.
The costumes should reflect, to some degree, the personalities of the characters. I see Diomedes as wearing the normal attire for a Greek soldier who is unarmed since he presents himself as a self-assured man who will not be made a fool of. He requires no special adornment to present himself to Cressida. Cressida, on the other hand, is expecting the visit from Diomedes and has dressed accordingly. In the spirit of playing the coquettish vixen, she will be attired alluringly with the obvious intent of holding her guest's undivided attention. The attire of the other three characters in this scene is less important since they are meant to be hiding from the focal point of the main action. They will simply be dressed in attire appropriate to their positions.
Props and furniture will be kept to a minimum also. Perhaps there could be a table outside the tent with a bowl of fruit of which a few pieces are half-eaten. This could, in a minor way, help to reinforce the theme of waste and decay. Although, this might not be practical since the scene is staged at night. I would also have Ulysses bear a staff as a prop. The reason for this will be explained in a moment. The sleeve which Troilus gave to Cressida as a token of his love would be another prop. In this scene the sleeve should bear a stain, for obvious reasons. There would also be two large torches flanking Calchas' tent.
As for the lighting of the set, the aforementioned torches will flicker and exemplify the fickle nature of the woman who has emerged from the tent to greet Diomedes. There would probably have to be a soft spotlight to highlight the actors for the audience, but the engulfing darkness and the flickering of the torches would set the prevailing mood of the scene. If it were possible, I would have it appear that the lights from Calchas' tent were causing the shadow of Troilus to be cast on the tree that the other three characters are near. Ulysses will stand beside Troilus with his staff in such a manner that the shadow cast by the young prince will appear to have a horn. This would foreshadow, both literally and figuratively, the danger that Troilus will face of becoming a cuckold if he marries Cressida.
For the sound and speech, Diomedes and Cressida will speak in normal voices while the other characters speak in loud whispers to remain undetected by Cressida and Diomedes. Crickets and sounds of the night would add to the flavor of the setting, and in the background, I would add the low rumble of thunder toward the end of the scene. This would be a symbol of the impending storm and destruction that will follow from this moment in the play.
In conclusion, the set design, costume, props, sound, and lighting should all, in some way, contribute to the mood of the play and help to exemplify the themes of the play. Anything that does not serve a specific purpose will be eliminated as this Shakespeare scene requires no crutch.
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