Thank you very much for your responses and welcome!
<P>At the end, when Rothbert dies, the lights came on in a more golden tone, and most, if not all, of the blue-green light was gone. The whole stage was brighter, more like the lighting they used in the court scenes, although not quite as bright. No more auras then! The more golden lighting felt like a relief: it noticeably perked my spirits up, as I suppose it was intended to do. <P>I really like the idea that they were mired in his blood or poison. We had wondered if somehow with all that blue and white we had started seeing phantom colors as a result of retinal malfunction. But what you say makes a lot of sense. These colors were more noticeable when there was a lot of movement and a lot of dancers onstage at once, although at times it was noticeable on the soloists, too. I'm just guessing, but it seems if one dancer was onstage, holding still, we would not notice the subtle light hitting him/her -- it would just blend into the costume. But with movement it would present many more surfaces for the light to bounce of off and into my eye. (I'm just guessing! I've never thought about lights in a production before!)<P>The show was Swan Lake by the Moscow Festival Ballet, performed in Spokane, WA. The lighting was done by Marina Borodina.