Based on an opera written by two guys named Bela, Powell and his golden-era designer Hein Heckroth went nuts with colored lights and jagged sculptures on this newly-restored musical. Judith gives up her old life for his castle, but finds it dank, and insists he open the seven closed doors. She doesn’t much like his bloody torture chamber, or the armory full of bloody swords, or that the walls and even the flowers are bleeding, but keeps insisting she’s not afraid. Behind door five is a view of Bluebeard’s vast kingdom, and now she sees blood in the clouds, might be hallucinating. Door six is his pool of tears, no points for guessing what else appears in that pool. BB seems really unhappy, not sure what he’s getting out of all the killing. Judith says he might as well open the last door since she’s already guessed it’s full of women he murdered. He credits his three previous zombie-statue wives with the glories of his kingdom, each representing different times of day, says Judith will be his midnight girl, “night belong to you forever.”