(Figaro’s arm is around Susanna’s shoulder, he’s standing next to Cherubino. Both are standing at the table. The Count is standing upstage center.) Non più andrai, farfallone amoroso, notte e giorno d'intorno girando;
(goose Susanna, Susanna gives a slight scream) delle belle turbando il riposo
(pinch his cheek) Narcisetto, Adoncino d'amor (gently slap him).
(hold his cheek in your hand) delle belle turbando il riposo Narcisetto, Adoncino d'amor.
(lead him over by the shoulders to the table) Non più avrai questi bei pennacchini,
(take off his hat) quel cappello leggero e galante,
(take off his collar) quella chioma, quell'aria brillante, quel vermiglio donnesco color. quel vermiglio donnesco color. (during this sequence, give Cherubino the yardstick, and show him how to point it as though it’s a musket, when you get to ‘quel’aria brillante’ point Cherubino directly at the Count with the yardstick pointed directly at the Count’s head. Cherubino immediately puts the gun down though.)
Then turn to the Susanna and walk over quickly to her. After the first line, kiss her hand, after the second line, kiss her cheek, as you say the third line, get her up, kiss her on the lips.
Then walk back to Cherubino. Tra guerrieri, poffar Bacco! Then point the yardstick back at the Count as though he’s holding a musket. “Gran mustacchi, stretto sacco.” With every line, move Cherubino a step closer to the Count.
At “poco contate” the yardstick is almost pressing directly at the Count’s head. Figaro holds up his fingers as though to tell the Count he’s not being paid enough. The Count must look both scandalized and scared.
Ed invece del fandango, una marcia per il fango. Take Cherubino in you arms like you’re dancing a tango, and dance around the room. Until you’re back to the table.
Sing the third time through to the Count. With every line, take a step closer to the Count, until you’re right in front of him.
Cherubino alla vittoria: alla gloria militar! Cherubino alla vittoria: alla gloria militar! Alla gloria militar! Alla gloria militar! Susanna picks up the male wig head, Cherubino has the meter stick as a rifle. Both of them take step after step in rhythm, closer and closer to the Count, until they surround him downstage with their backs to him. Then all three of them bow low so the audience can see the Count’s face. The Count leaves the room betraying a mixture of rage and terror.