Night on Bald Mountain begins and ends at Mrs Quodling's goatyards and shack. The building is intended to be small and simple, with the outdoor elements of the goats and the mountain itself the focus, rather than the shack. In this isolated retreat Mrs Quodling has made for herself and her goats, the members of the Sword household begin and conclude the tragic 24 hour period of the drama. Here, full force of the mountain as a character in the play is displayed. Mrs Quodling speaks of the mountain with tenderness and respect, but invokes the necessity of showing caution and fear. 

The fictional Bald Mountain is located on the outskirts of Sydney, far enough away for a strong sense of isolation to pervade the play, but near enough that the 'rhinestone' lights of the city can be seen. Coordinates have been given for the Blue Mountains on the outskirts of Sydney. 

Director of Sydney's Malthouse Theatre production of Night on Bald Mountain in 2014 discussed how "the mountain itself is a massive force in the play. Most of the characters either honestly express that they cannot understand it, or arrogantly express that they know what nature is. It humbles people and in this play it's very violent, very harsh". (http://www.smh.com.au/entertainment/theatre/new-light-cast-on-patrick-whites-night-on-bald-mountain-20140423-3748m.html)

The Sword's home on Bald Mountain is the central setting of the play, both structurally and symbolically. The play begins and ends in the exterior world of the bush and goatyards, however the core of the action takes place in the interior of the Sword residence, and it is the interior world with which the play is most occupied.

The set design for the Sword residence is intended to allow the audience to see into multiple rooms of the home simutaneously. Reflecting on the set design in the original 1964 production, RF Brissenden writes "The Sword house, in which much of the action occurs, is a most imaginative setting, which enables us to witness several scenes as they take place simultaneously in different rooms. I know of no other dramatist who has used this device so effectively: as the inner lives of the characters proceed in ironic parallel, impinging on each other from time to time, but only rarely touching with sufficient intimacy for there to be any real communication, a claustrophobic and electrifying atmosphere is built up. [Brissenden, RF. The Plays of Patrick White. Meanjin Quarterly, Vol. 23, No. 3, 1964: 243-256]