I suspect Michael S would eat that for an engagement shoot or similar, loads of potential that could be tackled a dozen different ways at least
Just a bit
That's a lovely setting.
Richard has hit it on the nail, and it's worth building up in stages, as it adds to experience and stands you in good stead. It also teaches far more when things don't actually go the way you expect, as you then figure out why, and can avoid the pitfalls next time. Doing something very complicated straight off can not only cause frustration if it doesn't go to plan, but can often de-motivate you, as the only step back from a large step is to start again. With Richard's method, you learn as you go, and if it doesn't work, it's a small setback.
If you really, really fancy trying something quite evocative, but quite simple try the following:
Ask your wife to sit on the left side of the seat, turned 45 degrees towards camera right (her left), which would put her right cheek towards you. Ensure she looks relaxed and have her lean into the corner of the seat to support her.
Set a single softbox camera left at slightly above your wife's head height, and angled slightly downward towards her.
Start with your light source on about 1/32nd output, with your camera settings pretty much identical to the above image.
What you are attempting to do is recreate the same image with your wife in place, but with the added Profoto head filling in some of the shadow on your wife. Not enough to kill the shadow, as that is what gives the image its atmosphere, but just enough so the shadows on her are no longer pitch black, but a few stops less than the lit areas on her face.
You will then turn your profoto light source up or down to get the effect I have alluded to.
You know what, it's a hell of a lot easier to do it, than to try and explain via the written word