By G.R. Cogman
Art by Fredd Gorham and Dan Smith
Quick DescriptionIn this In Nomine adventure, two Renegade Servitors of Kobal are on the loose, and attempting to manipulate a Remnant Seraph of Yves and an innocent six-force Mortal into an operatic aria that will literally bring the house down. Meanwhile, three hunters of Asmodeus' pursue the Renegades, and a Mercurian of David who patronizes the Opera House requests that angelic PCs investigate the matter, while Kobal sends out some demonic PCs to foil the minions of the Game and find a little trinket of his . . .
BackgroundLast month, Ashamael and Lucrezio discovered a neat little Relic trinket in Kobal's private collection: a necklace with the property of converting any Corporeal Songs of Thunder sung in its presence (within earshot of the wearer) to Songs that would have a devastating physical effect on the locality. (It had been liberated from a Servitor of Janus quite a while ago.) Ashamael and Lucrezio decided to borrow it themselves, in order to work out a joke that would use it suitably.
Unfortunately for them, the theft was traced before they had managed to work out The Joke, and they found themselves on the run as Renegades, with a team of Asmodeus' on their tails: they have no wish to join the Hosts of Heaven, but they can hardly go back to Hell without the joke of the century to win them a pardon from their Prince.
By some infernal stroke of luck, such a Joke has fallen into their hands. They discovered (when Lucrezio attempted to manipulate his emotions) that Gavin Julianson was a Remnant, and found him linked to Tania Sherdun, a natural six-Force human in the Opera chorus to whom he was giving singing lessons. Gavin had vague memories of the Symphony, and was attempting to recreate it in Tania's voice.
At this point the two Kobalites looked at each other, realizing that they had found their Joke. What better amusement than to have a Remnant Angel and an innocent human trigger the Relic in the middle of a performance at the Opera, causing a general structural collapse and disaster?
Ashamael found a convenient host: the mild-mannered and friendly John Samuel, who was in charge of the props for performances at the Opera. John Samuel has since become something of an alcoholic and a dirty old man, and is causing worries to those who know him: the Shedim has so far avoided any overly drastic evils. He has also been possessing the odd passer-by outside the Opera, in an attempt not to corrupt John Samuel too fast.
Lucrezio found himself an identity as "Math Collin," one of the lighting crew who works the spotlights and stage lights. He is enjoying the general emotional turmoil of the opera. He has also been handling all communication with Gavin, convincing him that he is an agent of greater powers, and that he can restore Gavin to the glory that is his, through Tania's voice.
Gavin has been convinced that if Tania can sing, on stage, with all her force, the one piece of Celestial music that he remembers, then he will be returned to his former self. He does not realize the full nature of the Song which he is teaching her. Ashamael and Lucrezio intend to make sure that she is wearing the Necklace at the time.
The hunters of the Game are on the heels of the Kobalites, however. They have managed to trace them to this city, and to the general vicinity of the Opera, and intend to check out the Opera House using their cover identity of Financial Consultant and staff.
Yesterday, this was all blundered into by Terethel, who happened to be in the vicinity when Kushiel passed the Opera House. He recognized him (having once run into him elsewhere) as a Servitor of Asmodeus, and instantly jumped to the incorrect conclusion that he was somehow attempting to sabotage the Opera House. Since his Role is busy in the fund-raising week, he attempts to enlist angelic PCs to stop him, causing them to enter the tangle.
Kobal, elsewhere, has no wish to see Asmodeus gaining an advantage by capturing Renegade Servitors of his, or confiscating the Relic: he will corral some demonic PCs, either direct Servitors of his or people who are prepared to do him a favor, and have them investigate the Opera House (where he knows the hunters of the Game are headed): perhaps to foil the hunters, perhaps to give Ashamael and Lucrezio the chance to play this Joke.
Tania Sherdun, SingerCorporeal Forces -- 2 Strength: 3 Agility: 5
Ethereal Forces -- 2 Intelligence: 3 Precision: 5
Celestial Forces -- 2 Will: 3 Perception: 5
Songs: Thunder (Corporeal/4)
Skills: Dodge/2, Emote/4, Knowledge (Opera/3), Move Silently/2, Singing/5
Tania is a hopeful young soprano with a great deal of potential, who has been the beneficiary of coaching from Gavin. While she finds a great deal about him to be disturbing or mysterious, she reconciles herself with the facts that he has not made any advances on her, and that he is a very good teacher. She is puzzled by the current work that he has been training her in, but hopes for an explanation soon.
Tania is a good-hearted young woman, and a prime candidate to be a Soldier of God, if she does not get snared by Hell first. Gavin has trained her to perform the Song of Thunder in response to a signal from him, either verbal or a particular run of notes on his violin. She will respond to this almost automatically by now: as she has always practiced privately with him, she does not realize the effects that it may have on others.
Tania is somewhat shy, though will talk freely about the current opera or about opera in general: she is the understudy for the heroine's part. She will not mention her private lessons with Gavin unless forced into it, or given strong reason. She has no demonic taint on her, as Lucrezio and Ashamael have been carefully avoiding her.
Gavin Julianson, Remnant of Seraph of Yves, First Violinist in the Opera orchestraCorporeal Forces -- 2 Strength: 3 Agility: 5
Ethereal Forces -- 3 Intelligence: 4 Precision: 8
Celestial Forces -- 0 Will: 0 Perception: 0
Vessel: Human/1 (Status/3), Role/3 (First Violinist in the Opera Orchestra)
Songs: Thunder (Corporeal/5)
Skills: Artistry (Violin/6), Detect Lies/2, Dodge/2, Knowledge (Opera/3, Violin/5), Languages (French/2, Italian/3, Latin/2)
Attunements: Divine Destiny
Gavin is a Remnant, the victim of a Celestial battle some ten years ago in the city. His body was injured, and he recovered in hospital as an amnesiac. Taking his doctor's last name as a surname, he attempted to make a place for himself in the world, haunted by vague memories of a greater existence, a nobler purpose, and a beautiful music that he can never hear again.
He found a place for himself in several orchestras before settling in the Opera orchestra, using his natural talents with the violin. He has coached several students privately in singing, but Tania is his best student yet, showing true drive and talent. Lucrezio has convinced him that through her music he may regain his former identity: a lie, but one that he desperately wants to believe. He will do anything to make sure that she performs. Unconscious use of his Divine Destiny attunement is what has caused Gavin and Tania to come in contact, as she is a natural six-Force human with the potential to be a Soldier of God.
Gavin is obsessive on the subject of his music: he has a small room in a block of flats not far from the Opera House, but spends almost every waking hour at work, either rehearsing, practicing, performing, or coaching Tania privately in the evenings. He has become even less communicative after being deceived by Lucrezio. Musical technique is the only thing that he will discuss willingly.
Lucrezio, Habbalim of Kobal, with vessel Math Collin, Lighting AssistantCorporeal Forces -- 2 Strength: 6 Agility: 2
Ethereal Forces -- 4 Intelligence 9 Precision 7
Celestial Forces -- 4 Will: 11 Perception: 5
Vessel: Human/2 (Charisma/3, Status/1) Role/2 (Math Collin, Lighting Technician at the Opera)
Songs: Attraction (Ethereal/2), Charm (Corporeal/3, Ethereal/1), Entropy (Celestial/3), Motion (Corporeal/2)
Skills: Climbing/2, Dodge/1, Driving/2, Electronics/3, Emote/4, Fast-Talk/4, Lying/3, Tactics/2
Attunements: Habbalim of Kobal, Balseraph of Kobal, Prank
Lucrezio is desperate to regain his standing with Kobal -- who would have thought that "borrowing" the Necklace could go so drastically wrong? However, if he can pull off this Joke, it should be enough to regain his position and improve it.
He appears, in his Role, to be the sort of hard-working technician a supervisor would dream of: willing to work long hours, always helpful in trying to smooth over the (recent) quarrels between his co-workers, always keeping an eye on the stage. In fact, he causes most of the quarrels, and is wondering why he never found such a haven before: the place is full of emotional instability and edges. He comes across as an open and friendly assistant, but should the players hear him "mediating" a quarrel, they may notice that the water he throws on the flames is the equivalent of pure oil.
Ashamael, Shedim of Kobal, possessing John Samuels, PropsCorporeal Forces -- 2 Strength: 4 Agility: 4
Ethereal Forces -- 5 Intelligence: 12 Precision: 8
Celestial Forces -- 4 Will: 6 Perception: 10
Vessel: Human/2 (Status/2, Charisma/1)
Role: John Samuels, Props at the Opera
Songs: Entropy (Ethereal/2), Form (Ethereal/3), Shields (Corporeal/3, Celestial/2)
Skills: Dodge/3, Emote/2, Lying/3, Medicine/3, Move Silently/2, Ranged Weapon (Rifle/3), Throwing/2
Attunements: Shedim of Kobal, Calabim of Kobal
Ashamael has often collaborated with Lucrezio, and was unfortunately with him when he "borrowed" the Necklace, putting them on the run together. He is the subsidiary spirit in their partnership, but is extremely effective at acting subtly and from the shadows.
Ashamael is possessing and corrupting John Samuels, the Props man (who handles stage props): once known as a friendly and helpful elderly man that all the staff could take their problems to, Samuels is now an object of concern to many, as he has taken to drinking, leering at the female cast members, and is suspected of the recent rash of small thefts. Ashamael realizes that this is somewhat obvious, but cannot risk Dissonance or leaving his host. He will attempt to project geniality and helpfulness, but this is becoming tainted by a patina of selfishness and lust.
Terethel, Mercurian of DavidCorporeal Forces -- 2 Strength: 4 Agility: 4
Ethereal Forces -- 4 Intelligence: 11 Precision: 5
Celestial Forces -- 3 Will: 6 Perception: 6
Vessel: Human/2 (Charisma/3, Status/5) Role/5 (Terence Mubin, Civic Architect)
Songs: Attraction (Corporeal/3), Charm (Ethereal/2), Healing (Corporeal/2)
Skills: Chemistry/2, Driving/3, Emote/2, Fighting (Karate/4), Knowledge (Architecture/5, Town Planning/3), Survival/3
Attunements: Mercurian of David, Deep Gaze
Terethel is comparatively new to the area: he holds a certain amount of influence with the wealthy city planners, and is using it to make sure that new buildings are of acceptable architectural standards. He also belongs to the Patrons of the Opera, who regularly attend performances en masse, and are due to attend the first night of Fiat Justitia shortly; while this may seem unusual for a Servitor of David, he is promoting group action and communication among a set of people who would rarely otherwise cooperate. He has developed an unusual fondness for the Opera itself, which is why he has reacted so strongly to seeing a Servitor of Asmodeus near it.
Terethel is easy-going and continually polite, with a manner honed by many expensive lunches. He will attempt to enlist other Celestials to help sort out Infernal problems, or deal with them in a subtle manner, realizing that he is not the most effective of fighters in a physical situation.
Focalor, Balseraph of AsmodeusCorporeal Forces -- 2 Strength: 2 Agility: 6
Ethereal Forces -- 3 Intelligence: 7 Precision: 5
Celestial Forces -- 4 Will: 8 Perception: 8
Vessel: Human/3 (Charisma/2, Status/4) Role/5 (Michael Focals, Investment Analyst)
Songs: Entropy (Corporeal/2, Ethereal/3, Celestial/1), Harmony (Corporeal/1), Possession/3, Tongues (Ethereal/1)
Skills: Detect Lies/4, Dodge/2, Driving/2, Emote/3, Fast-Talk/3, Knowledge (Stock Market/3), Savoir-Faire/3, Small Weapon (Stiletto/2)
Attunements: Balseraph of Asmodeus, Habbalim of Asmodeus, Knight of Judgment
Focalor is an up-and-coming young Balseraph, with cooperative assistants. He does not have a great deal of experience, but is hoping that this may be the case which substantiates the rank he has gained. He knows that Lucrezio and Ashamael made off with a Relic "in the form of a necklace," and has a description of Lucrezio's Vessel, but is otherwise short on information: however, he has reason to believe that there is a Shedim somewhere at or near the Opera House, so is following that lead.
Focalor is not interested in cooperating with any angels, as he feels this may lead to unwelcome scrutiny from Asmodeus. He is quite willing to let ignorant angels fight it out with his prey, however, and then try and take both of them down while weakened. Pleasant, with a wide range of mortal clients, he is the ideal person to make you believe that he is interested in your investments. Oh, and he has an excellent portfolio.
Namaah, Lilim of AsmodeusCorporeal Forces -- 3 Strength: 5 Agility: 7
Ethereal Forces -- 4 Intelligence: 8 Precision: 8
Celestial Forces -- 2 Will: 4 Perception: 4
Vessel: Human/2 (Charisma/3, Status/2) Role/5 (Maria Namar, Secretary to Michael Focals)
Songs: Attraction (Ethereal/3, Celestial/2), Fangs/4, Dreams (Corporeal/2), Light (Corporeal/2)
Skills: Acrobatics/2, Dodge/3, Emote/2, Fighting (Tai Chi/3), Knowledge (Secretarial/3), Lockpicking/2, Move Silently/2, Ranged Weapon (Pistol/3), Seduction/2
Attunements: Lilim of Asmodeus, Lilim of Malphas, Dissonance Binding, Humanity
Discord: Geasa/5 owed to Asmodeus
Namaah projects the image of the ideal secretary: helpful, silent, always present and listening, with just a hint of subdued carnality. She tends to be the stealth/spying member of the team, gathering information for the other two to act. She has the same information as Focalor on the current mission.
An attractive young woman with razor-cut hair and a business suit, she can convince most people that she is merely taking notes or investigating on the behalf of Michael Focals. Her manner is invariably polite and hesitant: she carries a concealed pistol in her jacket. She may possibly see the benefits of giving angels some information, especially if her life is in the balance. One can always rearrange the facts in one's report if one is alive: harder if one is dead.
Kushiel, Calabim of Asmodeus, ThugCorporeal Forces -- 5 Strength: 12 Agility: 8
Ethereal Forces -- 3 Intelligence: 4 Precision: 8
Celestial Forces -- 1 Will: 2 Perception: 2
Vessel: Human/4 (Charisma/2) Role/5 (Jonas Kushel, Bodyguard to Michael Focals)
Songs: Acid/3, Claws/2, Feet/2, Thunder (Corporeal/2), Tongue/3, Wings/4
Skills: Climbing/2, Dodge/3, Driving/4, Fighting (Brawling/5), Large Weapon/3, Move Silently/3, Running/1, Small Weapon (Razor/4), Survival/3, Tracking/4
Attunements: Calabim of Asmodeus
Kushiel is low on intelligence and high on muscle, and likes it that way. The bruiser member of the team, he hangs about until his targets are named, then takes them down as quickly as possible. He plays the part of bodyguard to Michael Focals, loitering in mirrored sunglasses and ripped leathers. He has the same information as Focalor on the current mission.
Kushiel is not likely to recognize Celestials unless something obvious makes it clear to him (such as wings, strange lights, and so on). His attitude will be to take them down: every angel killed is one the Forces of Hell won't have to worry about in the future. The others in the team will try and direct his attention to their real targets, but even so, he has been known to "make a mistake." He is rough-mannered, and grunts when he speaks at all.
Peter Guther, Manager of the OperaCorporeal Forces -- 1 Strength: 1 Agility: 3
Ethereal Forces -- 2 Intelligence: 4 Precision: 4
Celestial Forces -- 2 Will: 4 Perception: 4
Skills: Computer Operation/2, Detect Lies/3, Emote/2, Fast-Talk/2, Knowledge (Opera/2, Finance/4), Savoir-Faire/2
It is a difficult job keeping an Opera House solvent, and Peter Guther runs on about eight cups of coffee a day to keep it going, what with meetings with patrons, stocks and shares, organizing staff and future programs, and the like. His secretary will attempt to keep out anyone who does not have genuine business with him.
He is in his fifties, balding, thin and wiry, with the beginnings of an ulcer that is not improving his temper. If the PCs can find some reason to speak with him, he will expect them to be to the point and intelligent. Time-wasters get shown the door. He or his secretary can provide personnel files on Gavin, Tania, Math Collin (Lucrezio's Vessel), and John Samuels (Ashamael's host).
Ben Dodd, Director of Fiat JustitiaCorporeal Forces -- 1 Strength: 2 Agility: 2
Ethereal Forces -- 3 Intelligence: 4 Precision: 8
Celestial Forces -- 1 Will: 1 Perception: 3
Skills: Dodge/1, Emote/3, Knowledge (Opera/4, Theater/3), Medicine/2, Singing/2
Ben Dodd is busy with the last few days of rehearsals for Fiat Justitia. He has held his post with the Opera House for eight years now, and is respected by the staff and by the audiences. He will not be amused by people attempting to interrupt his rehearsals, or distract his singers.
He is in his forties, and running to fat, with a black toupee, and tends to wear slacks and a polo shirt for rehearsals. Financial talk will not interest him, and civic matters will be viewed merely as a distraction: he will be ready to discuss the singers and stagehands, and knows a fair amount of personal history. He is worried by John Samuels' (Ashamael) recent decline, as he has known him for a long while now.
Emilio Morgensen, ConductorCorporeal Forces -- 1 Strength: 2 Agility: 2
Ethereal Forces -- 2 Intelligence: 4 Precision: 4
Celestial Forces -- 2 Will: 3 Perception: 5
Skills: Dodge/1, Emote/4, Knowledge (Opera/3, Orchestra/4, Local History/2)
A bony 60-year-old with a vicious temper and cutting tongue, Emilio worked his way up from junior flautist to conductor, and knows the orchestra inside out. He will audition any potential musicians, though they are unlikely to be included in the First Night orchestra unless half the current group of musicians should go down with something.
Emilio thinks that Tania is underrated, and should be moving on rather than staying in minor roles. He knows most of Gavin's history (since he joined the orchestra) but willingly tolerates his personal oddities for the sake of his playing.
The NecklaceThis is a delicate piece of work, silver set with a central large beryl and two smaller surrounding ones. While it appears made for a small neck, it will fit whatever neck it is clasped around. When activated, the central beryl seems to pulse and flicker with ominous dark green lights. If unworn and unactivated, it is at -2 to Perception; if worn and active, it is at +6 to Perception.
Nobody is sure who created the necklace, and it has been in Kobal's private store for a long time now. If the Song of Thunder is used in its presence (within the range of hearing of the person wearing the necklace), all the effects become strictly physical (within the radius caused by the Song), causing Corporeal hits equal to the level of skill of the Song plus the total amount of Essence expended on it: this affects within-range structures as well as within-range living beings. The wearer of the necklace is immune from damage from the Song itself, though he may be harmed by collapsing masonry or other indirect effects.
It is unlikely that any PC would be allowed to keep this Relic, as it is very old and very powerful. Superiors are likely to confiscate it, or expect the PCs to hand it over as a matter of course.
The OperaFiat Justitia is the first and last work of a recently deceased young composer, Matthew Stockman, who was cut down in a traffic accident shortly after his opera was accepted for production. It basically concerns the rebellion against a despotic power, led by a young woman (the heroine and lead Soprano part) who is unhappily in love with the son (lead Tenor part) of the despotic villain (a Bass). All is resolved when the villain takes poison, and the hero and heroine resolve to lead the country into liberty together. The plot is not overly original, but the score and libretto are well done.
Day 1Morning: Angelic PCs are contacted by Terethel, who requests their presence at a coffee shop he knows that afternoon. He explains that this is the only convenient time he has for the next few days. Demonic PCs will be summoned by Kobal himself, or by some appropriate Servitor.
Afternoon: The meeting with Terethel. He explains his anxieties concerning Servitors of Asmodeus near the Opera House, especially given that Fiat Justitia is to be performed for the first time the day after tomorrow for an audience containing most of the City Council and other important figures. In his Role, Terethel is forced to appear at a number of events during this fundraising week, and he would not be very helpful in the event of physical battle, anyway. He requests that the PCs investigate.
Terethel can provide a number of convenient ways for the PCs to enter the Opera House, such as introductions to the Manager if they wish to pose as financial agents or the like, or a reference to the Conductor or Director if they intend to pose as musicians or singers. He can also provide a basic map of the Opera House, and information on Fiat Justitia itself. He cannot stay for long, though, as he is due to approve a set of architectural plans for a new hospital later in the afternoon.
Demonic PCs will be briefed on the fact that Ashamael and Lucrezio went AWOL with his Relic (the powers of the Relic will not be mentioned) and are now pursued by Servitors of the Game, who have traced them to the Opera House. The most important task is to foil the Servitors of the Game, preferably humiliatingly; then to collect the Relic, and the two Renegades. Of course, if they have a Joke in progress, they should be allowed to complete it first.
In the Opera House at this time, a rehearsal is in progress, and goes well. That evening, Gavin gives Tania a private coaching session. Ashamael has hidden the Necklace among a collection of stage jewelry, where the other fake gems effectively conceal it from casual notice. Should any PC be fortunate enough to find and remove it at any point, they are likely to be pursued by Ashamael, Lucrezio, and any other Servitor who knows about it, with extreme prejudice.
Day 2Morning: At the Opera House, the soloists and chorus rehearse to piano in the practice rooms behind the stage. The orchestra rehearses in the orchestra pit, in front of the stage.
The Servitors of Asmodeus enter the Opera House, in their Roles, and Focalor has a long discussion with the Manager about potential investments. Kushiel slips off during this to scout around the Opera House: he does not encounter Lucrezio or Ashamael, but gets a general idea of the layout of the place. He is noticed by several of the cast and orchestra.
Lucrezio and Ashamael become aware of Kushiel's presence, and suspect that the Servitors of Asmodeus have discovered them. Lucrezio takes care to remain up in the lighting gallery. Ashamael corrupts his host further, smashing all the mirrors in the dancers' practice rooms while they are at lunch. This causes a great deal of concern when they return.
Afternoon and Evening: A long rehearsal of Fiat Justitia, followed by notes and practice. All cast members and orchestra are likely to be onstage or in the wings, or in the orchestra pit, or in the dressing rooms, during this. Lucrezio and Ashamael will both be busy in their Roles. The hunters of Asmodeus will use the opportunity to explore further. In the evening, Gavin will give Tania another intense coaching session in a private practice room. While both have every excuse to be around the Opera House, Tania is nervous about being caught in a private meeting with a man, and Gavin is paranoid that somebody will find out what they are doing, and stop Tania from singing. Should they suspect that someone is trying to spy on them, they will do their best to escape without being seen: if caught, they will try to bluff their way out, and may well question the pursuer's reason for being present.
Day 3Morning: Further individual practicing for soloists and chorus and orchestra (unless last night's rehearsal was somehow disrupted, in which case a full rehearsal will be called). The Servitors of Asmodeus will haunt the Opera House, being sure something is going on here but not what.
Early Afternoon: No actual rehearsals in progress, though many of the cast and orchestra will be around the building.
One hour before performance: Lucrezio will perform his Celestial Song of Entropy upon the current lead soprano who is due to sing the heroine, leaving her babbling in her dressing room in the throes of a nervous breakdown. (Should this not be feasible, Ashamael will try and possess her, and cause her to do something which will make her unable to sing that night.) The role will be passed to her understudy, Tania, who will be terrified but steady. Outside, civic dignitaries will be arriving, including Terethel.
Performance: Before she goes on, Ashamael (assuming he still possesses John Samuels), or Lucrezio, if necessary, will pass Tania the Necklace, and make sure that she is wearing it. Tania, as the heroine, is due to enter after an opening chorus and sing her first great aria. Gavin will at that point play the agreed signal on his violin, and she will launch into her Song of Thunder.
Ashamael and Lucrezio will launch into an Invocation to Kobal, so that he can see and appreciate the Great Joke, and hopefully forgive their minor unauthorized indiscretion. If everything goes as planned, and he is summoned, he probably will.
Game Master HintsThe Servitors of Asmodeus can act as needed throughout the adventure, either to spur the PCs on if they are moving too slowly, or to hold them back if they are likely to end it all too fast.
Should the PCs suspect a Remnant, or suspect Gavin, research (probably through Terethel) will reveal that there was a battle here some ten years ago, in the course of which a Seraph of Yves was destroyed totally -- as far as anybody knows.
Ashamael will have to move to another host if he is discovered. In that case, he will break into the Props room to steal the Necklace, and keep it with him till he can give it to Tania. It should also be noted that Ashamael is aware of the story of The Phantom of the Opera, and will happily lead any PCs who suspect such a thing down into the cellars, there to waste their time. He might even strangle somebody.
Lucrezio is desperate to ensure that everything goes according to his plan, or he is doomed. Falling lights are a definite safety hazard, especially to inquisitive angels or Servitors of Asmodeus.
Terethel is hoping for minimum disruption to the Opera House. He is unlikely to get his wish.
Yves is likely to expect the PCs to take some action regarding Gavin -- at the very least bring him to some Tether of Yves, or speak to a Servitor of Yves about it. Gavin might still have some part to play in the War, once he understands what happened to him.
Lucrezio and Ashamael, if they survive, will probably either be pardoned by Kobal (and even rewarded) or running for their lives yet more desperately than before. They will certainly try and make the PCs the butt of a Joke or two -- vengeance is so amusing.
Tania is probably prime material for recruitment by the time this finishes, for one side or the other, as a Soldier of Heaven or Hell.
Operatic TermsThe Opera House itself has a standard theater layout: the Stage, the Orchestra Pit in front of it, a slanted level of seats facing it (the Stalls), a Lower Balcony of seats, an Upper Balcony (commonly referred to as the Gods), several Boxes on the Lower Balcony level and close to the Stage for well-paying patrons (such as Terethel).
Backstage: behind the stage itself, an area containing dressing rooms, rehearsal rooms, stairs up and down and equipment storerooms. Large backdrops or Props are stored in the cellar.
Dresser: a person assigned to assist a lead actor or actress with their costume and makeup.
Orchestra Pit: where the orchestra sits during a performance to play, directly in front of the stage.
Proscenium Arch: the arch which frames the stage as one looks at it. Lighting equipment is set up above it (spotlights and the like) so that the audience cannot see it but the stage is well lit. Backdrops are hung at that level until they are lowered (by levers and wires in the Wings) to be used as the backdrop to a scene.
Props: stage properties, meaning items which are used by the actors in the course of a production, such as fake daggers, guns, jewelry, and the like. The person who takes care of the items and manages them is commonly known as "Props."
Stagehands: these people adjust the scenery during breaks between acts or scenes, and tend to do any heavy lifting or moving.
Wings: to either side of the stage, leading backwards to the Backstage, concealed by curtains and by the sides of the Proscenium Arch. Actors make their entries and exits here: during a performance, the wings tend to be full of actors waiting to come on, Stagehands waiting to make adjustments in the scenery, nervous directors, Dressers, and so on. Not a very convenient place to loiter idly.
Article publication date: November 20, 1998
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