(OPEN) through your playing, even wild animals feel joy.

[fordeath]

Who: a band of artistic criminals and you.
When: septeril 30th — octeuril 12th.
Where: æfenglōm
What: rehearsals and an opera.
Warnings: n/a

I. rehearsals. septeril 30th — octeuril 5th. day & night.

Following the announcement, meetings and the first beginnings of stagecalls are set. Whether your character is made aware of the ambitious event via their watches, or by the smattering of posters and fliers posted about the Entertainment District (the music halls especially are feeling the love), all interested parties are pointed in one direction. A hole in the wall location, enchanted and normally used to evade the eyes of Aefenglom law enforcement is where a member of the troupe will pick you up and transport you to what you may or may not recognize as the "rundown" Grand Melodia Theater. As it turns out, the theater is well-used and also well-kept. Fancy that.

From there, participants will be given a rundown of procedure, what's to be expected, and the plot:


The setting in which this story is placed is not inhabited by humans. The city in which our story takes place in has never seen the footprint of a human, nor the wand of a Witch nor the claws of a Monster. Instead this city is inhabited by only two occupants: both of which have feathers and wings.

This city is inhabited by birds. Two types to be exact: Canaries and Hawks.

To the unbeknownst eye one may only see a peaceful colorful place, full of lush land and tall trees to fly to. But those who look carefully may observe something particular about this population, and that is the fact that none of the birds ever soar high enough to reach the sky.

You see, there are strict rules which keep this city and its occupants in check.

In our story, the canaries which inhabit this place glide just a little higher than the height of a mere house and float only as high as the length of a street pole. They are prim and proper little birds who never flourish or spread their wings too hastily, for it is said that those who too soar too high or brandish their wings too brazenly can cause trouble for themselves as well as everyone else. Such acts are seen as too radical and too emotional. Best keep to the ground and maintain your composure.

Hawks on the other hand must adhere to a more severe regiment.

One might notice that the hawks in this city never open their wings and for good cause, some might say. It's exclusively prohibited for any hawk to open their massive wings– be it from excitement, fear or surprise. Their sharp talons are gloved at all times, and no hawk is allowed to lift their bodies from up the ground, even just to glide from one place to the other. After all, hawks are much larger than their canary counterparts and far more dangerous to boot. They're inherently aggressive and predatory- who knows what kind of accidents could happen should one get too excited?

"It is for the safety of canaries and hawks alike," The old wise birds insist, "That hawks never open their wings and never take to the skies."

It seems as though all kinds of outbursts that might result in a flurry of wings is frowned upon here. There's no need to fly, some birds may say.

Why act so recklessly when there is perfectly good ground beneath our feet?

Determined to keep to the ever-present theme of creative liberation, the troupe encourages actors to adapt the plot with characters of their creation. If they would like a straight-forward, scripted role, they can do that, too, from the characters outlined below.


THE PROTAGONIST — A hawk from other places unknown who's come to travel through the city. They are completely oblivious to the strict laws in this place and seem to care very little about doing what's right and proper. Whimsical and carefree, our protagonist doesn't seem to realize the "dangers" they invite each time they make a scene or become overemotional, much to the discomfort of the other birds.

THE HEROINE — A canary who lives here within the city. Our heroine spends most of the story attempting to help and advise our protagonist, although most of their efforts are in vain. Considerate and wise, the heroine firmly believes the rules are for the good of everyone in the city... that is until the protagonist's endless questions and criticisms begin to take root in their mind.

Members of the troupe are encouraging and helpful to all newcomers, and will fill the roles required but untaken. Similarly, they'll step aside should any Mirrorbound want to try their hand at a main role, and will happily guide them along the way, giving them pointers. It's clear they've been doing this for a long time, and under circumstances just as harrowing. This is, first and foremost, a project of intense passion, undying love, thinly veiled frustration, and a dash of vindictiveness!

Anything goes for rehearsals as they are the prime time for proposing new ideas, offering help, collaborating with your fellow artists, etc! Actors, singers, musicians for the band, writers, prop makers, costume designers, artists for backdrops, technical support, stage hands, folks to lift heavy things, etc — all have a role to play! Here's some ideas to get you started:


• Rehearsals are the best time to get your stage fright jitters out of the way. Acting or singing in front of someone will do wonders when it comes to remembering your lines– and hearing out your fellow actor/singer is just as essential!

• Costume designing can be fun, but it also comes with its own caveats. This is especially true in an opera where everyone is birds… where are earth are we going to get all these feathers??

• Stagehands keep everything running smoothly in place. Even something as simple as reminding actors to take a break or keeping the stage tidy helps the progress of the production.

*Feel free to use these as a loose guideline rather than a format. Go wild!

II. the opera. octeuril 6th — 12th. nightly.

On premiere night, those not already dressed in concealing costumes are encouraged to wear a mask. Members of the band, especially, take extra care to hide away their identity, being that the music they're to perform is charged—not just thematically, but also magically. Even if ever so slightly.

The stage is finally set. Music and theater lovers alike have finally come out of the woodwork to enjoy some well deserved entertainment, briefly free from the shackles of parliamentary restrictions. It is a fleeting moment of unrestrained art. Like a smoking volcano, the lit and festive front of the theater garners glances of both caution and awe after the doors of all theaters remained dormant for so long. Please—come see what all the fuss is about.

The ticket tiers mentioned in the flier are described in more detail at the booths. General admission, which includes the gallery and balcony seating as well as the boxes, are all free of charge. For a small fee, one can purchase the reserved seats. These are the more coveted seats, having the best position for both visuals and acoustics and include center mezzanine and orchestra seating.

Once seated, the lights begin to dim and the curtain slowly unfurls to unveil the stage and all its glory. The band begins to harmonize, lead by a raised baton with a white pristine glove at the end of it.

It's time! For some daring theater! Any number of things might happen, such as:


• Background characters enhance the stage setting and bring the entire scene to life. Get creative with your background character’s quirks and habits, or even hold a conversation with another character! Be as creative as you’d like.

• The music has an imperative role of carrying the mood of every scene straight into the audience’s hearts. That being said- don’t worry if you happen to get a little too carried away, just make sure not to bump into your fellow band members while you’re playing your heart out.

• Lighting makes all the difference when determining the significance of a character’s actions or role. You may suddenly find yourself in the spotlight with all eyes upon you. Now’s the time to improvise! Sing, dance! Or… crack a poorly timed joke and hope someone comes to your aid?!

III. reception & afterparties. nightly.

Every successful performance without the interference of Aefenglom law enforcement is a miracle in and of itself, worthy each time of lively celebration, and they waste no time indulging in the opportunity.

Each night, crew and stagehands alike will be greeted with smattering of bouquets of various shapes and colors, lined up on a table in the middle of the backstage set. All of those who participated in the opera are free to take one– for they've accomplished something truly remarkable. In the very face of Parliament themselves they've managed to not only put together a riveting and challenging opera, but they've also taken a chance to express their passion and love for the arts without doing it alone.

Wine, champagne and other drinks are set out for everyone to enjoy, as well as some finger foods that include assortments of sliced meats, cheeses and pastries. Of course, if one manages to get too drunk then that's just fine. As far as the troupe is concerned everyone here is officially part of the "resistance" so to speak, and one's secrets will be safe with them.

Good patrons of the audience can receive the hard-working members of the performances here to give their compliments, questions, complaints, what have you!

---

It's on! This post is for those participating as well as for those stopping by to watch! Feel free to direct any questions to the information post. It's never to late to sign-up or plot on it, either. Questions can also be asked under the header below.

Comments

QUESTIONS.

[fordeath]

iii. afterparty.

[trouvaille]

( as well-trained as any service dog, for all that the main service he provides is placid intimidation, putin had sat obediently and quietly throughout the opera's performance beside gwen, giving every indication of more or less enjoying himself. it's harder to tell with her; despite the late hour and the fact she is definitely not performing, she's still stubbornly wearing her sunglasses indoors, having styled her hair up and around the arms in order to make them difficult to remove and discourage suggestions that she do so.

behind the lenses, her slit pupils have been prism-wide since the performance began. the debate as to whether or not art for art's sake truly exists, or whether the existence of ego inherently negates the concept, even when creating for oneself—she thinks this sort of thing is among the closest to it that anything gets. art deserves to exist; ego should not be disqualifying unless paired with elitism, and this feels to her the opposite of the sort of gatekeeping she's historically and frequently viciously railed against.

her pale skin gleaming opalescent where the light hits it and the teeth that periodically press into her lip needle-fine and just as sharp, she navigates toward the champagne in the aftermath with a path cleared by what she is prepared to insist is a proper four-legged patron of the arts, putin large and bear-like enough to have been already mistaken for someone's were-form, and she expresses marked interest in the conception and production of the work at her first and subsequent opportunities. )

[fiddlestick]

[Elliot's not planning to stay too late with the after party, he has work in the morning after all. He was just one of the masked violinists of the band, it should be easy enough for him to slip out unnoticed. But he wants to stay for a little bit. And lucky he does, because he spots the most important guest of them all.

DOGGIE!!!!

Elliot knows not to run up and pet a strange dog, but he sure stands near him and beams at him]

Aw, what a big boy! Did you like the performance?

[trouvaille]

( for all that putin is obedient and reserved—he stays close to gwen's side, routinely positioning himself between her and the people nearest them where possible—there's nothing hostile in his body language, alert but amiable and patient the way that large animals often seem to be. )

The story was broadly drawn but the messaging was clear and effective, particularly hand-in-glove with the—the sort of fast and looseness of the whole thing. It was an excellent showcase, I think it was an extremely well done thing. Quite a lot of talent involved, and the right amount of boldness.

( she might have reviewed it differently somewhere with a more thriving theatre scene, but in its context: it's brave, it's smart, and to her mind obviously necessary. the limitations of illegal theatre don't detract from it, but rather seem to have been cleverly harnessed.

as brisk as her answer is, she does add, )

If you let him scent your hand, he can decide for himself if he's in the mood to make a friend.

( he probably is. he's friendlier than gwen. )

Antonio Salieri | fate/grand order | ota

[amurder]

[I. REHEARSALS:

[Now that Parliament's ever watchful eyes have been diverted elsewhere– it's time for the theater to come alive once again.

Salieri, of course, knew Amadeus had been cooking something up his sleeve over the past few weeks– and passing up the opportunity to see the boxes and rows filled with people alike was simply not an option. It also allowed him to brush up on his own talents... something he wasn't able to do before, or even capable of imagining. Now, however– he's taking full advantage of the opportunities set out before him. Throughout rehearsals Salieri can be seen running around here and there (he's a little hard to miss, what with his heavy leopard tail and wings–) aiding people with their tasks or simply making sure there's enough scripts to go around.

Right now you might find him standing in front of the area where the band has been set up to the play. The stands, all lined with sheet music, are set properly and in place. The only thing that seems to be missing asides from the band members themselves are– oh.

There aren't enough chairs.] Where have all the chairs gone?

Damn. [He mutters under his breath, his tail lashing. There's only a few chairs set out... but not nearly enough for the entire band. Were they snatched up before they could use them? Perhaps there's more somewhere around here... clearly he doesn't like this one bit.]


II. THE OPERA (FIRST NIGHT):

[Of course, nothing quite compares to the energy buzzing about when production finally comes to life.

Salieri sees and takes note of all of them– the young and old alike, the interested and the skeptical– the Witches and the Monsters. They've all come from their own corners of the city to watch their tireless work in full bloom. Be sure not to disappoint– lest you find yourself answering to Salieri himself.

Who at the moment is currently backstage as the opera continues on. His expression is tight as pensive as he observes his script. He has a scene coming up– specifically one that calls for him to sing solo until he joins the rest of the choir.

... And its been a very, very long time since he's sang in front of a full audience. Rehearsals and students are one thing– but a full house? It's a different experience entirely. Not to mention the last time he did sing, well... one could say he was a different person entirely back then. Somehow, along with his changes, he feels entirely too different.

Ever so slowly his ears begin to lower. Maybe some encouragement would be put to good use here... !]


III. RECEPTION & AFTER PARTIES:

[At last, now's the time to relax.

One can find Salieri mostly tidying up– he's a persistent worker, even when it's time to unwind. He'll be disassembling instruments, setting chairs away and making sure everyone's had something to eat before the night is up.

Of course, he'll also be partaking in some drink. They all deserve this much and after a few glasses Salieri finds himself a bit more amiable than usual. When he isn't fussing about everything you can find him at the band area– having a seat on the piano's bench with a glass in hand. He's playing a few noncommittal notes, but otherwise seems very distracted and deep in thought. Oh, he's happy– there's no question about it.

But perhaps there's something bittersweet about this also closing to an end.]


IV. WILDCARD:

[Have a specific idea for Salieri in mind?? Drop it here and let's go with it! Refer to here if you'd like to know what else Salieri will be doing during the production, or hmu at jikaku for any other questions!]

ii

[loudandproud]

( he's been hanging around backstage--- most of his job has been completed by this point, having already moved some of the larger pieces as well as adjusted some of the curtains. he doesn't mind the fact that others had been given more responsibilities; quite frankly, it's probably for the best caspar only had to flex his muscle and not do anything that required a lot of extraneous thought.

it was hard enough for him to not grunt or make noises as it was.

but he's still keeping himself busy through making sure nothing goes wrong. seeing the upcoming soloist seem to be deep in his script definitely counts as 'going wrong'... shouldn't he be warming up or something? )

Hey.

( he goes right up to salieri, hands on his waist. )

It's almost time.

[amurder]

[It shouldn't be too surprising that Salieri would not remember all the names of the cast and stage crew off the top of his head– it had been a busy week for all of them, and this night was finally the head that would bring all of their hard work and efforts together.

Of course, it's safe to say Salieri doesn't expect the blue-haired male to approach him when he's so visibly out of sorts. The leopard Chimera blinks slowly... then feels his expression crack into a scowl.] Yes. I'm aware.

[He tempers what frustrations are left simmering within him. No use taking them out on a man who only seems curious about why he's stalling.] ... You've been helping with props, haven't you? Organizing as well.

Thank you. [Salieri murmurs, briefly looking away from Caspar.] For all your hard work. I'm merely... [What's the word?? Salieri sighs heavy.] preparing.

iii

[thejoyrider]

[Marie has been attending the performances religiously every night. If anyone knows what exactly these composers are capable of, it is her, having heard their music back home and even during her lifetime. It was no surprise that upon hearing about the upcoming performance she was just as excited as always to hear their new music.

That, and she missed her friends too. She managed to be reunited with Amadeus, but in the midst of opera preparations keeping Salieri busy, there was no time to even go out and meet him until now. But now that the performances have concluded, there was nothing stopping her.

She walks around the area and finally she finds him, by the piano. He has not noticed her yet and seems focused on something entirely else... This gives her an idea. She approaches the composer from behind as quietly as she can and places her palm over his eyes.]

Guess who!

[He would know at least that she has arrived in Aefanglom, right?]

[amurder]

[It's not the delicate footsteps that alarm him of Marie's presence first, nor is it the way he recognizes her by scent alone.

It's her sheer encompassing presence– the very essence of warmth she emits when those flock towards her... or in this case, stray away.

When small, slender hands come over his eyes Salieri's spine is already rigid and on alert, his heart hammering deep within his chest. His tail jolts when she descends upon him, but otherwise he (miraculously!) manages to keep his composure.] Ah!

Y... Your Majesty. [He manages. Salieri dares not peel away her fingers, so instead he brings one gloved hand to every so lightly touch the back of her's.] ...

Were you... did you attend tonight's opera?

[If she listens closely she can almost hear the disbelief, or rather the humility in his tone. Had he truly been so caught up that he would miss her presence entirely? If so– it would be... unforgivable.]

III.

[fordeath]

[ within the phrases of those distracted notes, amadeus sees a vulnerable area, an open opportunity for him to strike — as well as an open seat for him to steal. the fine thread of his wool suit slides along the lacquered bench as he thrusts himself onto it, effectively colliding his body into salieri's with a playful laugh to follow. ]

Watch your glass, Kapellmeister! [ amadeus has one in his hand as well, holding it high to avoid the waves of motion as he settles in.

immediately and without waiting a moment for salieri to respond, amadeus begins to one-handedly compose upon the notes salieri was playing just a second ago. from the chimera's mindless playing, amadeus builds a theme, elaborates on it and weaves a short, happy composition. he closes his eyes as he feels the whole thing out, purely by musical instinct. ] Now's no time for gloomy harmonies, Salieri. [ ♫♫♫ ] About half of us have gotten home now without a hitch! I'm grateful.

[ the short work expertly closes and comes to a flourishing finish. finally, he opens his eyes and peers into salieri's. ] Aren't you?

[amurder]

Oh! [At the very second of impact Salieri's gloved fingers tighten around the stem of his glass. Luckily, only a few droplets of his wine spill out and stain the carpet beneath. A quick, impulsive scowl sours his already glum expression–] Amadeus!...

[–and it quickly dies down as the Maestro begins to play.] ...

[As if by the will of magic itself his small notes become elongated, fabricated and woven into an entirely new sheet. The spontaneity of it is enough to subdue the Chimera as he listens– quietly subdued and yet spellbound.

As Amadeus finishes off his flair he's suddenly met with two bright teal eyes. His wings bristle under the intensity of them.] Yes... of course I am, Amadeus.

[The low response is a stark contrast to the flighty composition they heard just now. Salieri for a second silently wrangles with his conflicted response, and sighs out slowly.] No, I am underestimating... I am more than grateful.

And perhaps just a bit wanting for more. [He huffs, and quickly takes a sip of his wine.]

w.a. mozart ⋆ conductor/composer

[fordeath]

I. rehearsals

[ this show is something amadeus has worked on since induction into the troupe, almost since his arrival, and it's evolved a great deal since. the trip to dorchacht was particularly enlightening to the greater political workings of geardagas and provided both new inspiration and a deeper, clearer need for expressions of art. all expressions, in pointed defiance of that senseless theater ban.

art is alive and changing, and what once was a short vent piece performed exclusively underground is now taking place on the newly lit stage of the grand melodia for all to witness, masterfully refined by a composer who has had the experience of challenging a world's musical scene his entire life.

amadeus — ambitious fool that he is and — was never under the impression that his operatic work would remain deafened to a theater-deprived public. he was going to get it out there, ban be damned. formal laws and social restrictions were paltry in the face of good music, and he's long since become accustomed to loudly ignoring such things.

unlike the rigidity of the holy roman church regiment and the courts of stuffed, italian wigs, however, aefenglom is populated with folks just as eager to artistically rebel, and he is ever so grateful for it. it's precisely the reason why, despite the whole of the opera being written months ago, he encourages those mirrorbound taking part to add their own flair to it in all aspects that they like. it's a new challenge for him, the celebrated musical genius, to compose on the fly and properly unify aefenglom's collective creative voice as they all work to craft something new. but it will all be very, very worth it in the end. he will make it so.

when new members follow their theater-bound escort, amadeus greets them with broad, open arms. ] Welcome, welcome! I'm overjoyed that you made it. Have any questions for me? Here for the food? I'm afraid if you're only here to snoop, we'll have to pitch you out like you have an outstanding tab.

[ wow he's chatty. ]

II. opera

[ don't let the huge, flashy mask fool you into thinking amadeus has donned a serious persona. let it be seen and known firsthand that wolfgang amadeus mozart was, and continues to be, the furthest thing from a no-fun perfectionist, even when it comes to a show with so much on the line.

improvisation is in the name of theater, and, combined with the conductor's penchant for mischief, it becomes required while the spotlight shines on down. yes, because ...

amadeus is going off-script.

flight is a fun theme for him, so very easy to attribute to the musicality of birds, and to play on due to that. really, truly easy to play on due of that.

a single, feathered character is to test their wings, to see what they are truly capable of, for the first time. there is no music, but there is an enchanted arpeggio amadeus is to play when the character flaps their wings once, and then twice.

but when it comes time, amadeus — impish look on his face seen from the orchestral pit — plays the thing, and plays it and plays it and plays it. as the notes sing higher and higher, higher and higher our feathered friend floats. how high will they soar?? will they fight, or touch the very ceiling? are there any characters witnessing and willing to help, or merely laugh? ]

III. reception & afterparty.

[ on all nights except the last, amadeus indulges in at least one drink, sort of unconsciously clears the whole plate of meats and cheeses rather than simply eating them, and plays games with the troupe until he's exhausted enough to pass out.

but above all, he's warm and eager to celebrate those who braved this perilous journey with him. doesn't matter who you are, amadeus is shoving a drink into the hands of the nearest person and giving them an affectionately strong pat to the back. ] Here! Tell me, won't you – what did you think? You loved it, didn't you?

I

[fiddlestick]

[It was always fascinating to see how another musician handles leading their own projects, as everyone has their own style. Elliot was a perfectionist in his own projects, cheerful most of the time, but there was not a single detail that escaped Elliot's eye while he was in charge.

But it was Amadeus's turn now, and frankly it was fun just to watch. It was easy to tell just how much he loved music, how much passion he had for this opera. Passion he wanted to share with everyone, by letting them add their own flairs rather than follow a strict script. It reminded him of another musician back home, although Amadeus was undeniably more talented at music than the prince. It was truly inspiring.

Granted, Elliot could never be like this during one of his own productions because oh heck no. But still, since he wasn't at the helm this time, it was easy to get into the spirit of things]

Haha, don't worry! I'm here to help while I snoop. [He says it jokingly. Mozart's a friend, but he's also a music rival. This time it was Mozart's time to shine, but he's going to make mental notes for his own future performances.] I've never worked on a real opera before, so this will be a fun experience.

[fordeath]

[ the term rival once held such a cursed, resentful connotation to him — tainted by a history of jealous, viennese court factions and a persistent fiction that his friend murdered him in the name of it. in all his life, amadeus never once named anyone worthy of rivalry. he was the best at the time, after all, and the few whose talent he truly admired, he could only look up to.

elliot — an undeniable genius, his friend, and younger than him! — fills a unique qualifications for the part in a way that's so new, he really doesn't mind. (besides, "rival" in this sense is loads more delightful when you're not competing for your livelihoods.)

at the joke, he snorts, and promptly pinches elliot's nose. ] Don't be sneaky now, Elliot. I just might take cues from your lead and become a devil of a director myself.

iii.

[niespodzianka]

[ Geralt may be here with a gaggle of people who haven't been very stealthy nor anonymous, and he may have almost literally been raised by wolves, but he still has something resembling manners - sometimes. Or, at least, he's been trained well at appreciating the arts, no matter that he doesn't always Get It.

Which is why he puts an effort into finding the masked man responsible. ]

Oh-- [ well this is convenient. Geralt accepts the drink, and gives the shorter figure a bit of a look for that pat. ]

It was nice. [ Nice?? Wow, Geralt. ] Uh. I enjoyed it, anyway. Was the part when the heroine got stuck to the ceiling scripted?

III

[hippocarnival]

[Yuya heard the initial announcement, but being off in Dorchacht it's the whispers and the posters that actually catch his attention. So one night he finds the chance to slip away, follow the directions to the theater and... sit down for the show, somewhere near the front. It does make him realize he hasn't seen much in the way of theater or performance except for music, but that's something he doesn't think to look into before the affair.

He recognizes that there's quite a few Mirrorbound making up the affair, which is why at the end after the cheers and ovations, he swings around to reception.

And then he's quickly accosted, fumbling for the drink before it's lost to the ground. He blinks, owlishly before offering a grin.] It was great! I'm really glad I came to see it.

geralt and other people whose potential top levels and tags i am not responsible for | ota

[niespodzianka]

[ There hasn't been all that much time since stumbling back from Dorchacht, but he still ends up finding the fliers - and it's a nice idea. Not that Geralt is particularly well versed on the arts, but it's pretty much the thing to do where he's from, and besides, he thinks his absent best friend and troubadour would be personally furious if he didn't attend a rogue opera.

Speaking of this being a rogue opera: it's illegal, why does he have to dress up. He tolerates a measure of his female companions' input, but ultimately, opts out of most frills; black and nothing armored will have to do.

Opting for distance in between Paloma and Lambert because of foot angst, or whatever, Geralt doesn't understand, these idiots are taking up most of a row, ordering Paloma, Geralt, Sokie, Lambert, (John) Childermass. Someone has at some point called this a group date, prompting reactions that range from thrilled amusement to longing for death.

Geralt's enjoying himself. Good show. If this weren't supposed to be sneaky he might have thought to send flowers from work over, or something, but he doubts the owner would appreciate being associated with illegal activity. ]

lambert (hit him up whenever)

[whattaprick]

[ What does one wear to the opera? Well, Lambert would hardly know, and since he doesn't have anyone to tell him otherwise, he's going to roll up to the theater in leather pants (most likely with Childermass in tow, having fetched the magician from wherever they agreed to meet and cajoling him with the promise of secret illegal theater) and a sharply cut jacket to match, though he appears to have forgotten to put on a shirt under it (or lost it. It's complicated). ]

Not really all that secret, is it? [ Is going to be his first comment, gesturing at the lights. His 'mask' isn't much -- when he's prompted for one, he'll simply tie a length of cloth with two holes poked in it over his face.

Once they're shuffled into their seats, he's going to snort loudly but not protest, but he's A) absolutely a man-spreader and tending to jostle the knees of those beside him, b) lean over to the others during the intermission and ask, dead-serious: ]

So which of the birds do you think are fucking?

[ Overall, though, he has a decent time (he's not the one who started calling it a group date, but he absolutely would have egged it on) and his spirits perk up even more at the afterparty, where he'll be found easily enough with a drink in hand, and happy to top off his companions' glasses ... assuming they haven't already ditched him, anyway. ]

[atouts]

They're actors, Lambert. They're all fucking.

[ Which is likely not the answer one would expect from such a stoic-looking fellow, who's barely done more than furrow his brow and frown some the whole of the opera as it goes on. Sure, he probably meant the characters being portrayed, but let's be real here. The answer is the same for both.

On top of that, Lambert will have found his own legs entirely unwilling to give and make space for the witcher's own invasion of the knees. Childermass isn't having that shit, Lambert. Stay in your own space. ]

[niespodzianka]

[ 'It's complicated' meaning 'Lambert is a wild animal', not actually a complicated concept.

Geralt leans back, probably putting Sokie between them, ]

Shut up.

[ Classless!! Since you know, whispering at someone to shut up is so classy. ]

louis | ota

[rightfoot]

A. Rehearsals

[ Louis is nothing if not there every moment he can, entirely focused. He's not good at taking breaks, and has to constantly remind himself to do so. Anyone who's less confident in acting - he's more than happy to help you with a quick piece of advice, having done this many times before. Acting comes easy to him, and he'll do what he can to guide any newbies who are happy to learn.

He's curious about the costumes, and is excited to put one on for himself. He's found that once he puts it on, it's even easier to fall into character. He'll find that voice.

When he's not practicing lines, memorizing as much as possible to help ensure that he can fill in where needed, he's helping to paint a backdrop. While it was already drawn by someone else - it's easy for him to simply ensure that he stays in the lines and doesn't mess it up.

When all is said and done for the night, he grabs a broom and cleans up any supplies to help store them until the following day. He's putting effort forward to do everything he can.

At any point, he'll ask: ]

Do you help with anything?

B. Performance

[ There's only so much a costume can do to hide him, but it does a good job. Besides, it isn't as though he's the only creature with antlers here. He's not nervous at any point during the performance. He can be found backstage between scenes, though he is entirely focused on the show itself.

On stage - he takes to everything easily. He's having fun, and everything feels so familiar out here. He's comfortable. It's easy.

He's enjoying the feel of just being on stage, in a costume, and delivering lines.

It was what he had always done.

He's willing to help put anyone with any remaining stage freight at ease. ]

C. After party

[ A success. All that is needed for success is not to get anything interrupted. To have a complete performance with a willing and ready audience. Yes - that is how he knows it went well. He doesn't take any of the flowers, though he is ready to go to the after-party.

He picks up a glass of wine, and a couple of pastries and decides to... enjoy himself. Mingle. Even if it is mostly just him putting on a show, it's a familiar show. He knows how to behave himself after a performance. ]

It went well tonight, didn't it?

c

[digiorno]

[This isn't the first time they've interacted, but the whole process has been pleasantly chaotic. So they haven't . . . had a conversation, really. There hasn't been time. Curious, especially in the face of opening night's performance, Giorno cocks his head.]

It did. You were incredible.

[Kind of intensely focused, but it's not like he's in a position to throw stones.]

Have you done this before?

a.

[amurder]

[Salieri cannot help but think— once things have been wrapped up, said and done... that he will greatly miss this.

He'll miss the stress, the adrenaline that rushes when the curtain parts and reveals their relentless work for all to see. For now he can only savor that they were all able to partake in something few were able to enjoy before the arrival of the Mirrorbound here. There was an opportunity and it was snatched, with gusto.

Of course, it's still equal parts work.

Salieri is in the middle of organizing the costumes when Louis approaches. He's been something of a force of nature, this one— and Salieri has often thought to express his thanks for all his hard work... but he never seems to find time to do so.

Until now, that is.] Ah. I think I do.

[There's a mass of heavy feathered costumes that need hanging, and Salieri is starting to resemble a bird himself. He huffs and shakes his head.] If you're not busy, perhaps you could help me hang these.

shows up an hour late with a tray of starbucks

[digiorno]

i. rehearsal

[For the most part, Giorno stays on the periphery, so to speak. He's only an actor in the metaphorical sense — in other words, a fucking liar — so he knows he's not qualified to spend much time practicing on stage, either as a background character or a main. So he fetches and carries (food, water, snacks, bits and bobs); becomes intimately acquainted with time cues and how the lights work. Runs places that need to be run to, grabs costumes that need to be grabbed, greases wheels that need greasing.]

[Sometimes, though, there are moments of lull where no one is on stage, or most everyone is on break. It's during these moments that he considers the part of the Heroine, and reads her lines, mostly to himself. His interpretation isn't technically wrong, but is perhaps unusual; while he reads the lines as written on the page, there's an almost palpable stubbornness to the heroine's adherence to the rules. The struggle to leave the status quo behind is what his reading hinges on, the naivete of her position evident in everything down to his tense, closed-off body language.]

[He's clearly enjoying himself, though. Despite not thinking anyone's really paying attention.]

iii. afterparty

[There are literally zero nights he doesn't come out of this sweaty, dissheveled, and flushed. There are also zero nights he doesn't come out of it smiling and tired in a good way, which is nice.]

[The whole experience is nice. This is a little band of outlaws, regardless of how ridiculous it is that theater is outlawed in the first place. He smiles through his second glass of champagne, too pleased to be irritated even in the face of it all, but . . . contemplative, certainly.]

We'll have to make sure this happens again. And soon. [Onwards and upwards.]

i. did u make sure my matcha frap was soy

[amurder]

[Whether thrown in the middle of yet another boisterous rehearsal or concentrating in the dead silence of the empty theater, one can surely find Salieri prowling about even at the oddest times. As the Maestro's makeshift production assistant he's watched and commended the seasoned actors who have taken up their roles so easily. For the newly hatched actors, Salieri instructs and helps when he can. He was never a stage man himself— preferring to compose the band or sing backdrop whenever able.

But watching these strangers act has been... illuminating, in several ways.

Which is what he's doing now as he watches Giorno from a lone corner. Nothing weird about that at all.

He waits for the blond man to near the end of a line when he speaks up:] Your diction is very good.

Those lines— it's the Heroine, isn't it? [Surprise!! Someone was watching you all along.]