(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

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.]

[fordeath]

[ as many and as frayed as they are, the bristle in those wings is almost audible to the naked ear – and definitely so to his. it makes his smile lean sly.

especially when salieri says that. amadeus mirrors his move and sips his own drink. his understanding of tone allows him to guess the kapellmeister means something else, but a glass of champagne or two later and amadeus figures a loose interpretation is no harm.

he leans in. ] Oh, really? Are you truly that full of energy still? Do Chimeras have more stamina than most, I wonder...? [ the look in his eye and the color of his voice is undeniably ... suggestive. ]

[amurder]

[And with that, Salieri's smooth second sip turns into abrupt sputtering.] What–

[Amadeus...! Despite the sudden question, Salieri knows all too well the telling flush on those cheeks and the glint in those eyes. He presses the back of his hand against his lips as he narrows his gaze somewhat on the peering Maestro. He was taken by surprise yes, but...

... even with their temporary Bond still intact, it's difficult not to embrace that equally lulling warmth inebriation brings. Red eyes lid halfway before Salieri finally drops his hand away and scoffs.] Oh? Are you so eager to find out, Amadeus?

A very risky endeavor, I hear. [A murmur. He turns his attention once again to the piano and plays a few deep chords.]

[fordeath]

[ oh, he can't help it. not only does salieri's sputtering make him laugh, but the attempted recovery thereafter is equally, if not more, hilarious. what was that???

amadeus laughs far too loudly, hand slapping salieri's shoulder before pushing playfully against it. ]

Ahahaha! As smooth as ever, Kapellmeister! I'd give that recovery a five out of ten for effort.

[amurder]

[Ugh!! Salieri endures the slap and the push, although the last jostle does result in a wrong key. The scowl returns once again, but it's definitely less potent than it could be.] Five? You do me a great dishonor, Herr Mozart.

[Hmph! His tail lashes once behind the bench, then settles around the legs once again.] ... Teasing aside.

Do you not find it bittersweet? [And finally, his true words reveal themselves.] We've finally reached the end. The operone is done.

[It's as if he truly didn't want it to end at all.] ...

[fordeath]

[ oops! a combination of the wrong key, which he visibly blinks at, and the tail lashing behind them gets him to back down, the last trickles of his laughter letting out as he shakes his head.

amadeus picks up where salieri erred, once again idly playing on the theme the kapellmeister introduced. ] ... Hm?

Of course not. [ he says, immediately. so easily. ] There will be more, after all. [ that, too, is said with such unwavering confidence. ]

I've already got ideas for a new one! Oh, and how to better improve this one for next time...

[amurder]

[Ah.

Salieri, inwardly, thinks he should have expected that.

There was nothing in the Maestro's mannerisms or mood that suggested that he would see this production as anything like a means to an end. No, if he knew Amadeus as well as he thought then the Maestro would return again full force– with something braver, better. The unmistakable mark Amadeus left here tonight would still resonate even long after they've gone–

–'gone?'

To where?

Salieri watches Amadeus's dancing fingers with a new feline intensity. Yes... they would not be going anywhere for quite some time. Perhaps never. And with that the opportunity for new operas, new ideas... new beginnings would emerge, would they not?] Yes.

There will be. [Salieri murmurs into his glass.] I suppose this means I ought to prepare myself fully. For all things and everything.

[His fingers rise and meet Amadeus's chords with a rendition of his own.] If what you say is true, that is.

[fordeath]

What, do you doubt me, Salieri?

[ amadeus downs the rest of his champagne and sets the glass atop the piano before taking both hands to their casual song. ]

After all we've accomplished? We might have to take a break from ambitious shows for awhile, but... you know I've been serious about this from the beginning.

[ not only about music, about continuing to perform underground, but about changing the perception of the art in the minds of aefenglom and, of course, eventually ... knock out the ban entirely. ]

[amurder]

[Allowing Amadeus full reign over the piano comes too easy for him– and yet a still restless part of his being still contributes, adding to the music with brief interludes of his own.

It's so easy... to believe him. To trust him. Perhaps that's how it had always been and forever will be. Salieri sits in silence for a few moments longer.] ... Yes.

I never once doubted your mettle, Herr Mozart. [His lips quirk up in a small smile, but it fades quickly.] There's still far more ahead of us.

[His fingers finally still. He breathes.]

With that said, perhaps we should finally make this Bond of ours into something more... permanent.

[He rests his gaze over Amadeus.] Wolfgang.