Opera House

A role-playing game of surreal theatrical adventure…

By Andrew Peregrine

念 魔王 (Order #42026315)
 Opera
House
A Theatre RPG

No matter how bad it gets, you still have to do it twice on Saturdays.

念 魔王 (Order #42026315)
 Credits
W ritten by A ndrew P eregrine

Graphic Design by Mark Stewart-Birch

Layout by Andrew O’Hara
Edited by Keith Garrett
And a quick thank-you to Helena Nash for some proofing

Kickstarter Video by Jon Hodgson (Handiwork Games)

Map of the Royal Grand by Mikael Brodu

Images and photographs (including cover) from:

The Roger Vaughan Picture Library, Wikimedia Commons, Dreamstime stock
photos, The Theatre Royal Haymarket Archives. Also thankyou to Emma
Jennings, Jevan Shepard, Lara R. Mattison and Rebecca ‘Bee’ James for the
extra photos from their venues.
Angus McBean photographs used with kind permission from Houghton
Library (Harvard) - MS Thr 581. © Harvard Theatre Collection, Houghton
Library, Harvard University.
(I’d add an extra thankyou to the staff of Houghton for their exceptional
assistance and generosity for what is rather a lot of images)
Rat models: Luke, Han, Chewie, Leia, Padme, Obi Wan, Qui Gon and Axel.

Playtesting by James Holman, Ellie Horton, Joey Jennings, Emma Jennings,

Emma Lloyd, Cormac O’Brien, Debs Pursey, Kiam Pursey, Kat Welham, Mark
Welham

Version 1.1

念 魔王 (Order #42026315)
 Kickstarter Backers
My thanks to everyone who has backed Opera House, this production has
only been possible thanks to you. I’d also like to make a special note of
the retailers and businesses that also backed the project, many of whom
may still have a copy available in their stores.

Stalls John Callaghan Royal Circle

adumbratus Jonathan Korman /amqueue
Alena & Aaron Jörg Hagenberg Aaron Savage
Bartimaeus Joseph Geary Alden Truby
Binky JTM Allen White
Brooke Yanovich KVG Andrew Mauney
Brother Wa Kyle Hall Andrew Sutton
Bryant Durrell Lawrence Townsend Anne Stevenson
Carrie Ferrante Luiz Felipe Ribeiro Palmeira Arthur Breon
Chris Manning M.K. Parsons Beachfox
Chris Spivey Matt Freeman Bee Rollason
Chris Waite Matthew Tyler-Jones Ben Walker
Chris Westbrook Mauro Adorna Benjamin Chee
Constance Wilder Myxomycetes Benjamin Macias
Craig Nancy J BH
Craig Carter Nancy Schultz Black Cats Gaming
Dan Byrne Neil Mahoney ‘Bookmark’ Ana
David D NURTHOR Brandon K. Aten
Davide Cavadini Paul and Clio Bushland Byron Conner
Drew W Philippe Niederkorn CarolineTheGnome
Duncan & Lorna Purple Stuart Casey Caston
Edvard Blumentanz Ratley17 Chris Berger
Eleanor McHugh Remi Fayomi a.k.a. Negromaestro Chris Coates
Elizabeth Davis of Dead Fish Books Riley C Chris Striker
Eric Zylstra Robert Day Christian Jensen Romer
Erik Ingersen Ross Aitken Claire and James Dunning
Everly Conrad-Baldwin Sabina Walter Comte Philippe de la Gardie, Sieur
Felix H Samantha Leigh de la Coste
Fia Rivers Sandrine Aurore FOUNGUI Cormac “Gimli” O’Brien
G Virgilio ONGAGNA Creepieprowlie
Geoff Dash Sarah Kennedy Dan O’Hanlon
GMGerrymander ShakeSharp Daniel Reddy
Ignatius Montenegro Simon Taylor Daniel Walker
Ignis Matthews Soy Dromers Danny Godin
J. Stuart Pate Ssieth Anabuki David Dorward
Jack Kessler Steven Black David Miller
Jacob Kemp Svend Andersen David Paul
Jacob Rodgers Temetőbogár David Thomas
James Holman Theo Deanna Taubman
Jamie Lindemann Toni Sinabell Derek Stoelting
Jesse Burneko Trip Space-Parasite Dorian David Leigh
JessicaT/Tiasc Yen Weichung Duncan M
Jim Ryan Dylan Greene

念 魔王 (Order #42026315)
 Egg Embry Luke Earl Simon Proctor
Elizabeth Munson M. Sean Molley Skye Lowell
Emir Sky Maddy Gibbons Sofía Millán
Emm & Jay Caines-Gooby Marc Kevin Hall Stefan Anundi
Eugene ‘Tinman’ Doherty Mark Hunter Steffen Zirfas
Evan Perlman Mark Kelly Stephen
Gareth Hanrahan Mark Solino Steve Burnett
Gareth-Michael Skarka Marty Chodorek Steven Schwartz
Geert-Jan Kruijff Matt Harrop T E Houghton
Genevieve Cogman Matthew McFarland Terry Herc
Glenn Dallas Matt “Devilboy” Murray Terry Robinson, Savoy Company
Götz Weinreich Melissa Peters, MSc 2018
Graham Orr Mem Barnett The Bernsteins
Greg Leatherman Michael Pietrelli The Gauntlet Gaming Community
Harry Robb Michael Schwartz The Rosenthal Family, Patrons of
Helena Nash Mikel L Matthews Jr the Arts
Hondo Dog mitcharf The Wyler Family
J Bolton Morgan Joeck Thomas M. Colwell
Jack L. Z. Frost Morris McClelland Tim Liedtke
Jack Liddell Mr Ravendesk Todd Miller
Jack Tidball Nerede Tom White
James Arthur Best IV Nicholas “Aquarion” Avenell Tony From Plus One
James White Niclas Jareborg Tretiakov Dmitrii
jamie Nicole Mezzasalma Twila Oxley Price
Jane Hanmer Nike Johnston Victor Wyatt
Janus Kimeran Oliver Morris Ville Kugelberg
Jarno Humala Ols Jonas Petter Olsson Virginia Page
Jason Corley Pangur Bán w. David Lewis
Jason R. Hofstedt Patrice Mermoud Walt Ciechanowski
JCtoodles Patrick Powers and Rachael Linker Web Crittenden, Head Carpenter -
Jeffrey Osthoff Pearl Zare The Joyce Theater NYC
jfs Peter Holland Will Munn
Jim Cunningham Peter Hollinghurst
Jim Mangiameli Peter ‘Malkira’ Lennox Theatre Angels
Joanne Lucas Peter Menke Alan Bahr of Gallant Knight Games
Jon Cloutman-Green Peter R Scott Brooks https://www.gallantknightgames.
Jonathan “Buddha” Davis Rae Streets com/
Jordan Block Reid Goldin
Joseph A. Russell Richard August Alastair Baker of the Bressingham
Julia Durand Richard Warner Steam Museum
Justin “Magnus Vanskelig” Mitchell Richard Wolfrik Galland https://www.bressingham.co.uk
Justin “Juice” Bridges Rob Nadeau Angus Abranson of Boardgameguru
Keith Garrett Robbie Boerth www.boardgameguru.co.uk
Kerry Birmingham Ronin Lore Fil Baldowski of All Rolled Up
Kitty L’Heureux Ross Kinney https://www.allrolledup.co.uk
Klil H. Neori Ryan Winter Cahill
Kristi Colaizzi Ryder Daniels Mark Poles of The Shop on the
Kristian A. Bjørkelo Sarah Thompson Borderlands
Kyle Meeks, @TheThinkTanker Scott “Scott308” Peterson www.shopontheborderlands.co.uk
Lachlan Jones Sebastian ‘achlys’
Lauren Bardelli Seth Hartley
Lisa DeVries Seumas Bates
Lisa Padol Shane Mclean
Lisa Pauley Grab Shelly Zervos

念 魔王 (Order #42026315)
念 魔王 (Order #42026315)
 Contents
Chapter 1 Preset and Overture 11
A quick introduction to the world of Opera House and role-playing games

Chapter 2 Cast, Company and Crew 17

Detail on the sort of people you’ll meet at the Royal Grand, and how to
create such characters

Chapter 3 The Royal Grand Opera House 39

An overview of the vast building itself and its secrets.

Chapter 4 Ropes, Cleats and Pulleys 67

The rules system for the game, and how to use them.

Chapter 5 One Night Only 87

Detail on playing single-evening games based around a performance

Chapter 6 Twice on Saturdays 113

How to expand the game into a more long-term game campaign

Chapter 7 Behind the Curtain 149

Notes for the Gamemaster, detailing the secrets of the Royal Grand

Appendices 192
The Theatre Library & Theatre Magic

Index 208

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念 魔王 (Order #42026315)
 Speak the speech, I pray you, as I pronounced it to
you, trippingly on the tongue: but if you mouth it,
as many of your players do, I had as lief the
town-crier spoke my lines. Nor do not saw the air
too much with your hand, thus, but use all gently;
for in the very torrent, tempest, and, as I may say,
the whirlwind of passion, you must acquire and beget
a temperance that may give it smoothness. O, it
offends me to the soul to hear a robustious
periwig-pated fellow tear a passion to tatters, to
very rags, to split the ears of the groundlings, who
for the most part are capable of nothing but
inexplicable dumbshows and noise: I would have such
a fellow whipped for o’erdoing Termagant; it
out-herods Herod: pray you, avoid it.
Be not too tame neither, but let your own discretion
be your tutor: suit the action to the word, the
word to the action; with this special o’erstep not
the modesty of nature: for any thing so overdone is
from the purpose of playing, whose end, both at the
first and now, was and is, to hold, as ‘twere, the
mirror up to nature; to show virtue her own feature,
scorn her own image, and the very age and body of
the time his form and pressure. Now this overdone,
or come tardy off, though it make the unskilful
laugh, cannot but make the judicious grieve; the
censure of the which one must in your allowance
o’erweigh a whole theatre of others. O, there be
players that I have seen play, and heard others
praise, and that highly, not to speak it profanely,
that, neither having the accent of Christians nor
the gait of Christian, pagan, nor man, have so
strutted and bellowed that I have thought some of
nature’s journeymen had made men and not made them
well, they imitated humanity so abominably.
O, reform it altogether. And let those that play
your clowns speak no more than is set down for them;
for there be of them that will themselves laugh, to
set on some quantity of barren spectators to laugh
too; though, in the mean time, some necessary
question of the play be then to be considered:
that’s villanous, and shows a most pitiful ambition
in the fool that uses it. Go, make you ready.
Hamlet (lecturing a group of professionals about how to do their job)
Act III scene II

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 C hapter 1

Preset and Overture

W
ELCOME to the Royal Grand It would be nice to just be able to avoid all
Opera House, the greatest and this extra chaos, except you made a mistake
when you joined the company. There was a
largest theatre to ever exist.
small section on the application form that
It is a vast Victorian Gormenghast asked if you would be prepared to do ‘extra
of a building, employing all manner duties’. It came with a small bump in salary.
of performers, technicians and You thought you’d just have to put out the
chairs for rehearsal, maybe clean up a little
administrators. Its huge auditorium can
or make the director some tea. Instead, it
seat over two thousand five hundred turns out that ‘extra duties’ means the chaos
people and it has enough bars to is actually your problem. Monsters, saboteurs
ensure every one of those people gets and ghosts are all things you need to deal
with, as well as the job you came to do.
a drink at the interval. You came to
Luckily, you are not alone. There are a few
this incredible theatre with dreams and other suckers who made the same mistake.
ambition, drawn by the glamour and They are from other departments for the most
excitement of a life on stage, in front part and so you don’t know what to think
of them. They all look as if they know about
or behind the scenes. It turns out to be
as much as you do. Maybe together, you can
nothing like you expected. build a show and keep it safe between you.

In Opera House you take the part of

one of the small army of indentured actors, The Obligatory ‘What is Role Playing’ Section
technicians, stage hands and dressers that take
part in the array of shows that are performed Opera House is a role-playing game, the
here. Unfortunately, working at the Royal sort of thing made famous by Dungeons and
Grand is not as glamorous as most people Dragons. If you are already familiar with all
would expect. You were prepared for the that you can skip ahead.
longer hours, and didn’t expect it to be as Role playing generally started in the 1970s
glamorous as you imagined. But you didn’t with D&D, Traveller, RuneQuest and a whole
expect to be in constant danger from spies lot more. Since then the hobby has expanded
and saboteurs, threatened by monsters rising to all manner of different games in all manner
from beneath the theatre or chased down the of different settings, some with complex rules,
corridors by the spirits of the unquiet dead. and some with very simple ones. This game
Putting on a show is hard enough as it is. falls on the simpler end of the middle.

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 Opera House

The best way to find out how this sort of together. So you should play your character
game works is to ask the people you bought as an actor would their role in a play. As such
it from. Gamers may look strange, but they it is important to remember to treat everyone
are usually very friendly individuals that at the table with respect, and remember
enjoy talking about their hobby to someone that arguments between characters are not
genuinely interested. The staff in these shops arguments between players.
are usually well-versed in what they sell, and Like any game, Opera House has rules.
they may well be able to put you in touch These are designed to help you figure out
with other people to enjoy the game with. how the story goes when a conflict occurs or
Few people come to the hobby by just picking a problem comes along. It would get a little
up a book; most are introduced to it by boring if you just said ‘I deal with it’ (although
their friends. However, just in case, a quick some games allow you to do just that). In
explanation would not go amiss. Opera House the rules help you guide the
Role playing doesn’t involve a board or a story. More than a set of instructions, they are
computer, just a few friends, this book and a framework to do the hard work of figuring
a pen and paper. Snacks are a good idea, out a realistic solution based on the skills and
but they always are. As Opera House is a abilities of your characters. In general though,
theatre game, we’ll explain with a theatrical don’t sweat it. If you mess up the rules it
metaphor. doesn’t matter as long as everyone is having
Imagine you are all reading a play script fun. Change them around if they don’t work
together. You all pick a part, but one of you for you. If you find you did something wrong,
plays all the small parts and reads the stage just remember it for next time. Just like in a
directions. That person is the Gamemaster, show, the story is what matters, and as long
everyone else is a player. Now imagine that as you can stagger through until the curtain
instead of picking a character from the cast falls you can always do better on the next
list, you got to create a character of your performance.
own. Anyone you like, as similar or different
to yourself as you like. As long as they suit
the setting of the play, anything goes. All the What is Opera House?
players get to create their own characters
too. Now imagine that only the Gamemaster Opera House is a standalone RPG, allowing
has a script, so you get to decide what your you to play out adventures in the strange
character says and does. You create their lines and surreal world of the Royal Grand Opera
and narrate their stage directions. It’s not as House. It is a strange place made up of all
hard as that sounds as you basically just talk the bizarre and insane aspects of the theatre
to each other. business that I’ve experienced and imagined
So, when the Gamemaster begins to set the in around thirty years of working in the
scene, you get to decide what your character professional theatre. The reality is stranger,
will do, as do all the other players. In this way but you’re probably not quite ready for that.
you begin to tell a story together, but no one Like any game, you can run short
really knows how the play will end. Anyone adventures or a long-term campaign. The
you meet along the way will be played by the Royal Grand runs many productions and
Gamemaster. the characters can become involved in all
The Gamemaster also mediates any manner of politics and adventures without
disputes. They are not there to beat the even setting foot outside the theatre. In a long
players, and the players are not there to win campaign the characters have the chance to
against each other. You are all telling a story rise in their departments, gaining power and

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 C hapter 1 – P reset and O verture

influence. However, even then, they might find just adapted to new technologies. So the
that running a department or starring in the detail here adapts easily to a Victorian game,
production brings all manner of other trials modern game or even a fantasy or science
and tribulations. fiction game. Trust me, even in the year 7897
But there is a little more to Opera House someone in a theatre will probably still be
than most other RPGs. It is also designed to pulling a rope to bring a piece of scenery in.
be run as a single session game, making it an Theatre is a strange, unique and rather
excellent space filler or one-off. In this case the insular world, in reality as well as in Opera
game happens in real time, lasting only for the House. Each theatre I’ve worked in has
duration of a single formed its own unique
performance. During human ecology, even
that time the players though they do the
run a hectic race to same sort of thing.
do their job, and co- Theatre is a very odd
ordinate the battles business, populated
against saboteurs, with some of the most
ghosts and other diverse and fascinating
problems without people. So much so,
ruining the show. that it is perhaps
Finally, Opera the most fantastic
House is also a elements of Opera
sourcebook for theatre House that are closer
in role playing. It to the truth.
details what all the In the interests
various performers and of full disclosure,
backstage staff actually I should probably
do, what equipment mention my work
they use and how they has been as a lighting
manage to get a show technician, and
up and running. I’ve absolutely not a
seen many theatres performer (acting is
portrayed in RPGs fun but not as fun as
with essential parts backstage work). So,
missing. I also noticed a few of my biases
a high proportion of may have crept into
theatre majors are part my descriptions of the
of the gaming industry other departments.
(as customers and creators). So this will help Sorry about that, but its hard to kick
you bring theatrical adventures to your own departmental habits and rivalries. I should
games. Theatre is a pretty timeless business; also add that English theatre (the envy of the
it has existed since prehistoric times until world, just saying) has some different systems
the present day, and it isn’t going to vanish to American theatre and probably other
anytime soon, even though many careers and countries. The broad strokes remain freakishly
venues might be lost in a post-COVID-19 similar, but I apologise if the details presented
world. here differ to your theatrical tradition.
The way theatre has been done hasn’t Otherwise, welcome to the Royal Grand
changed much over the years either, it has Opera House. I hope you enjoy working there.

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 Opera House

Overview of Opera House Chapter 6 – Twice on Saturdays

If you want to play a full campaign of
To finish off this introduction, much like Opera House, this chapter details taking
a theatre programme gives you a breakdown things beyond a single-evening game. We look
of the performance you are about to watch, at how a production is staged and rehearsed
we offer this quick breakdown of what can be and what your characters might do as part of
found in the chapters of the book. that process. We also look at the structure of
each theatre department and how you might
Chapter 1 – Introduction rise higher in the profession and advance your
The part you are reading right now, so the characters.
less said of it the better.
Chapter 7 – Behind the Curtain
Chapter 2 – Cast, Company and Crew This final chapter is for the Gamemaster. It
This chapter tells you how to create a details a few hints and clues about adventures
character, and explains some of the basics of and offers some of the secrets of the Royal
how a theatre is organised in terms of its staff Grand. Here you will find the descriptions
and departments. of saboteurs, ghosts, morlocks and how they
can be used in either campaigns or single-
Chapter 3 – The Royal Grand Opera House session adventures. We also take a look at the
Next we detail the vast building itself, your world outside the Royal Grand, not that the
home, work-place, and occasionally prison. characters will see much of it.
We detail the technical aspects of the stage and
the glamour of the front of house areas as well We end the book with a little detail on
as discussing how most of it works. source material that will help your game.

Chapter 4 – Ropes, Cleats and Pulleys Appendix One

Now we come to the rules of the game. This section lists a few sources of films,
Opera House uses a simple system created books and television, as well as plays that will
for another game, Hellcats and Hockeysticks. offer inspiration. Theatricals do like telling
So if you are familiar with that you will stories about the theatre.
know what you are getting. It essentially just
involves rolling a few six-sided dice. However, Appendix Two
there are a few new twists for Opera House so This last section details a few of the
don’t skip this chapter entirely! ingenious technical tricks that have been used
throughout history that you might include in
Chapter 5 – One Night Only your game.
This chapter concerns itself with how a
show actually happens and the nightly process
of making the performance happen. While this
is useful background material, Opera House
is also designed to be run as a one-night game
where you run the show in ‘real time’. In this
chapter we detail how that works.

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 C hapter 1 – P reset and O verture

Ladies and
Gentlemen, kindly
take your seats.
The performance
is about to
commence.

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 C hapter 2 - C ompany and C rew

Company and Crew

I n a game of Opera House, you control a

character that you create yourself. This
chapter tells you how to do that, and also
the theatre, dealing with ghosts or even
negotiating with the rats. Oh yes, and you
have to cover a few extra rehearsals and lock
details a little about working at the Royal up occasionally.
Grand. The characters you and the other However, it isn’t all bad. As the ‘trouble-
players create together will all know each shooters’ for the theatre, the player characters
other to some extent. Theatre is an intimate have a unique opportunity to prove themselves
business and it’s hard not to get to know and get noticed by the management. It can be
people. However, as the player characters have a fast track to promotion and with staff from
all elected to perform ‘additional duties’ they all the departments signed up with you, it is
will have all been introduced to each other an opportunity to make a lot of contacts. You
and told to work together. never know, if you do well enough you might
It is up to each player to decide what their be able to amend your contract one day!
character looks like, and how they react to
what is going on around them. The rules are
there to help everyone do that, but try and
think beyond them to form a picture of the Slang Department Terms
real person you are creating. While building a
character, it is a good idea to discuss some of While everyone needs to work together
your choices with the rest of the group. This to make a show happen and deeply
may give the other players ideas, and helps respects the work everyone else does and
everyone create characters that will work well how essential it is to the show, there is
together in a group. no way on Earth they would actually tell
Regardless of who they are, all the player this to any other department. Instead they
characters have all chosen to do ‘additional refer to each other’s departments by a less
duties’. When they signed the contract this respectful slang term.
seemed a pretty good idea. The additional Here are a few:
money was good, but not that good, so they • Crew – Carpenters, Chippies, Wood
assumed they were signing on for a few extra Monkeys
rehearsals, or maybe had to stay up later to
lock up. Only when they got to the Royal • Technical Crew – LX (electrics),
Grand and started talking to the old hands Sparks/Sparkies, Noise Boys (sound)
did they realise what they had signed up • Performers – Turns, Twirlies (dancers),
for. Additional duties involve dealing with Thesps (Actors)
all manner of strange and weird problems.
• Musicians – Musos, The Band
The player characters are the people who get
called on to deal with anything that doesn’t • Wardrobe – Stitch Bitches
fit anyone else’s job description. It could
mean fighting back morlocks from beneath

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 Opera House

Departments and Specialties employed to move the huge pieces of scenery

into place as well as any furniture and bric-
Before we get on to the business of rules a-brac (called ‘set dressing’) that may need
and character generation, it is important to moving during the show. As the scenes need
understand a little about the way that work in to be changed as quickly as possible, a vast
the theatre is divided up. amount of crew are needed to move as much
as possible. Many bits of scenery take several
Performance Staff people to lift, so crew need to know how to
The group of theatre workers most make the most of their strength, as well as
people are familiar with are, of course, the being quick and quiet.
performers. These are the actors, dancers and A subgroup of the stage crew are the fly
singers that stand before the audience and crew. These crew members work on the fly
entertain them. While only a few can play floor, a balcony high up at the side of the
the most important roles (called principal stage. They operate the rope system that can
roles), many more are needed lift painted scenic cloths and
for crowd scenes, chorus some of the pieces of scenery
numbers and backing vocals. which are all hung from ‘fly
While the Royal Grand bars’. The fly system uses
has only one stage to put on weights to counterbalance
a production each evening, the item being lifted on stage.
it constantly rehearses a So each item, no matter how
variety of other productions. heavy, needs only one person
Principal cast are rarely to lift it. However, if several
used in more than one things need to be moved at a
production, but the company time, you need more people.
are often used for several A few fly bars do not have
different productions at a the weighting system attached
time. This means they spend to them; in this case, several
their afternoons rehearsing large people are needed to
one production, and the haul the item up. Fly crew
evening performing another. used to be recruited from the
After a while it can get navy, and so many nautical
very confusing, especially terms are used to work the fly
as the Royal Grand has been known to run system. Many of these terms were based on
a different show each night. A few of the whistles, as was done in the navy. This is why
‘company’ are called on to understudy one of it is considered unlucky to whistle on stage;
the principal roles. They learn the part and if a flyman (or flywoman) at their post hears
get to perform the role if the ‘proper actor’ you, they may drop scenery where you are
(referred to as 1st cast) cannot go on due to standing.
illness, or possibly death…
Technical
The Crew The technical crew are much the same
The stage department is one of the largest as the carpentry crew, but are responsible
groups of people in the theatre. The stage for the lighting, sound, projection and even
crew are technically part of the carpentry explosive equipment for the show. Mostly the
department in the theatre, but rarely have any technical crew stay in one place operating a
special training in woodworking. The crew are particular piece of equipment. This could be

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 C hapter 2 – C ompany and C rew

as important as the lighting or sound desk, Stage Management

or something like a follow spot or smoke While they may appear to be part of
machine. The technical department divides the crew, stage management are actually
itself into a few sub-departments: lighting considered part of the acting company. While
(or LX, from electrics), sound (FX, effects or they are responsible for overseeing the smooth
noise boys), and possibly audiovisual (AV, running of the show, they are also there to
projection) and pyrotechnics (explosives and organise and look after the company of actors.
fireworks). However, most technicians can They organise the calls for rehearsals and see
work in at least a basic level in any of these that the actors have what they need to do
departments. their jobs. During the shows they are the final
There are two jobs within the technical authority if things go wrong and spend their
department that allow the technicians to move time seeing that actors and crew are in the
around during the show. A stage electrician right place at the right time during the show.
works with the crew, and plugs in any cables The job of a stage manager changes as
for equipment built into the scenery. They are they gain more responsibility. They begin as
often responsible for any smoke machines and an Assistant Stage Manager (ASM), where
other electrical odds and ends on the stage. they are effectively crew chiefs. They govern
The second of these jobs is the sound a certain area of the stage and lead scene
runner. As it is not unusual for there to be changes and activity in their area. The next
problems with radio microphones during a level is the Deputy Stage Manager (DSM),
show, the runner has the job of catching up who spends most of their time in rehearsals
with actors and adjusting their mics before liaising between the director and the technical
they go on. The sound operator (working the crew. During the show the DSM is ‘on the
sound desk out front) communicates to the book’ in prompt corner (see later) running
runner by radio, so they can get to a problem the show. The Stage Manager (SM) has no
as soon as possible. responsibility during the show, meaning they

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 Opera House

are on hand and ready in the event of a crisis.

The last position of stage management is the
Riggers Company Stage Manager (CSM), who has
little to do with the show day to day. They
There are two other occupations that
spend their time in an office working out pay
are used in professional theatre that—
and tax for the company of actors and seeing
while present in Opera House—aren’t
to the logistics of the company that go beyond
really the concern of player characters.
the show, such as transport of people and
With scenery in modern theatre often
scenery as well as rehearsals and auditions.
being built of steel, it can be very heavy.
Why use wood when it is cheaper to Costume
employ a welder than a skilled carpenter The costume department divides into two
to fit pieces of scenery together? With groups: wardrobe and wigs. The wardrobe
this extra weight and stranger pieces of department are responsible for creating
scenery needing to be positioned, you and maintaining the costumes for the entire
need a rigger. These steel monkeys are company. This requires a vast army of people
often rather a rough bunch of lads who stitching and sewing constantly. Each new
know what motors or equipment you’ll costume for the show needs to be made or
need to get something heavy in the air, scavenged from previous shows, but even
and what you’ll need to hang it safely in the best case scenario it will need altering
above the heads of your actors. for the new performer. During the show the
Riggers are adept at putting together wardrobe department provide dressers to
trusswork for lighting and sound to hang prepare costumes and help the actors with any
lanterns and speakers on. They can also quick changes they have to do.
see which parts of a theatre might support The wigs department obviously deal with
the weight of a particular piece of scenery the wigs the actors will be wearing for the
and where you may need extra bracing show. It may seem odd to have a whole
to keep the walls from falling in. It is not department just for hair, but it is a big job. A
an uncommon concern. Many Victorian period show will require the actors to have
theatres were not built on the assumption the right hairstyles, something few are capable
that their grid and flying systems would or willing to maintain outside their work
be hanging cars. It is a testament to hours. Putting them in a wig therefore makes
Victorian engineering that such buildings more sense. However, wigs are actually very
can deal with the weight of modern involved and require a lot of work. Each wig
scenery, but even so, a few extra braces in needs to be dressed and set before a show,
the right place are a good idea. as being worn does not do them much good.
Riggers are generally employed only This means that the wig department have to
to install scenery in a theatre, so as they work as hairdressers for effectively the whole
don’t take part in the shows themselves, cast for every show.
they aren’t available as player characters.
At the Royal Grand many of the fly crew Front of House
have the skills of a rigger. At the Royal A show makes very little money without
Grand, a few of the more experienced an audience, so this department is responsible
crew and flymen know the building and for getting the audience into the building and
its hanging points well enough to do the settled for the show. ‘Front of house’ refers to
job. all the areas of the theatre (or ‘house’) that the
audience have access to. The largest group of

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people in this department are the ushers. They

welcome the audience into the building, help
them find their seats, and serve refreshments
Automation
during the interval (or Intermission).
Automation is a growing department
Above them are the supervisors and
in modern theatre, and very few large
managers that are responsible for the building
shows can do without it. Automation is
itself. They see to it that the theatre is stocked
a computer-controlled system that uses
with everything it needs for the audience,
motors to drive pieces of scenery on, off
and organise any non-show logistics that the
and around the stage. With computer
theatre is responsible for. Theatre managers
controls and motor systems getting
rarely have much experience in working
cheaper, it saves money to have one
the shows of the theatre; they often come
person doing at the touch of a button
from other areas or work their way up the
what it might take ten stage crew or more
management structure. So they rely on the
to push and pull into position. The Royal
heads of the crew and technical departments
Grand still employs a large force of stage
as well as the show’s CSM for what they need
crew, as it pays them very little and they
to know about the show. Few of the front of
are more reliable. So it doesn’t have an
house staff have a direct connection to the
automation department as yet. When
show itself, but they are still an essential part
automation is used, either the crew or
of the theatre.
stage management operate the controls.
Automation systems are impressive
when they work, with huge pieces of
scenery swinging gracefully and precisely
into position, but they are notoriously
unreliable. With the expense of such a
system, managements often try to cut
financial corners, which always ends up
costing more money in the long run. If a
big show is brought to a halt, odds are the
automation system has a problem. This is
no reflection on the operators, as it only
takes one motor or cable to slip by the
Musicians smallest degree to make the wrong thing
The last group we need to mention are grind against something and jam.
the musicians, who obviously each play a It should also be said that automation
particular musical instrument during the is possibly the most dangerous job in
show. They are more detached from the rest theatre—for everyone else. Nothing
of the departments, as they do their job in small and light ever gets automated, and
the orchestra pit away from everyone else. anything in the way of such pieces is in
However, they are still part of the show, and serious trouble. Emergency stops and
are also used for rehearsals. Being set slightly automatic breaks are used all over the
outside the other departments, Musicians place, and operators take exceptional
can be quite clannish (and have a reputation care. However, there are many stories
for being the first to the bar after a show), of performers and crew getting caught
meaning they can often count on the support in these mechanisms and being seriously
of their peers. hurt, sometimes to a career-ending degree.

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Building a Character
Character Creation Summary
Now you have a better idea about the sort
of work your characters could be doing, it is 1. Choose a department.
time to put them together. All the characters
2. Attributes
work in one of the various departments at
the Royal Grand, but right at the bottom of • Assign 3 points to at least two
that department. This isn’t all bad, as while attributes.
they get paid far less and have less power, 3. Skills
they also have a lot more freedom and less • Note starting skills defined by
responsibility. The more important members department.
of the cast and crew will be more involved in • Add 10 points across any skills
the show, making them unable to get involved (max 3, or 4 if starting skill).
in the adventures going on backstage.
The player characters need not all be from 4. Select a character trait (1).
the same department; in fact, they will have a 5. Choose a Ritual.
broader range of skills if they are not. If the 6. Finishing touches
player characters are in the same department, • Begin with 1 point of Glamour.
they will be able to spend more time together
• Set starting ego - Non-performance
during a show, but will find they are on stage
staff all begin at ‘Coping’,
and occupied at the same times as well. This
Performance staff can choose to
will make it difficult for the group to always
start the adventure at any ego level.
leave at least one person investigating what is
going on. • Answer a few basic questions and
Before we get on to the nuts and bolts of choose a name.
creating your character, the first step is to give
yourself a moment to think about what you isn’t finished. However, finding answers (and
want to play. In Opera House characters are possibly more questions to answer) will help
created with points and choices rather than you create a well-rounded and interesting
random dice rolls, so you should consider character, which will be a lot more fun and
what sort of person will be fun and interesting interesting to portray.
to portray. The character creation process So, now let’s get down to the nuts and bolts
may help that as you go through, as you may of creating your character. Character creation
get ideas from the available options. To give is done in five simple steps (see sidebar for a
you a bit of help, we have provided a list of summary).
questions, the answers to which will help you
get a better idea of the character you have in
mind. The questions are listed at the end of 1 - Choose a Department
character creation, as you only need to finalise
your answers then. However, take a look at The first thing you must do is choose the
them now, and bear them in mind while you department your character works in. Each
work through the preceding steps. of the departments is divided into a few
This might make it all sound very specialties, so you must also choose which one
complicated, or like some psychiatric exercise. of those your character belongs to. This choice
Don’t worry, that certainly isn’t the case, and defines the sort of work you do at the Royal
not being able to answer certain questions Grand, and the sort of basic skills they will
doesn’t mean you’ve failed or your character have.

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Players can choose from any of the

following departments, but must get the
Gamemaster’s permission to play a member of
Spotting
stage management, a musician or a member
This is a technique used by ballet
of front of house. These characters are no
dancers to stop them getting dizzy while
more skilled or experienced than the others,
spinning around on stage. They fix
but often move in separate circles. Musicians
their eyesight on a red light hung in the
do not get out of the orchestra pit very often,
auditorium, and keep looking at it for as
and stage managers spend almost all their
long as possible as they turn. Then at the
time on stage during a show. Front of house
last moment they spin their head round
staff are cut off a little from backstage for
and fix their eyes on the light again. This
obvious reasons. It is not a great hardship to
means their head is still for most of the
bring these characters into the group (after
dance, with the occasional quick turn,
all, they all picked ‘additional duties’), but
reducing dizziness.
the Gamemaster has the right to veto such
Of course, ‘being a spotter’ or ‘spotting
characters if they are uncomfortable with the
a show’ refers to operating a follow spot,
difficulties they can cause being separate from
just in case this was all starting to make
the others.
sense.
Performance
All performance staff have at least a used in crowd scenes and possibly as backing
modicum of talent, and enough confidence singers as well.
to go on stage in front of several thousand Musicians: Musical accompaniment is
people. They must also remain physically fit provided by the orchestra, otherwise known as
and keep themselves in shape to do their job. ‘the band’. How many and what instruments
There are three types of performance staff, but they play depends on the performance. Each
many performers have several skills so they musician is skilled in one instrument, but a
can perform more roles. You could add the few are able to play several. Players need to
specialty of ‘singer’ to the list as well; however, get an OK from the Gamemaster to play a
the Royal Grand doesn’t tend to do cabaret musician, as they are usually located in the
or concerts that would need pure singers, so orchestra pit and cannot often leave during the
actors or dancers with a high music skill can show. However, as a player character musician
perform as singers if need be. will be the third violin or the like, they won’t
Actors: Actors are skilled in mimicry and be as involved as the rest of the band for the
disguise as well as just saying their lines at show.
the right time. As actors, the characters will
understudy the lead roles and take part in Carpentry
crowd scenes on stage. A lucky few might The chippies are one of the larger
have a line or two of dialogue. Those with a departments in the theatre, and the place most
good voice will get used as backing singers people start working in. Many people move
and chorus as well. into other technical departments after having
Dancers: Dancers are extremely fit, as spent time as a member of the crew, but this
dance (especially ballet) is extremely physically is not always the case. Crew work requires
demanding. Dancer characters are primarily more brawn than brains most of the time, but
used for the large dance numbers in the show, that is not to say a clever member of crew is
which can range from ballet to modern and wasted, especially in an emergency. The more
tap and everything in between. A few also get aware and experienced crew can often move

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into stage management, if they can impress used for the show. Much of the technology
one of them. As well as looking after the at the Royal Grand is old and falling apart,
show, the carpenters are also responsible for requiring constant maintenance. In addition
structural repairs in the building of the Royal to that, the technical crew are also responsible
Grand. They have the never-ending job of for the more complicated parts of building
filling cracks, patching leaks, repairing doors maintenance, such as the boiler system and
and fixing seats in the auditorium. plumbing. This means the average technician
Stage Crew: The stage crew are part of has a solid grasp of several electrical and
the carpentry department, and are used mechanical engineering skills. There are two
outside the show to assist in the construction specialties under technical: lighting and sound.
of scenery and large scale props. While few Lighting: LX staff are responsible for the
have the real skills of a craftsperson, most show lanterns, meaning they must check
know how to shape wood and metal to more they are all in working order for the show. In
pleasing forms. Crew are often skilled in most cases this just means changing a bulb
moving great weights, as (or more properly, lamp).
they are practiced at lifting However, the Royal Grand
and carrying. They are also uses a lot of diverse moving
the ones who have to sweep and robotic lanterns, which
and mop the stage before the are full of motors, gears,
production. circuits and control systems,
Fly Crew: Flymen (and which are prone to the
flywomen) are rarely seen occasional break-down. The
outside the fly floor. They high-level electricians operate
remain on their gallery with the lighting board during the
a mug of tea and the local show; the others work follow
paper, waiting for their spots and perform technical
moment to pull the ropes. duties in scene changes.
Being unable to see much of Sound: The ‘noise boys’
what is happening on stage see to the sound system in the
(they have a bird’s eye view, show, but share very similar
but lots of scenery hung in duties to the lighting staff.
the way), they often need to Sound technicians have very
rely on others to see a piece of trained ears, as good sound
scenery lands safely on stage. They still have does not just depend on how loud something
to be especially observant, as they can see a is. They must adjust speakers to ensure an
part of the stage no one else can. Flymen are even field of sound across the auditorium for
often called upon to assist the stage crew for every member of the audience. They are also
larger scene changes if they are available, but responsible for the communications system
this ‘poaching’ goes both ways. While their (cans) for the backstage staff.
main work is pulling on fly ropes, flymen
are also excellent climbers and masters of Costume
knotwork. Two laws about the costume department
are true in every theatre. Firstly, their
Technical department will be on the top floor of the
The technical crew are well-versed in building, and secondly, they will always be
electrics and electronics, which enables overworked. It is their job to prepare, adjust
them to maintain the array of equipment and construct everything worn for every actor,

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and it all needs to look perfect for each show. Stage Management
Both wardrobe and wigs supply dressers to Stage Management are not intended for
help actors get changed before and during use as player characters, as they are rarely
the show. For some of the more elaborate able to leave the stage during a show. For this
costumes and wigs (and faster changes) it may reason, you must seek the permission of the
take two or three people to get the actor ready Gamemaster to play one. Such characters will
to go on stage. certainly be assistant stage managers (ASMs),
Wardrobe: The wardrobe department is as they tend to get extra tasks thrown at
responsible for everything that gets worn them on a regular basis. Stage management
during a show. The old maxim is ‘if it is are primarily skilled in observation, as they
worn, it’s costume’, although sometimes are constantly on watch to see the show runs
the line is blurred. For instance, if an actor smoothly and everything is in its place. They
carries an umbrella on stage it is costume; if are in charge in their area of the stage, making
they open it while on stage it is a prop (and them experienced leaders, and intimidating
therefore a stage management problem). The overseers. They are also skilled in prop
wardrobe department are skilled in making making, the construction of the various odds
and adjusting all manner of costumes, and and ends that can’t be found elsewhere and
not just with needle and thread. Plenty of must be created for the show. Their other
costumes have papier-mâché masks, velcro skill of note is their ability to scrounge for
fastenings or even steel supports. Anything props and locate them with almost magical
too big becomes a crew job, but wardrobe are proficiency. If King Arthur had used stage
skilled in crafting a wide variety of different management instead of knights, the holy grail
materials. The wardrobe department is also would have been found in a day or two after
in control of the washing machines, and a bit of leg work around the antiques and
befriending this team will allow some staff charity shops.
access to laundry facilities on the cheap. They
can also be convinced to make clothing repairs Front of House
if sufficiently remunerated. Don’t push your Like stage management, front of house
luck and ask them to iron anything for you. staff are not advised as player characters,
Wigs: The wig department is pretty self and require permission from Gamemaster.
explanatory. Their job may not sound so This is mainly due to the fact that the ushers,
involved as wardrobe, but they need to managers and security staff are very separate
work with the same amount of actors, and to the rest of the backstage crew and take no
usually have far less staff. Few people can part in the show itself. They begin work just
properly put on a wig themselves, so each before the house is opened, but are pretty
actor must be fitted with their wig for each much unnecessary while the performance is
costume. Wig dressers often assist wardrobe going on. A few will be used to prepare the
dressers with quick changes to ensure the bars for the interval, while others stand by
wigs remain in place during a frenzied quick in the auditorium in case a patron is taken
change. Essentially the wig department are ill. It is often difficult to get front of house
hairdressers, making this their primary skill, while a show is on, so the backstage staff
though many are highly skilled as makeup rarely interact with the front of house staff at
artists as well. These skills help them make a all, making it hard to make them part of the
little money on the side, as most of the staff at group. However, they are often free to sneak
the Royal Grand go to the wig department for about the theatre when the others are busy,
a cheap haircut or a makeover. making them viable as player characters, as
long as the player knows the score. Ushers

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this is usually a position of more responsibility

and so not given to new recruits.
Appearance, Money and Push & Pull Security: While most front of house staff
are ushers and refreshment sellers, there is
Actors aren’t expected to move scenery,
also a small force of security staff. They are on
and crew aren’t expected to perform.
hand to deal with troublesome patrons when
However, sometimes it becomes necessary
need be, but are usually a show of force to
and so they both rightfully expect to earn
discourage problems.
something extra as recompense. This
extra work is never especially involved.
Example: Richard is creating a character.
Actors don’t have to roll up their sleeves
He decides to play a lighting technician, so
and push scenery around or take a turn
he chooses the technical department with a
in the flies. However, if they are asked to
lighting specialty. He names his character Bob.
take a chair or something similar off stage
with them they can claim extra cash each
show called ‘push and pull’. 2 - Attributes
By the same token, crew are rarely
offered bit parts in the show. However, The next stage is to choose attributes for
they might have to set scenery in view of your character. Attributes are innate qualities
the audience. They could also have to be that your character has, like being strong or
on stage to watch a piece of scenery find cunning. However, they can also be negative
its mark correctly. In a blackout, no one traits, like being gullible or naive. Attributes
will see them, but occasionally the scene are rated from 1 to 3, and if they might be
change is done with the lights on. In such helpful when making a skill test they add their
times the director may ask for them to be rating as a number of bonus dice to the dice
in costume, so things do not look too out pool. If the attribute might have a negative
of place. If they have to wear any costume effect on the skill test they remove their rating
for any reason, they claim ‘appearance in dice from the dice pool.
money’.
In both cases this is not very much at Example: Sarah Jane the stage manager
all, but it is just about worth claiming has an attribute of ‘Intimidating’ rated at 2. If
so you can buy an extra round in the she is trying to question someone about who
pub that week. The money the players of moved some props she can add 2 dice to the
Opera House have decided to claim for skill test. But if she is trying to convince one
‘additional duties’ is similarly low, and of the crew that she likes to come out on a
they are going to earn every last penny. date, her intimidating presence might subtract
2 dice from her attempt to be charming (unless
are experienced with bar work and sales, but the crew person actually likes her intimidating
are especially adept at fast talking difficult presence).
patrons (or passing the complainant on to Each character begins the game with more
their supervisor). than one of these qualities. They have 3 points
Usher: The most common position front of to spend on their attributes, but cannot start
house are the ushers. They are there to watch the game with a rating higher than 2 in any
over the audience, guide them to seats and attribute (although they can be improved later
deal with any problems. They are also trying to 3). This means they might choose three
to sell as many programmes and ice creams attributes at level 1, or two attributes (one at
as possible. Some may also work the bars but 2 and one at 1).

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Additionally, no one is nice all the time, 3 - Skills

and so at least one of these attributes must
be negative in some way. Keep in mind that While attributes represent the innate
having a negative trait doesn’t make you a bad abilities of a character, skills represent their
person. There is nothing bad about being shy, education. In Opera House the show is
for instance. However, timidity might work everything, so skills are all developed around
against you more than confidence would, so it the various jobs that are performed during a
can be used as a negative trait. show. However, no character is limited to only
To give you an idea of the sort of qualities the skills they learn as part of their career,
that can be attributes, here is a helpful list. and many backstage people are talented
Feel free to invent attributes of your own, performers on the quiet.
as this list is no more than a starting point; Each character in Opera House begins
however, the Gamemaster may disallow the game with a selection of skills that allow
anything they feel is inappropriate. Attributes them to do their job. They also get another 10
are allowed to be quite broad, though. skill points to spend where they like on skills
outside their chosen career (or make their
Positive Attributes Negative Attributes career skills better).
Attractive Arrogant All skills can only be improved to level 3
with these beginning points. The exception is
Aware Critical the three skills your character starts with due
Charming Deceitful to their department, which can be improved to
Cunning Distinctive level 4. While all characters can later improve
all skills in the same way, no skill can ever be
Dextrous Greedy
higher than level 5.
Educated Intimidating If you don’t put any points in a skill, that’s
Fast Reactions Lustful ok. Everyone has at least a chance to try
Honest Naive anything. So you will always have a dice to
roll, and may be able to apply an attribute as
Intelligent Opinionated well.
Perceptive Rude As skills are arranged mostly by
Resolute Shy department, if you can argue that what you
are trying to do is something that department
Strong Talkative
would be skilled in, you can use that skill.
Wise Unfocused For example, the Actor skill isn’t just about
playing a role. You can also use it to browbeat
Example: Richard decides that Bob the other characters, disguise yourself or recall
lighting technician is going to be a thin, something other than your lines.
weaselly sort of character with a keen intellect. Some skills duplicate the abilities of other
He chooses Intelligent for his first attribute skills. For instance, both Stage Management
and assigns it 2 of his points. As he only has 1 and Crew are good at sneaking about in the
point left he can only have one more attribute, dark, so if you are going to do that you can
and it must be negative as Intelligent certainly use either skill. If you have both, you can use
isn’t. Richard decides Bob is a bit of a liar, so whichever is best.
he takes Deceitful at level 1 as well. While this Not every department has a particular
might make him untrustworthy, it may still be skill, as some of their abilities are covered by
helpful when trying to tell lies. something else. There are also a few skills that
aren’t covered by any particular department,

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skill. While the Gamemaster may allow other

people to learn an instrument, they are rarely
Starting Skills by Department as good as a professional theatre musician.
If they were, they could make much better
Performance Staff
money as a muso. While there are plenty of
• Actor - Actor 3, Style 2, Music 1
stories of guitar techs in the event industry
• Dancer - Dancer 3, Music 2, Actor 1
that can easily outplay the guitarist in the
• Musician* - Music 3, Craft (Baking) 2,
band, in theatre the musicians are usually
(play instrument)
classically trained and very skilled.
A musician has many instruments to choose
Carpentry Dept
from. The usual options are Piano, Drums,
• Stage Crew - Crew 3, Craft
Violin, Saxophone, Trumpet and Cello.
(Woodwork) 2, Security 1
However, at the Royal Grand, any instrument
• Flyman – Flyman 3, Crew 2,
is possible, and characters might also pick
Security 1
something less common like the Hurdy Gurdy,
Sitar, Biwa, Theremin or even a Didgeridoo. If
Technical Dept
the Gamemaster allows, you might also create
• Lighting or Sound - Technical 3, Craft
your own strange musical instruments—
2, Crew 1
bizarre items that create music from light,
magnetic resonance or even living plants.
Costume Dept
• Wardrobe - Craft (Sewing) 3, Style 2,
Front of House 1 Skill Descriptions
• Wigs - Style 3, Front of House 2,
Craft 1 Archivist
This skill deals with arcane knowledge
Stage Management*
outside the scope of most people’s lives. Not
• ASM* - Stage Management 3, Craft
only does it offer insight into history (even
(Props) 2, Crew 1
outside the Royal Grand), it even offers darker
and more esoteric understanding of subjects
Front of House*
like the occult and alchemy. Archivists are
• Usher* - Front of House 3, Actor 2,
also skilled at academic research and making
Security 1
use of libraries.
• Security* - Security 3, Front of House
2, Crew 1 Actor
The skill of acting is a strange mixture of
*You need the Gamemaster’s approval to impersonation, charm and ruthlessness, and
pick this as a specialty that’s just to get the job. Actors are good at
taking control and faking confidence; indeed,
such as Crime. These are available to anyone they’re good at faking most things—it’s part
to spend extra points on. of the occupation. This skill covers not only
One departmental skill that deserves special the mannerisms and tone of voice to create a
mention is that of musicians. Each of them character but also the ability to use makeup
can play at least one musical instrument to a to change one’s appearance, and to do so
professional level. They just can, it’s not a skill believably on stage in front of an audience.
they need to roll. If they are trying to impress Actors rarely shy away from the limelight.
someone with it they can roll using the Music They have to be good at talking people into

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giving them what they want, as there are

plenty more people at every audition. They
are also very good at remembering most
What the Skills Cover at a Glance
things, capable of memorising long speeches
• Archivist - Academic lore, occult,
and whole plays they can recite years later.
alchemy
Some actors are well trained in the use of
• Actor - Impersonation, charm,
weapons, but usually only to look stylish and
disguise, memory, performance, stage
adventurous rather than to do any damage.
combat
Craft • Craft - Making items (wardrobe:
This skill covers the ability to make or sewing; carpenters: woodwork; SM:
repair inanimate objects (though anything props; Musicians: baking)
mechanical or electronic is covered by • Crew - Heavy lifting, wood and
technical). Several departments are good at building repairs, stealth
crafting, but each has its own speciality. The • Crime - Lockpicking, safecracking,
crew are skilled in woodwork, the wardrobe black market, sneaking
department are skilled in sewing and the stage • Dancer - Acrobatics, climbing,
management are good at making props (any running, athletics, dancing,
kind of small object for use on stage). performance
While anyone with the skill can make • Flyman - Rope work, lifting,
or repair objects, each department with a observation, theatre navigation
speciality can add a bonus die to their dice • Front of House - Convince, empathy,
pool when working within their speciality. bureaucracy, theatre navigation,
For example, while a crew member can use connoisseur
Craft to stitch up a hole in his trousers, he • Music - Music theory, singing,
gets a bonus die if he uses it to fix a wooden empathy, performance
chair. However, when working outside their • Security - Brawling, swordfighting,
speciality, a character cannot use craft to do firearms, explosives, intimidation
anything especially advanced. A carpenter can • Stage Management - Observation,
certainly use Craft to darn a sock, but not stealth, leadership, empathy, medicine,
to make a ball gown. A stage manager can bureaucracy
use Craft to repair a wobbly chair, but not to • Style - Looking good, hair styling,
make a wooden table from scratch. makeup
• Technical - Electronics, computers,
Crew engineering
The crew are often used as the workhorses
of the theatre, and so they are capable of Crime
lifting and moving heavy objects, on stage or This skill is not tied to any department but
off, as a coordinated team or alone. It’s why so is common among a few employees at the
many have dodgy backs. They are also skilled Royal Grand. It covers illicit activity, such
at making repairs to most things, but only to as sleight of hand, opening locks and even
make something last for a scene. Most will opening safes. Adepts of crime can also access
fall apart before the next performance, if they the black market for illegal goods and are very
are lucky. As they perform scene changes in good at sneaking around. Not everyone who
the dark, they have excellent night vision and possesses the skill is looking to do harm with
are (usually) very good at moving silently and it. In fact, many stage magicians require this
unobtrusively. skill for a lot of their act.

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Dancer
Most physical actions come
under the category of dance.
It covers acrobatics and ballet,
but also more mundane athletic
pursuits like running, climbing
and jumping. Dancers also have
immense physical resolve and
are able to push their bodies to
the limit when required. This
skill can also be used to make
a physical performance and
connect to an audience without
words.

Flyman
The flies are quite separated
from the rest of the theatre, in
their own world of ropes and pulleys. Their During the interval they sell programmes,
main skill is knot and rope work and if they work the bars and sell ice cream and sweets.
tie something, it stays tied. As they have to This makes them good at calculating the totals
keep an eye on what they are doing they are of bills and the best quality of wine or spirits.
also very observant, especially with large
pieces of scenery. While they don’t often carry Music
heavy pieces of scenery, they often have to The music skill allows a character to sing,
haul it from place to place by rope. They are read music and understand the roots and
also great endurance lifters, able to move fly rhythm of any piece they hear. It also grants
weights around for hours without a break. some ability with an instrument (although
Finally, as the flies and the grid are far from only a full musician need not roll to play
the stage, they know the theatre a little better their instrument of choice). Music also offers
than most. an understanding into feelings and can be
used to empathically connect to others to
Front of House understand them better. It can also be used to
As the only department with a customer- evoke emotions in those who hear what the
facing role, those in front of house are adept character plays.
at social interaction. They use empathy to
gauge difficult patrons, and are good at Security
detecting the outright lies some of them Sometimes a fight occurs, and when a
come up with to get a refund. They also have physical altercation happens, the security
to remain charming and polite no matter staff are there. This skill covers all forms of
how problematic the customer. As they are combat, armed and unarmed, from knives
often assigned small jobs during the show, to firearms. It is also helpful for bomb
they often roam the theatre and know it disposal, as well as to notice trouble before it
very well, and being close to the office staff starts. Security are also good at intimidating
they sometimes understand the labyrinthine others, to make them back down before any
bureaucracy of the Royal Grand a little better. unpleasantness begins.

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Scrounging
Theatres have a lot of odds and ends lying around, even though there is no space for
any of it, and sometimes show supplies can get ‘repurposed’ when required. Each character
has the ability to scrounge up items relevant to their department with a roll of their main
department skill. They cannot use another department skill to find something outside their
area of expertise. Each department jealousy hoards its supplies, so if you want sewing
needles you need to see the wardrobe department.
Each department can use the bracketed skill to rustle up any of the following items
listed for their department. Anything might potentially be found in the Royal Grand, and
so when asked for an item the Gamemaster just has to decide which department might be
responsible for it.
Actor (Actor) - Makeup, play scripts, old photographs, anything from wardrobe or wigs
but to a reduced quality.
Dancer (Dancer) - Dance shoes (ballet, tap, etc.), medical supplies and supports,
anything from wardrobe or wigs but of a lower quality.
Stage Crew (Crew) - Drills, saws, wooden poles, planks or sheets, bollards, paint (spray
or can).
Flyman (Flyman) – Rope, weights, magazines and newspapers (some porn), tape.
Lighting / Sound (Technical) - Batteries, plugs, computer parts and peripherals, plumbing
supplies, electrician’s tools, soldering equipment, bulbs, cleaning clothes, gaffa tape, LX
tape.
Wardrobe (Style) - Needles, material, costumes, shoes, sewing machines, really nice
biscuits, cake, gin.
Wigs (Style) - Hairpins, hairpieces, makeup, hot irons, radios.
Musician (Music) - Instruments, alcohol, baked goods.
Stage Management (Stage Management) - Glue, scissors, paperwork, stationary supplies,
marking tape, anything that can fit into a shoulder bag, replica firearms.
Front of House (Front of House) - Programmes, odd articles of clothing (lost property),
umbrellas, mobile phones, ice creams.
Security (Security) - Weapons

Stage Management if accidents occur they are usually the ones

To be a stage manager is to be a jack-of- called upon to offer first aid.
all-trades to a certain extent. You need to be
a production assistant (PA), medic, leader, Style
mother, project manager and babysitter, often While making clothes is one thing, wearing
all at the same time. Stage managers are them is another. The wardrobe and wigs
calm in a crisis and good at noticing details. departments are adept at making people look
Like the crew, they can move like ninjas and good. It’s not enough to just wear a jacket,
are responsible for seeing everyone else gets you need to know how to wear it, what
their jobs done. This requires some of the makeup to match it, how to style your hair
interpersonal skills of front of house. They to emphasise it. With this skill you can own a
often have to do a lot of paperwork to run room when you enter it.
the show and are skilled in bureaucracy, and

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4- Traits
Services Next you need to flesh out your character
a little, by adding a tag that describes their
As well as having some things to
personality or first impression. Traits might
scrounge, backstage staff have skills they
be personality related, appearance related, or
can trade.
anything else you like. In general, this is the
thing most people notice upon meeting the
• Technicians can make repairs to
character for the first time.
electrical devices.
You must pick at least one trait for your
• Carpenters can fix broken furniture
character; either invent one yourself or pick
and items.
one from the list below. The list is just there
• Wardrobe can offer laundry access and
to give you a starting point for the personality
tailoring.
of your character, rather than describe them
• Wigs can do hairdressing and makeup.
in absolute detail, so pick what you are
• Stage management can often allow
comfortable with and take it from there.
access to running props such as food,
Consider it a quick and dirty tag to hang
sweets and cigarettes.
your character on until you get to know them
• Performers don’t usually have much to
a little better. Traits are not carved in stone
trade, so it is a good idea for them to
and may change over time as your character
learn how to make baked goods.
develops. Your character may even pick up
more than one over time.
Technical While traits do not have ratings like
Anything that uses electricity is covered attributes, whenever a trait might be useful in
by this skill. It allows you to make, repair, a situation, you can add an extra die to your
reprogram and operate all manner of gadgets dice pool.
and electronics, as well as computer systems.
In a way it is a craft skill for technical people. Example: While Bob is a good liar, Richard
decides most people think he looks a bit
Example: As a lighting technician, Bob dodgy from the outset. He decides to give Bob
starts with skill rating of Technical 3, Craft 2 the trait ‘Shifty’.
and Crew 1. Richard can then add another ten
points across all the skills (to a maximum of
4 for Technical, Craft and Crew and 3 for any 5 - Ritual (Optional rule)
other skill). As Bob is rather shifty, Richard
gives him 3 points of Crime (the maximum Theatre people (all of them, not just
for a non-starting skill). He also adds 3 points performers) are very superstitious, especially
to his Crew skill to help him sneak around, when they insist they really aren’t. Too much
making it 4. This is OK as it was a starting can go wrong to tempt fate, and so it’s not
skill, even though Technical is more important worth the risk. This doesn’t mean most people
to his department. Nothing says Bob has to refuse to walk under ladders. No one will
be a great lighting technician! He has 4 points make their job any more difficult than it has to
left, so decides to put 2 in Stage Management be. But if they can work around it they often
and 2 in Front of House to give him a broader will (also because walking under ladder can be
base of interpersonal skills. legitimately dangerous in a theatre!).

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The ritual the player character has can be

anything. A few examples are:
Traits
• Reciting a favourite line from this show
• Always wears a hat
or another
• Amazing Hair
• Making sure they have their favourite
• Art Connoisseur
tool
• Birthmark
• Touching the prompt copy
• Camp
• Screaming out of a window in terror
• Caring
• High-fiving a particular person (who
• Carries a lot of tools
probably has the same ritual)
• Collector
• Knocking on a stage door five times
• Crazy hair
• Kissing a particular part of the theatre
• Dirty or Dusty
• Declaring loudly you don’t have any
• Distracted
silly superstitions
• Eccentric
• Saying ‘Off we go then’ to several
• Extravagant
people
• Extremely Hairy
• Doing a small tap dance
• Gossiper
• Fine-tuning a particular piece of
• Mysterious
equipment
• Overbearing
• Making sure your favourite chair is in
• Piercing Eyes
the right place
• Pompous
• Going to the loo (always a good idea
• Quiet
before the show anyway)
• Sloppy
• Snappy Dresser
• Talkative 6- Finishing Touches
• Timid
• Touchy feely The final thing to do is look at the character
• Ugly you have created and fill in any gaps. You
should start with some basic questions like
For this reason, every player character their age, gender and general appearance.
has at least one small ritual they like to do Remember that your trait gives you a start by
before the show that makes them feel more describing what people first notice about you.
at peace with fate. Doing this ritual at the To help you flesh out these gaps, here is the
start of a game session is what gives them list of questions we mentioned at the start of
their beginning point of Glamour. However, it this chapter. You need not answer them all,
might be used to bring more Glamour points or restrict yourself to just these questions.
later on if the Gamemaster is feeling generous. However, you should give each question at
This rule is optional, as some characters least a little consideration.
might not have a ritual and should not be
penalised in gaining Glamour. However, it What does your character look like and
does bring another detail to your character how old are they?
that fits the setting of the game, so it is highly All characters are human (there are no elves
encouraged. in Opera House) and they still come in the
same variety they always have. While there are
plenty of prejudices in Opera House, very few

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apply to the colour of your skin. You are far Why did your character decide to come to
more likely to be abused for the department the Royal Grand?
you belong to than what you look like. Were they attracted by the glamour or just
Characters can also be male or female, it a steady pay cheque? Maybe they have family
makes no difference. While some departments who worked here, or they just fell into a job
tend towards a particular gender, anyone can having nothing better to do. Perhaps they even
be a part of any department. thought they could hide here.
Most of the new employees at the Royal
Grand are in their late teens or early twenties. Why did your character choose to join the
However, that need not be the case for you. department they chose?
Are you older or younger, and if so, why did What made them apply for that position
you join the company at this time? rather than any other? Did they have an
option? Maybe they applied for several and
Does your character have any other this was the only one that offered them a job.
distinguishing features? Maybe they actually applied to a different
What is the second thing anyone notices department and were rejected. They might
about them? Do they have any scars or have wanted to act, but couldn’t get into the
tattoos? Is there a certain attitude they usually performing company? Maybe they joined
have, such as sullen or friendly? theatre to act, but now the technical crew
looks like far more fun.

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If they were interested in another What are your character’s favourite and
department, are they still interested in it now least favourite things?
they know a little more about it? This question is about the little things.
What small joys do they take from the world
Why did your character choose to take and what can always get a rise out of them?
‘additional duties’? Do they have a favourite food? Is there a type
The money they offered you wasn’t so of music they just cannot stand? Do they mind
good that it was a no-brainer. Did they just getting their hands dirty, or are they a bit of a
get greedy, or did they want to impress the neat freak?
management with their enthusiasm? Maybe
they just didn’t read the contract very Is your character in love, married or even
thoroughly. divorced?
Nobody said you can’t have relationships
How does your character dress? at the Royal Grand. Maybe your character
How do they wear the clothes you has someone already, or there is someone they
wear? Do they like to dress well or can’t have their eye on. Have they fallen in love
be bothered? Does it take them ages to get with one of the ballerinas, even though they
dressed in the morning, or do they just grab don’t know their name? Does their partner
the first thing they can find (clean or not)? Do work on the crew beside them? Are there any
they generally wear a dress/skirt or do they of their ‘exes’ working in the theatre, and did
prefer to wear a pair of trousers (whether they part on good terms?
male or female)? Remember that your character’s sexuality
need not be straight. Theatre has been
Is your character ambitious? If so, how far something of a sanctuary for many LGBT
are they prepared to go to further that people over the centuries. While it isn’t
ambition? perfect, it is far more accepting of different
Few people refuse a promotion, but how sexualities and genders than most other
much is your character looking to get one? workplaces. At the Royal Grand this goes
Are they convinced they’ll be running this further (because it’s my world so screw the
building in five years, or are they happy to bigots), and no one has a problem with
stay where they are? If they are ambitious, anyone for being gay, straight, trans, cis, bi or
then how ambitious? Will they lie and cheat, anything else.
or even kill to get ahead? Every theatre in the West End (and
probably further) celebrates Pride every year,
What is your character’s greatest hope? and the Royal Grand is no different.
What do they want out of life? Are they
looking for fame and glamour, or maybe just a What is your character’s name?
small corner to feel useful in? Are you looking This might seem like a simple question,
for love, or trying to get rich? but it is often the one people have the most
trouble with. To help you out, you’ll find a list
…and greatest fear? of suggested names below. Well, first names
We are all scared of something. Do the anyway; for surnames you are on your own.
usual things like the dark and spiders frighten However, many first names work as surnames,
your character, or is there something else? If and you can get ideas for more surnames by
so, what made them fear this terrible thing, reading the credits at the end of a movie.
and how much do they want to keep that a
secret?

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The list is certainly not exhaustive, so don’t Marshall, Mason, Matthew, Michael, Miguel,
let it restrict you. You can call your characters Miles, Moses, Nathan, Nero, Noah, Otto,
whatever you like, but most names have a Paddy, Patrick, Patterson, Paul, Peter, Philip,
biblical or Victorian feel to them. Quinn, Ramon, Reilly, Ricardo, Richard,
You also need not be known by your given Roderick, Roger, Roland, Ryan, Sampson,
name. There are plenty of nicknames that can Santiago, Seamus, Sebastian, Sergio, Sidney,
become permanent in the closed society of the Sigmund, Sinclair, Stefano, Stephen, Thomas,
Royal Grand. If your character has earned Timothy, Tobias, Valentine, Vasyl, Victor,
such a name for themselves, why did they get Vincent, Vincenzo, Walter, Warren, William.
it? Did they choose it, or was it thrust upon
them, and do they like it or hate it? Female Names:
Adelle, Adrienne, Agnes, Aileen, Alanna,
Male Names: Alberta, Alegra, Alexandra, Alice, Alva,
Abel, Abraham, Adam, Aiden, Alaric, Amber, Amy, Anastasia, Angela, Angelique,
Alejandro, Alexander, Alfredo, Aloysius, Anna, Anne, Antionette, Arlene, Ashlyn,
Andre, Andres, Andrew, Antonio, Bailey, Belinda, Belle, Bernadette, Bianca, Bridget,
Bainbridge, Baldwin, Barak, Barnabas, Brie, Camille, Carla, Carlotta, Carol,
Barrett, Benito, Benjamin, Bergen, Bernard, Cassandra, Catalina, Catherine, Chloe,
Bernardo, Bert, Bishop, Blaine, Boris, Bourne, Christine, Ciara, Clarissa, Colette, Colleen,
Boyce, Brian, Bruce, Bruno, Caleb, Carl, Conchita, Cosette, Dacey, Daniela, Danielle,
Carlos, Carney, Chadrick, Charles, Christian, Daphne, Deirdre, Delia, Diana, Dominique,
Christopher, Claus, Colin, Damien, Daniel, Donna, Doris, Dorothy, Dulcinea, Edna,
David, Dean, Derick, Derry, Devlin, Dominic, Eileen, Elaine, Eleanor, Elisa, Elisabeth, Ella,
Duke, Edward, Eli, Elias, Elijah, Emery, Eloise, Elsa, Emily, Emma, Erin, Esmeralda,
Emilio, Emmett, Enrico, Esperanza, Eva,
Enrique, Eric, Ernst, Faith, Felicity, Fleur,
Estevan, Ethan, Evan, Francesca, Francine,
Ezekial, Fagan, Felipe, Gabriela, Gabrielle,
Felix, Ferdinand, Gemma, Genevieve,
Fernando, Ferris, Finn, Georgia, Gertrude,
Flynn, Francis, Franz, Giselle, Glenna, Grace,
Frederick, Friedrich, Greta, Gretchen,
Fritz, Gabriel, Galen, Hannah, Heidi,
Gannon, George, Helen, Helena, Helga,
Germain, Gideon, Hilary, Hope, Ilene,
Giles, Giovanni, Irene, Iris, Isabel,
Giuseppe, Heinrich, Isabelle, Jacqueline,
Henry, Herbert, Jillian, Josephine,
Herman, Jacob, James, Joy, Juliana, Juliet,
Jason, Jed, Johan, Kaitlin, Kelly, Kerry,
John, Jose, Joseph, Kyla, Lana, Leona,
Joshua, Juan, Jules, Lolita, Lorelei, Louise,
Keane, Kyle, Lawrence, Luisa, Madeline,
Leonardo, Liam, Mallory, Margaret,
Louis, Luke, Luther, Margarita, Maria,
Lynch, Malcolm, Marie, Marjorie, Mary,
Marcelo, Marco, Mark, Maura, Maureen,

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Megan, Melanie, Melinda, Mercedes, Meriel,

Michelle, Mimi, Monica, Muriel, Nadia,
Naomi, Natalie, Nichole, Nina, Nora, Example Character
Noreen, Oriana, Pamela, Peggy, Rachel, Rona,
Rose, Sara, Sarah, Simone, Sinead, Siobhan, Bob
Sophia, Stephanie, Susan, Susette, Sylvia, Dept: Technical (Lighting)
Tara, Teresa, Valerie, Velma, Veronica, Violet,
Attributes: Intelligent 2, Deceitful 1
Vivian, Wanda, Yvette, Yvonne, Zoe.
Skills: Craft 2, Crew 4, Crime 3, Front
Nicknames: of House 2, Stage Management 2,
Bastard, Big Dave, Bob, Fingers, Fixer, Technical 3
Gavlar, Giggles, Gimli, Ginger, God, Trait: Shifty
Gregatron, Hangman, Hippy, Lampy, Little
Dave, Lofty, Muffin, Peaches, Percy Simpkins,
Pirate Dave, Porno, Sarge, Scotty, Shagger,
Slug, Sparky, Two Pints, The Wizard.

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 C hapter 3

The Royal Grand

Opera House

T he Royal Grand Opera House is such a

grand building it deserves its own chapter.
Its vast structure has many levels and sub-
and a collarless shirt. The dangers of the
work necessitate steel-toe boots and a few
of the folk opt for a flat cap as well (in some
levels, and it is a very easy place to get lost in. cases lined with metal for head protection).
Each corridor looks the same, and there are The work is too warm for a jacket, and most
several ways to get to any place in the building people turn their sleeves up if a manager isn’t
depending on whether you can cross the stage around.
or not. To your characters, it is their whole All of the stage and technical crew have a
world. They rarely, if ever, get to leave it, and ‘Sunday best’ suit (or dress for the ladies) but
why would they need to? They work there, they hardly ever get the opportunity to wear
live there and even get fed there. Inside they it. A few of the women working backstage opt
may not be safe, but at least they know where to wear skirts and dresses, depending on the
danger is coming from. job they have to do. Wardrobe and wigs tend
What lies outside the Royal Grand depends to be the most dressed up, and a few follow
on the Gamemaster. Generally the game is set spot operators find themselves in a feminine
within its walls, so player characters tend not mood on occasion. Such attire is usually a neat
to leave the boundaries of their theatre home. high-necked blouse and a long skirt (in the
The outside is only important inasmuch as Victorian style), but only a few wear anything
it defines what they can see out the window. very elaborate except at a press night party.
That is, if they can ever find time to look out The 1920s style is also quite popular,
of a window. especially in eveningwear. While a press night
More detail on ‘outside’ will follow in party or gala is the only time the crew get to
Chapter 7: Behind the Curtain, but for now dress up, the rarity usually encourages them
we’ll just concern ourselves with the building to make more of an effort. While this makes
itself, and the people who live there. little difference to the gentlemen, the style is
very different for women. Dresses are shorter
and lighter and accessorised with feathers and
Clothing and Style strings of pearls.
The Art Deco/Nouveau style is also popular
While it contains a lot of 20th century in broaches and clasps. In general, Victorian
technology (in various states of repair), there fashion is warmer and therefore popular in
is a distinctly Victorian/Edwardian feel to the winter, whereas the lighter 1920s fashions are
Royal Grand, in both style and the attitudes more commonly seen in summer. However,
of the inhabitants. Most of the workers in the few of the company and crew are as well-
theatre dress in dark, hardwearing clothes. dressed as the audience, who still usually dress
Both sexes generally wear trousers with braces for an evening out at the theatre.

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The front of house staff and the musicians The building’s plumbing and ventilation
have to cut a more elegant figure than the system is positively archaic, though.
backstage staff. The ushers have a uniform
of a white-patterned waistcoat over a black Lighting Technology
shirt with black trousers (or black skirt for The technology of the lighting department
women). Managers and musicians look very is not especially complicated (except perhaps
much the same as each other, dressing in for moving lights (see later). While they are
eveningwear. When they are in view of the powerful, theatre lanterns are a bulb (or more
public the management annoyingly insist every formally ‘lamp’) in front of a reflector inside
lady dresses in more ‘feminine attire’, but a metal shell to ensure the light goes in one
they care little about what the women wear direction. The unit also contains one to two
backstage. Anyway, should a woman need lenses to focus and adjust the beam.
to go front of house and is wearing trousers, Lanterns are plugged into a dimmer,
as long as she keeps a cap on the managers either by a long cable or into sockets in the
assume she is male anyway and ignore her. theatre infrastructure that connect to the
They rarely look too closely at the crew unless dimmers (which are rarely as conveniently
they have to. placed as you want them to be). The dimmers
Performance staff are almost always in themselves are a series of large racks usually
costume, which comes in all manner of shapes centralised in some understage area, and
and sizes. When they are not on stage they outlets for them are scattered around the stage
get to wear their ‘Sunday best’, which gets and lighting positions. This saves you having
far more wear for them than it does for their to run a cable all the way to the basement
backstage counterparts. However, very few for each light. The dimmers receive a control
performers can be bothered with the fuss of signal from the lighting desk (in a control
dressing up at all. Most attend rehearsals in room at the back of the dress circle in the
little more than tights and a dressing gown. auditorium) which tells them which lantern to
As most performers are either performing, power up and at what intensity.
rehearsing or sleeping, they tend to flop about There are a few different types of theatre
the theatre in their rehearsal clothes, which lights (lanterns) and hundreds of different
a few of them sleep in, too. Occasionally the versions of each of these types. The four most
management insist the performers join their commonly used are PAR can, floodlight,
guests at after show parties. In such a case Fresnel and profile (there is another called a
they are often told to wear their costumes (for PC, for pebble or prism convex, but no one
that added showbiz glamour at the soiree) or ever uses them).
evening dress. The backstage crew are rarely, A PAR can is essentially a car headlight in a
if ever, asked to such parties, so their dress metal tube; not very precise, but powerful and
isn’t an issue. can project colour very well. They are mainly
used in rock and roll shows.
Floodlights are just what they sound like;
Technology they are designed to flood light over a wide
area. They are often used as working lights
While the look and feel of the Royal Grand (see later) but are more usually arranged in
may be Victorian/Art Deco, the technology large banks to light stage cloths and huge
available is (mostly) 21st century. While the walls of scenery.
computer systems may not be up to scratch, A Fresnel (pronounced Fren-elle) is a
the lighting, sound and automation systems wash light (which is sort of the opposite of a
are very advanced. floodlight) with a special lens. The concentric

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circles in the lens diffuse the light, creating an Moving Lights

even field of light from the lantern. This might There is a lot of controversy as to who
sound similar to a floodlight, but a Fresnel has invented the moving light. Just about every
more control over the size of the beam and its company seems to claim to have built the
direction. Due to their soft beam edge, several first one. The most widely accepted story
Fresnels can be used to seamlessly wash the involved a famous band wanting a light that
entire stage with general light. would perform multiple functions, and the
The profile light is the most complicated engineers employed to design it realising that
and has two lenses inside much like a slide just two more motors would make it move.
projector. These lenses can be used to give The show was amazing, and soon people
the light field a soft or hard edge, much like were clamouring for the new technology.
focusing a projector. With a soft edge the Unfortunately, it was very cranky at the time
profile can be used like a Fresnel. However, a and so the newly formed company made a
hard edge combined with shutters inside the point of keeping it all secret and training
light can be used to cut the beam off things specialised technicians to keep it working.
you don’t want to light (such as the edge As time went on, other people figured out
of the stage, or to square the light off on a ways to produce their own moving lights, and
doorway). Profile lights can also be fitted with the technology has become far more reliable.
‘gobos’, which are metal slides slotted into the The industry is extremely competitive, even
lantern. The light beam can be focussed on cutthroat when it comes to the Royal Grand,
these just like a projector to produce patterns and many saboteurs try to steal spare parts on
(such as leaves) across the stage. behalf of other moving light companies.
Moving lights now come in one of two
forms. The first is a moving head light

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(generally more popular) which moves the Sound Technology

whole unit, much as you’d expect. This allows While it is significantly larger, sound
it a greater range but requires better and more technology is not that much different to any
powerful motors to move the whole unit. The other stereo system you might have at home.
second type is the moving mirror light. This Many of the same principles are involved.
has a static unit that fires a precise beam onto Essentially a sound signal (from a microphone,
a motorised mirror. They are not as versatile, tape deck, CD or otherwise) is sent into a
but being static has its own advantages. Most mixer. The mixer adjusts the signal in many
moving lights don’t require a dimmer, they different ways and sends that signal to an
just need constant mains electricity and so amplifier (amp) which sends the more potent
are easier to get power to. However, given signal to a loudspeaker.
their features they require several times more Microphones are not only used to enhance
control channels than a standard lantern. singers’ voices in concerts and musicals.
It is important to note that moving lights Performers in plays often require ‘sound
actually do so much more. They can project reinforcement’, especially in a venue the size
light in a variety of colours, and also project of the Royal Grand. While plenty of actors
patterns from several gobo options. They are can project their voices to fill even a vast
used in many theatrical as well as rock and auditorium, microphones allow for a greater
roll shows. They can turn off, move to another level of subtlety in their performance.
position and then light up again as the show In many performances the singer or actor
goes on. This versatility allows them to take cannot come on stage trailing a cable and
the place of several different lights in the holding a microphone, so they use a radio
lighting rig. You might see a show lit almost microphone. These mics use a very small
entirely by moving lights and yet never see microphone head (or ‘capsule’, smaller than
them move at all. a pen lid) which is usually secured on the

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forehead. The capsule is linked to a belt Foldback usually has a whole sound system
pack by a thin cable run under the costume. of its own, as it can be very complex. The
The belt pack (much the size of a packet of mixer for that is usually at the side of the
cigarettes) contains a battery and a radio stage and is called the monitor desk.
transmitter. This sends the signal to a receiver Sound engineers also have a wide range of
box at the side of the stage. Each mic needs toys to manipulate the sounds that arrive at
its own receiver box, so these are usually all the mixer. Gates, suppressors, compressors,
together in one big rack. As they are at the modulators and all manner of devices with
side of the stage and don’t move, the receiver flashing lights can be added to the system to
boxes can be cabled into the sound system manipulate the sound waveform. The most
just like any other microphone. Each receiver common is the ‘reverb unit’, which adds an
box also has a headphone output, allowing echo to vocals, making the sound more rich
a sound technician to listen to the mic signal and dynamic.
at any time. It is important to note that the
mic itself is always on, unless the actors learn
how to use the power switch in the belt pack Overview of the Royal Grand
(which is rare). It is the sound operator at
the mixer who sends the signal to the main The Royal Grand is such a vast building
speakers, and that signal can often get to the you’ll not find a full map of it here. We will
receiver even when the actor isn’t on stage. provide an overview for use in determining
This means any conversation going on near a roughly where the player characters are during
live radio mic can be overheard by the sound a one-night session, but there is much, much
crew, if they have a mind to listen. more to the building than any map could
The real work of sound is done at the contain, and it is said some of the corridors
mixer. While they look frightening, they are even shift around a little, so any map would
actually a lot simpler than they seem. Each be obsolete in a few week anyway. Better to
different sound signal (each mic or tape deck, rely on your understanding and experience of
etc.) has its own channel. The operator decides the building to get around.
(using a fader) how much of that signal they No one person has ever been into every
want coming out of the speakers. They can nook and cranny of the place, and some
also play with the frequencies to adjust its say it is the sort of building that shouldn’t
tones and use a variety of modulation effects be mapped. Let it keep its secrets. The
on any channel (especially vocals). The sound Gamemaster is encouraged to add layers,
is mixed together into one signal from the move corridors and generally change things
mixer and passed onto the amps. around on a regular basis. It is almost as it the
In some cases the mixer can send different building is alive in some way and reforms and
sets of signal to different loudspeaker reshapes itself as it sees fit. That is not to say
areas. This allows the operator to mix a that rooms move from one floor to the next
different soundscape for different areas of or that stairs shift under your feet. However,
the auditorium. It also allows them to send a these who work there often find new ways
signal to speakers on stage for the performers to get where they want to go, and that places
to hear themselves (or the music they are change in their relation to each other. For
dancing to). This is called foldback, which is instance, you are sure dressing room five
not to be confused with feedback (the nasty hasn’t moved, but you are equally sure it
noise you get when microphones get too usually takes a good ten minutes to get there
close to speakers and pick up what they are from the Wardrobe room and recently it has
sending). only taken five.

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We don’t want you to get into the habit of pretty directly across the building level with
looking at a map and seeing it as the limit of the main curtain on the stage. This makes
all you can find and where everything is in crossing from one side to the other a little
the theatre. While this may seem odd, anyone difficult as you need to go though locked
who has been backstage in an old theatre will security doors, unless you know of some
attest to the rabbit-warren-like nature of the secret hatch or access way. Luckily, there are
corridors and how easy it is to get lost. It also several of them.
means that the Gamemaster can add rooms The stage and auditorium can be divided
that the player characters haven’t come across from each other by the iron safety curtain
rather than try to crowbar them into space (or just ‘iron’). This metal fire break can
on a map. Then they can maybe move them be lowered in line with the main curtain
around a little later on. Plenty of odd spaces to completely block the stage from the
exist in the theatre auditorium in the event
that may get used for of a fire. It stops any
painting one day and fire crossing from the
rehearsal space the stage to auditorium, or
next. Chaos and flux vice versa. As it is an
are things you need to important protection
get used to if you are for the audience (as
going to work at the fire is more likely to
Royal Grand for long. originate on stage) it
Having said all that, needs to be seen to be
you do need to have working every show, so
some idea of which it must be lowered and
place relates to where raised at least once in
to stand any chance view of the audience.
of finding your way This is usually done
around. You may during the interval, as
find a few maps and being a metal curtain it
details of other theatres helps deaden the noise
online. If you get the of (what is usually
chance, visit the Musée quite a large) interval
d’Orsay in Paris, where scene change.
you will find many The front of house
stunning models of the areas include the
Paris Opera House, a very close match to our auditorium itself and the public areas such
own Royal Grand. We also provide a general as the foyer and the various bars. Above
overview map on page 45 for use in single- the foyer at the top of the building are the
night sessions. management offices which are secured from
the public. Most backstage staff have little
General Layout reason to be ‘front of house’ unless they
Essentially the centre of the building is have been called to see the management. The
the stage and auditorium; everything else managers don’t like to see the ‘hoi polloi’
surrounds that area like layers around an mixing with their audiences, as they make the
onion. There is a definite division between the place look scruffy.
front of house (public and managerial areas) The backstage areas are centred around the
and the backstage areas. The line is drawn stage itself. Considered part of the stage area

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are the layers of ropes, pulleys and rigging rooms, prop stores and all manner of strange
that support the flown (hung) scenery above. places lurking in the lower levels. Some
The stage door, the only access to the outside corridors in the understage link up with the
world from backstage, lies on the backstage cellars front of house and can allow crew and
side of the building on the ground floor. From ushers to make their way between the two
this area you can go up any of the various sides of the theatre.
stairs to the dressing room areas that cluster Now that you have an idea of the general
around the stage on several levels. The lower layout, we should introduce you to a more
dressing rooms are larger and occupied by detailed description. Let’s begin the tour with
the bigger stars. This means they have more the centre of the world of the Royal Grand...
space and have less distance to walk to get on
stage. Chorus and company have to share the
smaller rooms on the higher levels. However, The Stage
they are not quite at the top, as above them
is the wardrobe department, as well as the The centre of the building is the massive
costume stores (which stretch into the attic stage of the theatre. Not only is the
and seem to take up much more space than performance space of the stage huge, but so
possible). The vast roof of the Royal Grand are the wings (the sides of the stage, not in
contains all manner of air conditioning units view of the audience). The part the audience
and water tanks, but also holds the large can see is often less than half of the total stage
dormitories for the acting staff that live in the area. Small nooks and crannies for quick
theatre. changes, props stores and even small offices
Under the stage are the myriad sub-levels form a labyrinth around the sides of the stage.
cluttered with stage machinery and the crew.
The understage is a rabbit warren of various Stage Directions
rooms claimed by whoever got there first. The The Royal Grand stage is vast, and
larger ones function as crew rooms for the managing props, scenic pieces and people
various staff to sit in during the performances. requires a system that doesn’t rely on the
However, there are also illegal bars, archive set, which might change in any moment. A

~ STAGE DIRECTIONS ~
Upstage Upstage Upstage
Right Centre Left
(USR) (USC) (USL)
Centre Stage Centre Centre Stage
Opposite Right Stage Left Prompt
Prompt Side
(CSR) (CS) (CSL)
Downstage Downstage Downstage
Right Centre Left
(DSR) (DSC) (DSL)

AUDITORIUM

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common set of stage directions help people

navigate on stage, and explain where items are
to be placed on it. Props
Centre stage is obviously the middle. Stage
right and stage left are your left and right if Props, or ‘properties’, are any
you are standing on stage and looking out at small item used on stage as part of the
the auditorium. This makes auditorium left performance. They are managed, hoarded
and right the opposite. Upstage is the back and tightly controlled by the stage
of the stage, and downstage is the front near managers. Anything not handled during
the audience. This has come from the use of a the show (such as a book on a table or
raked stage, which would slope from the back a lamp) that can remain as part of the
down to the front to make the stage easier to scenery is referred to as ‘set dressing’.
see for the audience. It also makes it a major Props are usually small items handled
pain for building a set on as everything has (and often broken) by the performers.
to be cut at an angle so it stands straight Fans, bags, newspapers glasses, tickets,
(and things tend to roll off the stage). These tokens, etc. Sometimes the divisions
directions are combined to create nine sections are odd; for instance, if an umbrella is
of the stage. opened on stage it is a prop, but if not
For those confused with stage left and stage it is a piece of costume (and a wardrobe
right, another set of directions is often used as responsibility). Props also include sweets
well. ‘Prompt side’ is stage left (so named as it and cigarettes used or eaten on stage,
is usually where the deputy stage manager sits, which are kept exceptionally secure to
also called ‘prompt corner’). Stage right is then avoid company or crew stealing them.
referred to as ‘OP’ or ‘opposite prompt side’. Props like this that get ‘used up’ each
This system helps those who are confused with show are referred to as ‘running props’.
left and right as they need only look at where Props are kept on the prop tables, any
prompt corner is to know which side they are flat surface (or set of shelves) marked out
on. That is, unless prompt corner is on the in tape with a specific area for each and
non-traditional side of stage right, where it is every prop used in the show. This is so
referred to as a ‘bastard prompt’. the stage managers can tell at a glance if
While the Royal Grand stage is huge, set something is missing. Anything dangerous
designers have a tendency to make use of all (such as a gun, even a stage one) is kept
its space. As a result, there is rarely room to under lock and key until required in the
move. Scenery, props, costumes and technical show.
equipment are crammed into any and every
space available. Clothing, tools, lists, papers scenery come in an almost infinite variety, and
and even large appliances hang or stack from their form depends very much on the show.
every conceivable place. It is hard to walk Some take up huge areas or are split into
anywhere without having to duck under or several pieces and piled up in bizarre modern-
weave around something. This makes the art-like sculptures.
small nooks that have been claimed by some Most temporary structures are made of flats
of the different departments all the more (literally flat wooden scenery pieces), which
precious. means they can be stacked against the walls at
While the set and scenery take up a good the side of the stage. They are piled so that the
proportion of the stage, there may be several one you need first is on the top, and flats from
changes of scene, the parts of which need to previous scenes are piled on other stacks. If
be stored on stage for quick access. Piles of the order gets messed up, the crew will usually

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kitchens or used to be someone’s office long

ago, that now get filled with stocks of small
props or used as small crew rooms. Some
nooks get taken over by the older hands as
their personal space, so even when they are
unoccupied it isn’t a good idea to make use of
them.
Each department has staked one or more
spaces as their own among the small rooms
to be found at the side of the stage. A few of
these are:
Stage Management Office: This is a
misnomer as stage management has a proper
office under the stage. This room is for the
assistant stage managers, and where they keep
notes, valuable stationary supplies and some
of the more recent show reports. It is also a
repair bay for small props and so carries glue
and tape for simple repairs. Anything badly
broken will have to be mended properly in the
props room.
This area has a computer and access to
quite a lot of the theatre network, as well as
a lot of digital resources. So it is for Stage
have neither time nor space to get to the flats managers only! As the stage management
they really need during the show. The crew department tend to get nagged and questioned
often spends part of the interval scene change a lot, they are highly protective of this space.
to restack some of the flats to prepare for the You had better have a good reason to enter it,
next act. and an even better one to ask them something
Many, many access points lead to the stage. show related. They come in here to escape.
Most lead downstairs into the crew areas and Sound Racks: This nook is stacked with the
sub-levels. Other stairs lead to the dressing receiver systems for the radio mics, a row of
rooms and the stage door area. Finally, one stacked flight cases about five feet high. These
massive door leads into the huge scene dock racks also have a lot of amplifiers, delays,
and workshop. The workshop in turn has an matrixes and other advanced equipment that
equally large door to the outside, allowing the the sound department insist are essential but
most gigantic pieces of scenery to be brought actually only have flashing lights on the front.
into the building and straight onto the stage. This space is where the sound department tend
to hang out during the show. But they don’t
Nooks and Crannies have a lot of room here, as the racks take
Nooks develop depending on how long up a lot of space and they need to be able to
the show has been running and what space is access them. They are quite happy for people
available. Sometimes large pieces of scenery to pass by and chat, but never, ever try and sit
will create natural areas for the crew to play on the racks or put something down on them,
cards, read the paper or chat while waiting especially a cup of liquid.
for their cues. Some nooks are actually part Quick Change Areas: The whole stage side
of the building, small rooms that are actually is littered with these, but each is claimed by

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a different faction of either wardrobe or the interval, so these areas are gathering points
performers, and so it is best to tread carefully. for every department not resetting anything
Each quick-change area is a small place to then. If you are really lucky there may also be
hang a few costumes, and in some cases leftover food.
amend makeup or adjust a wig. They are there
for actors who have to change and get back The Scene Dock and Paint Store
on stage too quickly to be able to go back up The largest doors in the theatre lead to the
to their dressing room. Consequently, they are scene dock. This huge loading bay is the main
generally inhabited by dressers from wardrobe access for scenery and equipment. The doors
and the occasional wiggy. The performers from the stage to the scene dock are huge,
also have their favourite spaces, be it for the around twenty feet high and fifteen feet wide,
staff usually found there or for convenience and have to be lifted by a motor rather than
during the show. While some can be chatty opened in or out. While nothing is ever put
places, it is very easy to get in the way here. against these doors and its access is always
Actors might just be socialising, but if they are kept clear, if they didn’t lift up they could
changing they need to do it quickly. If you are never open with a set on the stage.
here at the wrong moment, you’ll need to get When you enter the scene dock itself, an
out of the way or be prepared to help. equally large set of doors stands opposite
Storage Areas: A few places have been the stage doors. These ‘dock doors’ lead
designated as storage for the larger pieces outside, and allow vehicles to bring their
of scenery. This might be something big, cargo right up to the door for each loading
awkward or both that needs its own area. and unloading. For small vans there is enough
While some pieces of scenery break down space to drive the vehicle into the dock or
into flat sections that can easily be stacked, even onto stage.
many don’t. Where these pieces of scenery The scene dock itself is cavernous and
have chairs, beds or tables on them, you can the largest pieces of scenery are stored here,
guarantee the crew will have claimed them but only if they won’t be needed before the
as their own occasional common room while interval as the door is too noisy to be opened
they are not in use on stage. How welcoming during the show. It also contains the sets
they are will depend on how you get on with and scenery from several other shows, either
the crew. But you will need to be quick on under construction or stored for a revival.
your feet as these pieces will go on stage It is like a strange city thrown together by
sooner or later and often with little notice (as a mad architect. House frontages, palaces
the crew all know when). Don’t be on it (or and brooding statues cluster around winding
leave anything on it) when it starts moving or accidental streets. It is a haunting place during
you’ll end up on stage. the night, and some people have been known
Kitchen: There are one or two of these to take up residence in the larger and more
areas, which are officially claimed by stage habitable pieces of scenery.
management, that are very popular with Next door to the scene dock is the painting
everyone. They are officially at the side of the and scenic workshop. This vast room is
stage to allow stage management to prepare actually a little smaller than the scene dock,
any food being used on stage and clear but as it is often empty and open it looks
anything being eaten off. But it is also a good far larger. Along one wall stands the paint
place to boil a kettle and get a cup of tea, if frame where full stage clothes are hung and
you are in stage management’s good books. surrounded by scaffolding for the scenic artists
While you can’t always boil a kettle during to paint. These artists create stunning vistas
a show due to the noise, you can during the for use on the stage, and many cast and crew

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come here (and get in the way) to

enjoy the view these paintings create
an illusion of. It is as close as some
staff get to going outside.
There is also enough space to
paint a cloth on the floor, which
is sometimes easier that when it is
hung and stretched. But floor space
is a constant battle with the crew
and carpenters when larger pieces
of set need to be built here. These
half-built constructions, matched
with a painted vista, give the area the
surreal feel of a garden of statues.
It would be quite restful were it not
for the smell of paint fumes, noise of
tools and constant coating of wood is a thin cloth that hangs the length of a fly
shavings in the air. bar (horizontally across the stage) which is
used to mask the lighting rig and bottom
The Cloth Store of flying pieces. A ‘leg’ is the same width as
A smaller but still large storage area near a border but hangs vertically on its short
the scene dock is the cloth store. Here any end to mask the sides of the stage. Several
painted scene cloths, curtains, legs and borders legs hung parallel to each other can stop the
are kept. As everything here is soft and audience seeing into the wings (because of the
muffled it is a great place to get some sleep. angle) but allow performers to get on stage
A variety of forms of curtain and fabric easily between them. Sometimes the job of
are stored here. A painted scenic cloth is legs can be done with freestanding wooden
usually referred to just as a ‘cloth’. Some of flats covered in black fabric usually called
these cloths are painted on a thin mesh, which ‘tormentors’ (as the audience cannot see
becomes transparent when lit correctly; these behind them).
are called ‘gauzes’. A painted cloth that sits
at the front of the stage is often referred to The Fly Floor
as a ‘forecloth’, and is often used as a front Scenery isn’t only stored at the side of the
curtain. When a gauze is used as a forecloth, stage. A lot of it is stored above the stage by
you can turn it transparent to start the show hanging it from the flying system. If you stand
before taking it out (pulling it up). on the stage and look up you will see the bars
Curtains are usually called ‘tabs’; the and rigging that holds the lights and flying
main front curtain of a stage is usually called pieces. The space above the stage is vast, so
the ‘house tabs’, as it divides the stage from the larger bits of flown scenery and cloths can
the house (auditorium). Thick black cloths be taken far enough out to be hidden from
used for masking are referred to as ‘blacks’. view. Between the myriad hanging technical
Masking is the process of hiding the backstage oddities you can often get a look at the fly
areas, equipment and wing space from the floor, a long balcony running around the stage
audience. So, long black clothes are required where the flymen do their work. You may also
in abundance to fill in gaps behind the set be able to see a few follow spot positions and
and scenery. ‘Blacks’ come as full curtains but other nooks for technicians to operate various
also have two other distinct types. A border pieces of hydraulic or winch machinery.

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The Flying System

The ‘flies’ are a system of ropes, cradles and
bars that allows items of scenery to be lifted in
Ropes, Cleats and Pulleys
or out of view of the audience. This is possible
These are all useful in just about
as the space above the stage is twice as high
every area of stagecraft, and have been
as the top of the ‘proscenium arch’ (this being
for centuries. Ropes and pulleys are
the square ‘arch’ that frames the top and sides
available all over the place for securing
of the stage from the audience’s point of view).
and lifting things. There may be more
Above this huge empty space (just below the
efficient systems, but none as cheap or
roof) is the grid. The grid is a floor made of
easily moved and installed when the stage
separated planks of wood or metal that allow
environment is so changeable.
a person to stand on it but also pass a rope
Cleats are metal plates with prongs to
through the spaces all the way down the to the
guide ropes. Large cleats are used to secure
stage. Not somewhere to be if heights worry
ropes that are lifting weight, by wrapping
you. The steel wires and ropes that run the fly
the ropes around its prongs in a figure of
system are passed through pulleys from the fly
eight. Smaller cleats are used for lighter
floor into the grid and drop down the spaces
weights, but also on the back of scenery.
in the grid to their individual bars.
When on scenery, the cleats secure and
The bars run across the stage from left to
guide ropes used to hold panels of scenery
right and are suspended by ropes or steel wires
together. These systems are often used to
through the grid, connecting to a cradle at the
hold something securely, that can also be
side of the stage. The Royal Grand has around
released with a flick of the wrist.
a hundred of these bars—bar 1 being at the
front (downstage) and bar 100 at the back of
the stage (upstage). The stage has enough bars the weight is balanced, with very heavy loads
to hang something almost anywhere above it. momentum can build very easily, meaning a
The cradle attached to each bar can be flyman must be careful not to lose control.
loaded up with special weights, to balance The fly floor is a world apart, high
the weight of whatever is hung from the bar. above the stage and seemingly divorced
Special metal or lead weights, shaped to fit in from everything below. It is a privacy the
the cradle in a pile without falling out, serve flymen tend to guard jealously. Unlike other
to build up the counterweight. There is very departments, they have a whole balcony to
little limit to what can be hung, as long as call their own, and they are not looking to
you can fit enough weight in the cradle. Many acquire any permanent guests. Luckily for
bars hang lanterns or speakers, but most hang them it is a long climb up a ladder to get to
scenery and cloths. For truly heavy loads, the fly floor, so few of the other backstage staff
bars can clamp together so that several filled can be bothered to make the trip. Most of the
cradles can balance the weight. performers have no idea where to even find
A rope attaches to the cradle, running the ladder.
through a brake allowing the flyman to lift The Royal Grand has two fly floors (each
the cradle up and down. As the cradle lifts accessed from the stage), a secret door hidden
the bar goes down, and vice versa. With the in the surrounding floors of the theatre, and
brake disengaged, if the weight of the scenery a dangerously thin balcony along the back of
and counterweight is balanced correctly, the the stage that links the two. The stage right
bar shouldn’t move. This means you only fly floor is mainly a storage area and space to
need one person pulling the rope to lift or throw and tie ropes that pass across the stage.
drop whatever is hanging from the bar. While As such there is a lot of lighting equipment

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up here, as it is not the working side for the

flymen for the most part.
The lighting racks here, like the sound
Working Lights (or ‘Workers’) and Blues
racks below, are a row of flight cases and
Lights used for lighting the actors are
cabinets around five feet high. They are fed
not usually very helpful to the stage crew.
by massive power cables and send electricity
Such lights shine on the actors and stage,
to the lighting equipment and lanterns hung
but keep the backstage area dark. The
on the fly bars. Each is full of banks of trip
colours that performance lighting uses are
switches that will need to be reset if they
not very helpful either. So each theatre has
blow by which ever technician doesn’t mind
‘working lights’, usually big bright white
walking up the stairs. This means lighting are
floodlights mounted around the stage.
usually the only other department to regularly
Most rehearsals are also done in this
visit the fly floor.
‘working light’, until the cast are ready to
The stage left fly floor is much more active,
rehearse in performance lighting. These
as this is where the cradles and brakes that
can’t be used during the show, but with
operate the flying system are installed. A few
the main curtain in during the interval
unweighted rope lines can be found on both
they can. This allows the crew to see what
fly floors, but as they are unweighted they
they are doing during the interval scene
offer no assistance to lifting anything attached
change. They have to be turned off before
to them, so the flymen avoid using them if
starting the show not to ruin the opening,
possible.
so a warning ‘workers going out’ is usually
With no one to see what the flymen are
shouted before hitting the switch. This
up to, the fly floor is a quiet but effectively
usually provokes someone to say “’Ooh,
lawless place. Nobody wants any trouble up
somewhere nice?’
here, but if it does happen there are no stage
During the show, when large working
management to appeal to. Luckily, the flymen
light cannot be used, the crew work in
like their peace and quiet, and many have a
‘blues’ (which are also sometimes called
hammocks strung up here and a good stock
working light to confuse everyone).
of reading material. It gives the whole place
These are small blue lights positioned
the air of a well-educated pirate ship (that also
strategically so that cast and crew
has a good stock of porn).
can see their way around backstage.
The fly floor and grid are a favourite place
Blue light is very close to the colour of
for saboteurs to infiltrate. The grid is often
‘natural darkness’ but provides enough
unoccupied during the show, and either from
illumination to see by. This means the
there or the fly floor, cutting any rope can
crew can see what they are doing but the
cause scenery to fall or heavy items to get
audience can’t.
dropped on performers. A lot of damage can
be done in very little time, so the flymen need
to be especially vigilant. staff enter by the small and unassuming stage
door at the back of the building. There is
Stage Door a small courtyard outside the stage door,
While it is quite a small part of the theatre, formed by the other buildings, and access to
the stage door is one of the most vital areas the courtyard is through a small alley. For
in the whole building. While the audience this reason, a vast amount of post labelled for
arrives in the grand foyer of the theatre, delivery at stage door gets delivered to the box
through a multitude of doors directing them office front of house when couriers fail to find
to each level, backstage and performance the right entrance.

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The courtyard is one of the few smoking Any phone calls are routed from here, as are
areas in the building, officially at least. A few any visitors and deliveries. Just as the stage
of the staff have found places no one will door keeper can filter people and decide who
notice, or go out onto the roof. This means gets in, they can do the same with phone calls
that a small collection of smokers from every and anything else. For this reason, it is vital
department and level of hierarchy can be for every member of the theatre staff to stay
found here at any given time. A cluster of on good terms with all the various stage door
people will always be here during the interval keepers, as their favour can be very useful, and
at the very least. The smoking network is the their disfavour more than just inconvenient.
most efficient way for information to travel The stage door has a keeper at all times
between departments. Smokers commonly when the building is open. They are the
share information with each other, and in this first to open and the last to leave. As they
way often discover that much of what they are near the smokers (and often join them)
thought they knew about any particular piece and see everyone come into work, they are
of gossip is not as they first thought. Every exceptionally well informed. They are privy
department has their own context and side to pretty much all the gossip from every level
of any story, and putting them together can of the theatre, but they also do not hand out
reveal a lot more than expected. secrets lightly.
The stage door itself is a small doorway,
given it is never used to bring large equipment
into the building (there is the dock door for The Auditorium
that). Next to it sits the small nook of the
stage door keeper’s office, an open room with The auditorium is a very different place
a counter where visitors can sign in or drop to backstage. Where the stage is bare and
packages. To get further into the theatre you black so not to distract from the scenery, the
need to pass through another door that has auditorium is the complete opposite. There
a security lock on it. The switch to open this are around two thousand five hundred seats
door is under the control of the stage door arranged over a stalls area and three balconies.
keeper. So it doesn’t matter who you are, For those who can afford them, several boxes
without the stage door keeper’s approval, no are available along the sides of the auditorium.
one is getting into the building. The view from them isn’t usually very good,
Just inside the stage door hangs a cork but most people sit there so they can be seen,
board for official notices for cast and crew. A rather than so they can watch the production.
small table here is a popular spot for people
to leave baked goods. Anything left here is on The Stalls
offer to whoever passes by. It might be some The stalls on the lowest level is the largest
brownies one of the cast made, the remains of audience space as it covers the floor of the
the birthday cake that got shared around at auditorium, twice the size of the largest
warm up or a tin of sweets someone brought balcony. The seats in the stalls are usually
to generally say thank you. Saboteurs have set up ‘café style’ with many small round
been known to send poisoned baked goods, tables encircled with chairs. This does mean
so anything edible of unknown provenance is at least half of the patrons have their back
usually removed. But poisoning cake is pretty to the stage, but they often find a more
low, even among saboteurs. interesting drama evolving in the stalls than
While security is part of the stage door on the stage. The stalls are a raucous place,
keeper’s job, their main function is to act as a where sometimes the noise drowns out the
form of receptionist for everything backstage. performers.

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Many bars serve the stalls, and patrons more formal arrangement and talk to their
often wander out to the bar and bring friends a lot less. Ticket prices for standard
their drinks into the auditorium during the seating vary depending on the proximity to
performance. This means there is almost the stage, and the best ones can be expensive
constant traffic and noise, even on a quiet (making the audience more interested in the
night. Effectively the whole area is one large show than the bar). However, the café style
pub that just happens to have a show going is more popular, and its only disadvantage
on in the background. Tickets for the stalls from the manager’s point of view is that it
are quite cheap when in café style as the uses fewer seats. So only when a show is
management makes a lot more money on the doing especially well are the seats placed in
bar. a more standard arrangement. Changing the
Three bars are positioned around the stalls arrangement takes a whole night and offers
area, one to each side and one to the rear. The a good opportunity for the crew to earn
rear bar is the largest, with room for patrons overtime.
to stand and chat or even find one of the When in café style, the stalls aren’t only
few tables. The side bars are little more than full of patrons and theatre staff, either. Plenty
service areas, with very little space to even of small-time entrepreneurs wander the area
stand once you have a drink. People mostly selling sweets, cigarettes, hot dogs and even
use the side bars to get refreshments and handy-crafts and occult paraphernalia. This
return to their seats. All the stalls bars have floating market has a great variety of things on
the feeling of a country pub, with wooden offer for a knock down price, and many of the
surfaces and a range of cheap but reasonable theatre staff nip into the stalls during a spare
quality ales and ciders. moment to pick up a few trinkets. Vendors are
For this reason, most directors prefer to not the only people with something to offer
have the stalls set up with more standard rows the stalls patron, either. Plenty of prostitutes of
of seating, as people tend to stay seated in this either gender ply their trade among the tables.

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It is uncommon The Royal

that they actually Circle is the ‘first
find a place to class’ area of
practice the the theatre and
more intimate it shows. The
parts of their building itself is
trade during the also designed to
show. However, make it difficult
they often entice for anyone
patrons to leave without a ticket
the theatre with to reach it, using
them for a while, separate stairs
or at least to see and entrances.
them home after
the performance. Behind the
While the stalls can be noisy, it does have Royal Circle is the exclusive Royal Bar. This
its quiet moments. Some people do make use vast and opulent area is a work of art, fitted
of the cheaper tickets to actually watch the with paintings, gild work and huge glittering
show. Luckily, the loud operatic nature of chandeliers. During the interval, staff offer
the theatre’s usual type of show can drown free glasses of very average white or red
out the noise from the stalls. This often wine, but the three serving bars in the area
annoys the patrons on the balconies, who are offer anything from champagne to cocktails.
usually there to enjoy the performance. They Attached to the bar is a restaurant area that
regularly rain anything from rotten fruit to serves fine dining before and after the show. It
expensive champagne down onto the worst has such a reputation that many people come
offenders in the stalls to make them shut up. for the food rather than the show, although a
For this reason the worst offenders tend to meal here costs a fortune.
lurk towards the back of the stalls, under the
balcony where they cannot be seen or reached. The Boxes
Plenty of nasty deals get done in this area Most of the boxes are on the same level
where very few people are paying attention to as the Royal Circle, or at least are accessed
the show. It is not unknown for violence and through it. Box seats are the most expensive
death to happen clandestinely back here, only tickets available. Rather than buy a ticket for
to be discovered when the room clears at the a seat, a patron hires a box and may invite
end of the performance. up to four people to join them in it. Thus,
the price is basically twice what four people
The Royal Circle would pay for the Royal Circle. The view isn’t
The balconies are an ordered affair, the very good at all, but everyone can see that you
first of which (the Royal Circle) offers the and your party have an exclusive box.
best view for those interested in seeing the The amenities are what makes the
production. On the Royal Circle, everything experience, though. Complimentary
is better. The seats are more comfortable, the programmes and brochures are available in
view of the stage clearer and the acoustics each box. Each is also assigned their own
more vibrant. On all the balconies the seats personal usher to fetch them drinks and see to
are in a standard row formation, but with their needs.
enough legroom for customers to move in and Having a box also guarantees a reservation
out easily. in the Royal Circle Restaurant, which can be

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difficult to acquire. All this means that it is not The Gallery

uncommon for box patrons to also buy seats The cheapest seats in the house are found in
in the Royal Circle to watch the show, and the uncomfortable Gallery. The stage is quite
make use of the box in the interval as their distant here, although the view is reasonably
own private bar. good (if in miniature). The seats are cramped
and uncomfortable, and many people actually
The Grand Circle prefer the (even cheaper) option to stand at
The Grand Circle is where you go if you the back. Given how far away the show is
actually like theatre. It’s not the best view in from the Gallery, many of the audience are
the house, but it’s a good one and the price of here just to see the bits they like. At this price,
a seat is very reasonable. It’s far enough away it doesn’t matter if they miss something. So
from the stalls for you to hear the show and they are up and down to the bar all the time,
far enough from the Royal Circle to avoid if only to have a respite from the seats. This
people who just want to be seen. While plenty means they often walk in front of the beam of
of the patrons of the Royal Circle want to see the back follow spots, much to the annoyance
the show, most are there for the experience of of the operators.
being in the Royal Circle. Two small bars serving cheap drinks serve
The seats in the Grand Circle are the Gallery Circle throughout the show.
reasonably comfortable but could be more They are similar to the side bars in the stalls,
spacious. Luckily, few people move around with no space to sit and little to stand. With
once the show begins, as they are all focused patrons coming back and forth, there is a
on watching. If anyone is going to ‘shush’ lot of pushing and shoving to get served.
you it will be in the Grand Circle. While the The front of house staff universally hate
audience here is quite varied, there are plenty working this level, and the customers are more
of budding theatricals here. It is common to belligerent and inebriated (often before they
see training actors studying even get to the theatre).
the performers, or earnest The stalls may be raucous,
playwrights taking notes but it is usually more fun
during the show. and there is more space to
A single bar serves the avoid people.
Grand Circle (the Grand
Bar) and it is a favourite Technical Spaces
of many patrons. It was There are a few
made in a similar style technical areas in the
to the Royal Circle Bar, auditorium as well. Two
with elegant decor and enclosed rooms at the back
chandeliers, but on a far of the Royal Circle house
more welcoming scale. It is the lighting and sound
an older part of the theatre controls. While the lighting
and carries a certain weight technicians are happy to
of history, as well as lurk inside their room, the
faded glamour. A display sound technicians station
of signed photographs their mixing console
of past productions and outside their room at the
performers is also on back of the balcony. The
display here with a few management hates the
historical mementoes. loss of seats they incur

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 Opera House

by putting it there, but the sound operator

has to be able to hear the show properly.
Anyway, there is now so much other sound
Backstage Front of House
equipment in the sound room behind the desk
Generally, the backstage crew stay
(an array of lights and dials for amps, gates,
backstage and the front of house staff
compressors, effects units and many more)
(and the audience) stay front of house. But
that there would certainly be no room to put
there are times when they need to cross the
the operator’s position back in there anyway.
dividing line between the two.
Many of the balcony rails serve as places to
Sometimes things are stored backstage,
hang lights and speaker systems. Anyone who
as the managers are under the mistaken
looks up observantly will see a mass of hidden
belief there is more space there. This
gantries above the auditorium, which access
means ushers are sometimes sent to pick
several follow spot positions. A few of the
up the odd box or a delivery that has
gantries run across the auditorium, providing
arrived at the stage door.
access to the upper levels of backstage as
Backstage staff go front of house to fix
well. The gantries are popular places for the
things. The technical crew change light
crew to watch the show, if they aren’t bored
bulbs (and need to take a look around for
of it already. Some people smuggle family or
broken ones before every show) as well as
friends up there to do the same, as long as
fix computer issues or electrical problems.
they are not afraid of heights.
The carpentry department are called upon
when something breaks, like a door or an
auditorium seat. In this way there is often
Front of House a little crossover between the two, but
anyone in the wrong half is expected to do
Unlike the backstage areas, front of house
their job and cross back to ‘their area’ as
at the Royal Grand is a beautiful study in
soon as possible.
workmanship and architectural grandeur. This
is, of course, because it is the only part of the
building the audience ever sees and where the incredible. The gold gives way to plainer walls
managers work. decorated with fine art and the occasional
The front of house area consists of the sculpture. Possibly the most impressive
vast foyer and several bar areas that service area apart from the foyer is the restaurant
each level of the auditorium. The general and Royal Bar. If the management holds
spaces (such as the foyer) are marvels of space one of their soirées for patrons and famous
and grandeur, with every surface covered in performers, they do so here. It is an area few
gold, tapestry or polished mahogany. Several backstage get to see unless they are fixing
chandeliers of every size imaginable light the something. However, a few of the performers
main foyer. The largest of these lights the wide might be sent there in costume for a glass of
grand staircase and weighs several tons. champagne on occasion to mingle with guests,
If you descend into the stalls area, you see but mostly to provide ambiance rather than
less gold and more wood, lending an old- talk to anyone.
world feel to the area. This is also because the Moving up the stairs to the Grand Circle
management doesn’t trust the sort of people and Gallery, the opulence gives way to oak
who go to the stalls not to scrape off all the panels rather than precious metals. It is almost
gold they can find. Conversely, as you ascend as if they ran out of gold by the time they got
the grand staircase past the Royal Circle, the to this level. The bars and foyer areas here are
splendour becomes less obvious but no less plainer but more artistic. Framed handbills

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of past productions cover the walls and the Some of the secret doors open into thin
atmosphere here is far quieter (except for the stairways that lead to the various management
Gallery bar). This area is frequented by those offices. A few front of house managers work
who love theatre, and many art evenings take at the Royal Grand, and the owners maintain
place in this more bohemian area. It is often offices here they rarely use. A manager
open for poetry readings, art discussions and runs each level of the auditorium, and each
book groups even when a production is on. manager has a couple of under managers
After all, the space is vacant while the show is who run things when they are away. The
on and the management are always happy to front of house managers’ offices are nice but
earn a little more hiring out the space. usually small, and usually much in keeping
Beyond the audience with the level they are
areas are a rabbit warren to be found on. As well
of closets and small as the mangers, this
changing rooms for the area also features offices
front of house staff. They for the accounting and
have to work in the most marketing departments,
cramped space, but luckily as well as any other
spend little time in their clerical departments. One
areas. While the show is office stands apart from
on they are allowed to all of these: the Theatre
wander the foyers and bar Manager’s office. This
areas, although they have large office sits at the
to take their turn being very top of the building,
on call for emergencies at the very top of the
in the auditorium. Most grand staircase. Even the
of the doors to staff areas waiting room outside
are hidden with clever the office if impressive
panelling, leading to and intimidating, and
a mass of secret doors surrounded with mirrored
across the area. These doors that lead into the
secret doors also hide office. Past those doors
a few areas for plant (where few staff ever have
machinery and ventilation, which also double cause to go) are the offices of the Theatre
as staff common rooms on occasion. Some Manager himself, their secretarial staff, and
of these plant rooms connect with similar the heads of the other admin departments
areas backstage, but they lie along a long and such as accounting and marketing. It is said
winding path best left to those who know that these offices are wide and spacious,
the way. Many of the rooms also function commanding magnificent views outside the
as storage space. Wine cellars and ice cream theatre. They are renowned as being more
stores appear on every level, as well as a glamorous than even the Royal Circle, but few
few nooks that store unsold programmes. people have seen them in much detail.
Few spaces are large enough to store all the
supplies, so they are scattered around the front Box Office
of house areas in many, many cupboards and The theatre box office is divided into two
small rooms. However, theatrical staff being as different areas, seemingly only to make people
they are, few have the keys to the wine or beer run up and down a lot of stairs. The main
cellars! box office is located in the foyer and has five

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windows for patrons to collect or buy tickets.

Anyone booked and prepaid can see one of
the front of house staff who can give them an
Nine to Five
envelope with their tickets to avoid queuing
The Royal Grand employs many office
up. The foyer box office looks grand from the
staff, which some players may want to
outside but is actually quite cramped inside.
create as characters of their own. This is
This is not only because the architect wanted
fine for a long running campaign, as this
to make the foyer as large as possible, but also
provides an opportunity to mix with the
because a lot of things—like programmes—
other characters. However, the clerical
get stored in the box office (much to the
staff in the theatre usually work a more
annoyance of the staff).
usual nine-to-five schedule and very rarely
The box office manager’s office and a
have anything to do with the show. Very
telephone booking area are located near the
few understand the inner workings of a
Theatre Manager’s office at the top of the
performance any better than the audience.
theatre. The phone room staff take calls for
This isn’t a criticism; it just isn’t part of
bookings and enter them into the computer
their job. So for a single evening show they
system so they are available at the box office
only work as NPCs, if they are going to be
where tickets can be printed. But somehow
involved at all. A member of crew might
it also seems someone needs to constantly go
have to go up to one of the offices to check
between the two, to make sure something has
a problem with their pay one week, but
gone through, or get special tickets printed or
that is about it. However, in a long-term
the like.
campaign there is more scope for the
The box office staff are all part of the front
Gamemaster to include the office staff.
of house team, although their job is more 9-5.
If they are played as characters, their
The foyer box office closes twenty minutes
starting skills are: Front of House 3,
after the show has started. However, some
Archivist 2, Stage Management 1.
of the ushers earn overtime putting in a few
hours in the phone room, and some of the box
office staff stay late to work as ushers for the matter how many times the staff complain).
show, so the two groups know each other very The backstage areas are generally divided
well. It is quite common for people to shift into two areas: the dressing rooms that
their job from one to the other depending on are arranged in layers behind or beside the
the pay or the hours. stage, and the crew areas which have been
claimed from the storage areas in the lower
floors under the stage. However, a few pass
Backstage doors and secret nooks lead into the front
of house areas. These breaks in the great
Most people who see the front of house divide between backstage and front of house
areas (the ones for the audience at any rate) are popular places to sneak through, if only
are usually stunned at the workmanship and to make deals with the ushers for drinks or
glamour of the place. Plenty of people are sweets.
drawn to work at the theatre by that same
glamour, expecting to see the same backstage; The Dressing Rooms
they are sadly mistaken. Backstage is a lot less The dressing rooms are layered above each
showy, and in some places in dire need of at other in rows of corridors that run from the
least a lick of paint. If it still works, it doesn’t side of the stage up to the roof. A few VIP
need replacing when it comes to backstage (no dressing rooms often bridge the gap between

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upon) act of graffiti

serve to make the
place feel more
like a home. Each
dressing room also
only comes with
a heater for the
winter, a fan for
the summer and
a table with a lit
mirror for doing
makeup. Anything
else a performer
wants there (like a
computer, television
or even exercise
equipment) is
something they
will have to bring
backstage and front of house, but for all in themselves. This means some dressing
intents and purposes they are all backstage. rooms are much better equipped than others,
The lower dressing rooms are larger and and these often become the social centres for
given to the more prestigious actors as they the performers. Some of the wealthier high-
are nearer the stage, giving them a shorter ranking actors also like to ‘hold court’ by
distance to walk. As you ascend the stairs, tempting the younger performance staff to
each corridor has more and smaller dressing hang out in their dressing room and enjoy a
rooms, apart from the upper levels that greater level of comfort.
are designed for several actors to share. The star dressing rooms are in an entirely
Depending on the size of the show, not every different class of their own. It is not unknown
lower dressing room is always occupied, for them to be completely remodelled for an
allowing some of the chorus to claim one for especially popular guest performer. These
themselves. dressing rooms have all the comforts of home,
However, for all the plush opulence of including a bed and their own bathroom with
the lower dressing rooms, the actors spend a shower and toilet. They are effectively small
very little time in them. The larger their part, apartments, and if they are ever empty fights
the more time they will spend on stage. The break out over who gets to occupy them (even
chorus also spend little time in their dressing though the management severely discipline
room either. With so many quick changes anyone involved).
during the course of a show, they are usually
changing in some nook on stage or an under- Wardrobe and Wigs
stage corridor. After all, they certainly have no The wardrobe and wigs department, its
time to go all the way upstairs to get to their workshop, store rooms and communal rooms
dressing rooms at the top of the theatre. for dressers are at the very top of the dressing
Dressing rooms are often personalised room block. Despite the fact that wardrobe
by the cast, especially if the show (or their stores all the heavy costumes, it is a universal
contract) runs for a while. Personal effects, fact that it is always at the top of any theatre,
photographs and the odd (highly frowned and the Royal Grand is no different.

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The area for wardrobe and wigs was once to other worlds. Whatever the legends, most
a series of dressing rooms that have been people agree that there is something odd about
knocked through. It is occasionally suggested the costume store, as it is clearly far larger
that they might have to move (although never than the space in the attic allows.
to anywhere specific) as ‘these dressing rooms
will be needed’ for the next show. However, The Dormitory
to refit the area for dressing rooms would take One of the benefits of joining the acting
several months. company at the Royal Grand is that they
The wardrobe area is kept warm by a mass provide lodging and accommodation for their
of steam units, irons and tumble dryers that staff—well, their acting and performance staff
seem to run constantly. This is accompanied at any rate.
by the clatter of sewing machines and rumble At the very top of the dressing room block
of washing machines. Costumes hang on every is the dormitory, which is effectively the attic
available space, either to dry, or awaiting above the front of house areas (the costume
repair. Some are just hanging to keep out store taking up most of the rest of it). The
the creases after being ironed before they are dormitory is divided into four large rooms,
returned to dressing rooms. two for the women and two for the men.
The wigs areas are less noisy but still very There are also two large communal bathrooms
hot due to the wig ovens that are used to bake that are ostensibly for each gender, but few
wigs into set styles. The wiggies tend to work people mind who uses which. Even so, the
standing up, and so the floor space has several cold tiled floor is always crowded at certain
wig stands, and what tables are available are times of the morning and evening.
littered with hair pins, ribbons, ties, curling The dormitories offer a decent amount of
irons and rollers. private space, but little more than you would
Whether you are among the wig or get in an army barracks. Each performer has
wardrobe department, you’ll usually find a their own bed and locker, and they are free
good supply of tea and biscuits. Many of to personalise their space as much as they
the departments also bake. The wardrobe wish. You can hear a gurgle from the theatre
department also has impromptu parties after water systems, as the water tanks and air
the show, as they are usually working much conditioning systems share some of the attic
later than everyone, washing the costumes space. But while some find it distracting,
for the next day (or setting the wigs to bake others find it restful.
for hours). These parties are spontaneous and Those who have lived at the theatre for a
informal affairs where anyone is welcome if while have found some of the doors to get
they bring alcohol or snacks. out onto the theatre roof, which has a few
Above the wardrobe department, and flat areas where the odd chair or bench can
part of the attic, is the costume store. This be found (detritus from old shows claimed
is an Aladdin’s cave of fabric and costume. by previous inhabitants). In the summer it is
Racks and racks of clothes from all manner common for groups to gather in these places,
of genres and historical periods are crowded and the view is amazing. The odd barbeque
together in seemingly chaotic but well-labelled happens on occasion as well. But for the
organisation. It is said that if you walk among most part, even at night, being on the roof is
the racks for too long you might get lost, or a great way to get some open space outside
find the few desperate souls who have been the claustrophobic atmosphere of the Royal
lost in this fabric wilderness for years. You Grand.
may even find doorways and cracks that lead
to other parts of the theatre, and, some say,

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Substage Substage Level 1 - Understage

This layer immediately under the stage is
The Royal Grand goes deep. While many still a working part of the show. It is more
people comment on the grandeur of its spacious here but is still divided into quick-
facade and its imposing stature, few people change areas, except for the runways that
know how many floors it has below. In the are kept scrupulously clear (and marked
depths under the stage lie layers and layers with large arrows) so performers can cross
of basements with all manner of secrets. As from one side of the stage to the other during
these areas are mainly under the backstage the show. These ‘crossover’ lanes are never
and stage area they are known as ‘the substage blocked, and many performers come down
levels’. All manner of forgotten artefacts and them at a run.
the detritus of forgotten shows reside here. It Substage level 1 is also the level that
is also where the crew make their home, and connects to the orchestra pit (or just ‘the pit’).
each department has carved out a territory for It is accessed only from here (never through
themselves. the auditorium, although this is possible) and
The space in the substage is small and is much larger than it appears, even though
rather cramped. While you can usually walk only a small amount of it is open to the
upright, some parts of the ceiling are low, auditorium. If no show is on, the pit can be
and you can always covered with an
touch the ceiling extension of the
without needing to stage. If a show
stretch. Some open isn’t on it can also
areas exist, but make a convenient
temporary walls cut-though to get
have been built into the stalls in
between the joists the auditorium
and struts to create (but never during
offices and rooms. a show!).
Nothing down here As the pit is
was provided by the accessed here, this
management, and layer is also where
most furnishings the musicians have
and appliances have their common
been claimed from area (the ‘band
past shows in one room’). They
form or another. This has led to an almost tend to all be in the pit during the show, but
surreal atmosphere, where the crew might sit in this area they can relax. The musicians are
on thrones but eat at a table made of an old usually friendly and often have baked goods,
pub sign. but tend not to mix with the backstage staff
Passage between the substage levels is by very often as they rarely leave their room or
two main spiral staircases from stage left and the pit. However, they will often leave the
stage right that go as far as level 5. A few room when they want to tune their instrument
other trap doors and secret stairs also lead (usually a brass one) so as not to annoy their
between all the levels, but no one knows all of fellows playing scales incessantly. They almost
them. Most people use the spiral stairs, and so always seem to find an area next to one of the
the areas around them are kept clear to allow backstage staff areas with thin walls to annoy
passage. them instead.

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This level is also crowded with some of the Substage Level 3 - Technical
mechanisms for moving the stage. While few At this level we move away from the
of these systems and hydraulics and ropes still more inhabited levels of the theatre. It gets
work, and even fewer people still know how quieter and a little spookier here. Level 3 is
they operate, they remain nonetheless. They the technical area, containing most of the
are a fascinating piece of theatre history, but equipment that powers the building. The
no longer any use for a modern show and take backstage electrical intake room is here (where
up far too much room. the main power comes into the building in
huge armoured cables). The dimmers that
Substage Level 2 - Crew Room and Canteen control the lights are also here in one long
While there are some machinery areas room. There is also the gel store where
down here, this layer of the theatre really lighting colour filters are kept—racks and
belongs to the backstage crew. Both the chief racks of plastic sheets of colour to be cut
LX and the master carpenter have offices for different lanterns. Somehow a vent here
down here, and rooms are provided for each sometimes creates a shaft of sunlight that
of the departments (although wardrobe and catches the ends of the rolls of colour and
wigs tend to stay in their refracts across the
work areas, as they are a room. It’s a sight the
long way away). lighting crew only show
One concession to to a few outside their
the understage life from department.
the management has The sound
been the creation of a department also has
small canteen down some more racks, and
here. It is open for a the main building
basic breakfast, lunch amplifiers are here
and a reasonably priced too. This level is often
hot meal in the evening claimed by the technical
before closing. Pretty staff, who have marked
much everyone from out a couple of rooms
backstage staff to the for themselves here.
technical staff eat here. Finally, this level also
A few front of house has a special room
manage to slide in, for pyros and stage
although technically explosives. It is kept
they aren’t allowed locked, as is the room
in this area. But they next door, which is a
have nothing similar on work space for mixing
their side of the theatre explosive powders
(except the restaurant which they are not into new compounds and cartridges. No one
allowed into unless working). The canteen smokes near here for any reason.
staff are a mixture of people but few have
any experience of theatre. They are just here Substage Level 4 - Boiler and Crew
to cook and serve food. But they have a good Quarters
relationship with the crew and get invited to Much of this level is empty of show props
any gatherings, even though they are usually or stage equipment as it houses the main
unable to attend, being on a different schedule. building plant machinery. The boiler, chiller

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and main extraction fan systems are here for can be brought here intact. Still, some rooms
the heating, water and air conditioning (such here house large items that could not have
as it is). As more space is available here (and gotten through a doorway and were also not
as the building is warmer near the boiler), disassembled. No one knows how they got
many of the crew make their homes here. there.
While the performance staff have the option of A few of the crew make their homes on
a dormitory space in the attic, the crew most these levels, as they get more space and maybe
emphatically do not. However, the managers even a room to themselves. But this floor isn’t
never come this far down, so many of the crew as warm, and people have also been known to
have made a home here. They claim a space, go missing down here.
set up a bed and gather their belongings. The The stairs that run down the other substage
lucky ones can claim a proper bed from an old levels end at level 5. From there, to move
show, but most sling up a hammock, making down a floor you need to know a way. While
the whole area look like the inside of a ship. plenty exist, many are hidden, and none go
farther than the next floor. Some are wide
stairs, others just a simple ladder.
Substage Level 5-8 - Props Store and The rooms down here are full of junk
Archive and treasures. Row upon row of shelves and
The remaining floors are designated as rooms store the various properties and a few
storage space, but mainly for props and costumes from shows past. Anything might
small items as few large pieces of scenery potentially be here, and many joke about

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Props & Oddities

1 - People 4 - Macabre Items

1. A group of crew playing cards 1. A skull
2. A lost actress, tormented by the 2. A jar with a brain
ghosts of her past 3. A spider the size of a hand in a glass
3. A nervous technician changing light tank
bulbs 4. Half a dozen dusty bottles of ‘tonic’
4. A loud bare-knuckle fight with 5. A stuffed brown bear
audience 6. A set of slightly rusty Victorian
5. A group of people in eveningwear surgical instruments
having a dinner party
6. Actors rehearsing a play whose run 5 - Animals
at the theatre ended years ago 1. One of the theatre cats
2. A large boa constrictor
2 - Mundane Items 3. A painfully cute puppy
1. A mop and bucket 4. An intelligent rat
2. A pile of theatre ledgers 5. A pack of wolves
3. A half-eaten sandwich 6. A confused elephant
4. Twelve boxes of old programmes
5. A gramophone with a few records 6 - Oddities
6. A collection of broken tools 1. A small circus performance with
clowns and jugglers
3 - Dangerous Items 2. A court waiting to put the player
1. A prop gun, that may fire characters on trial
2. A dagger 3. A group of tourists being taken
3. A Zippo cigarette lighter around the substage by a guide
4. A box of fireworks 4. A cave with a large underground
5. A naval cannon lake
6. A musket with bayonet 5. A prisoner in an iron mask who says
he is the true king
6. The Devil, willing to offer great
musical talent for the price of a soul

finding the Holy Grail or the Golden Fleece. A the odd grow room for ‘medicinal plants’. Just
good many of the more useful props find their be careful what you touch when you come
way into the crew quarters to improve their across something suspicious; you don’t know
living space. whose space you may be invading.

Down this far, the theatre managers are The only really inhabited area down here is
a distant memory. Many think they don’t the theatre archive. This vast and deep library
even know the theatre goes down this far. So, of shows, old programmes, photographs and
anything less than legal tends to happen down posters catalogues the existence of the theatre.
here. There are secret bars, alcohol stills, even A lot of other old books lie hidden here if you

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know where to look, and some detail secrets Beyond Substage Level 9 - The Dark
that would make the Vatican archives nervous. The Royal Grand goes deeper than level
Isador, the theatre archivist, is always found nine, but anyone with any sense doesn’t go
here filing and organising the ancient shelves. any further. People don’t come back from
While he is assumed to live outside the theatre, going this far down. There are ‘things’ down
no one has ever seen him leave, or sleep. here, things that hate the light of day, but
A lot of doors and rooms fill the lower hunger for warmth. Rumour has it there is
levels of the substage, and the prop stores go an ancient city deep down here, but no one
on for miles. If you open a door at random, believes those who say they have seen it. What
you might find anything. To represent this, people do know is that sometimes whatever
we offer a quick table to roll on to give you a lurks below decides to come up the stairs.
few ideas for what might be found behind any The music and sound of the show penetrates
door in the substage. For more ideas about even here, and its beauty attracts horrors that
strange and surreal rooms, take a look at cannot be allowed to reach the audience.
Magpie Games’s storytelling game Bluebeard’s
Bride and their Book of Rooms supplement.

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Ropes, Cleats & Pulleys

T o play Opera House you need a system of

rules to help you figure out what is going
on. The rules system for Opera House is the
actions you will be able to take, depending on
your skills and abilities.

same as one of my other role-playing games 3 – Does a skill apply?

called Hellcats and Hockeysticks. If you are The Gamemaster will usually decide that
already familiar with that game, much of the the action you are attempting comes under the
following will not be new to you. But give auspices of one of the skills. If you have the
everything a skim over as we’ve changed a few skill in question, you can add the level of skill
bits and pieces here and there to better suit the you have to the number of dice you get to roll.
setting of the Royal Grand. So, as you get 1 die normally, if you have a
The rules system we present here is quite skill of 3, you roll 4 dice. The number of dice
simple, and uses only standard 6-sided dice you get to roll is called your ‘dice pool’. In
(D6), but we’ll break it down into painfully some cases, what you are trying to do might
basic stages to make sense of it: come under two skills. Stealth is covered by
both Crew and Crime, for instance. However,
1 - What are you doing? you can only ever apply one skill to any one
The first thing you need to establish is: roll. In such a case the Gamemaster should
what do you want to do? In some cases you offer you a choice, and you can pick the one
may not need to make a roll for success. Most you are best at. However, you might get
people can walk and chew gum at the same different results from different approaches.
time, so you only usually need to make a roll You are allowed to whine and cajole the
if there is opposition to what you are trying Gamemaster into letting you make use of
to do, if you are rushed in some way, or if one of your other skills, if you can make up
the task has certain consequences for failure. a plausible reason why it might apply. If fact,
Ultimately, though, you have to make a roll instead of specifying a particular skill, the
whenever the Gamemaster says you should! Gamemaster might ask you to ‘make them an
offer’ and suggest the skill you think suits the
2 – The basic roll action best. It’s still up to the Gamemaster to
If what you are trying to do is something approve which skill you use, though.
that you might have a chance to succeed at,
you get 1 die to roll. Some things require you 4 - Does an attribute or trait apply?
to have some sort of skill to make any sort of If the action relates to one of the character’s
roll; for instance, Alchemy for the uneducated attributes, it might also be applied to the roll.
is pretty tricky. It’s also hard to perform It will add its level in dice to the dice pool
surgery if you don’t know which bit goes before they are rolled. If the trait negatively
where. However, in many cases, even without affects the test, its level removes dice from the
a skill to increase the number of dice you get pool. If two or more attributes might relate to
to roll, you usually get 1 die to take a shot at the action, only one can be applied. Generally
it. The Gamemaster is the final judge of what this will mean the highest one, but the

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Gamemaster can insist which one is applied difficulty; Easy, Tricky and Hard. A fourth
(whether negative or positive). Remember as level is available, ‘Absurd’, and a fifth,
well that the attribute used helps determine ‘Impossible’, where the Gamemaster reminds
the tone of what the character is trying to do. you that you have little or no chance. Either
If you use Intimidating instead of Charming to way, the difficulty levels provide you with
convince someone to help you, you won’t be a difficulty number, which we’ve put on the
making a new friend even if they agree. table below.
A trait might also apply to a roll, and can Easy rolls are barely more than a formality.
do so whether or not an attribute applies. But You could fail, but with a decent skill and
only one trait can apply. If a trait does apply, moderate luck it shouldn’t be a problem.
it adds 1 die to the dice pool. Tricky rolls are quite difficult and usually
It is possible the use of a negative attribute the base for most actions. There is a good
might reduce a dice pool to less than 1. If the chance you might fail, but if you have a solid
character has a skill to apply to the test, the skill you should be confident of success.
dice pool can never be less than 1, no matter Hard rolls are difficult for an expert. If
what modifies it. However, if the character you don’t have any skill it’s a ‘Hail Mary’.
does not have any points in the skill being If you are skilled you will need to be able to
used, they are too inept to attempt the action concentrate and get lucky to pull this off.
and cannot make the roll. Absurd rolls are highly unlikely to
succeed, but on a good day with the right
5 – Set the difficulty level circumstances you might have a chance.
It is now up to the Gamemaster to Unskilled people have no chance of doing
decide how difficult the task actually is. this, and those with training will be tested to
This determines how easy it will be for you the limit. Making the difficulty Absurd is the
to succeed in your attempt. For the most Gamemaster’s way of suggesting the player
part, Opera House uses only three levels of might want to think of something else.

Difficulty Levels
Difficulty Difficulty Description
Level Number
Easy 4 Climbing a craggy cliff
Climbing a smooth cliff, or a craggy
Tricky 5
cliff in bad conditions
Hard 6 Climbing a smooth cliff in the dark
Climbing a smooth cliff, with one hand
Absurd 7 tied behind your back, in the dark,
carrying an unconscious friend
As above, but with both hands tied up,
Impossible 8 it’s raining and someone is shooting at
you

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Impossible rolls are just that. They are the

sort of action that has almost no chance of
success even when done by an expert. It is the The System in a Nutshell
difficulty used when the Gamemaster says ‘it’s
a million to one chance’ and the player replies To perform a task, you work out
‘so, you agree there is a chance then?’ which skill you’ll be using and roll
skill level +1 in dice. The Gamemaster
6 – Make a roll assigns a difficulty beforehand, and
You now get to take the number of dice if at least one of your dice beats the
(six-sided ones, or D6s) you have in your dice difficulty, you have succeeded.
pool and roll them together. If at least one
of those dice is equal to or higher than the can be spent on any dice roll. But at the end
difficulty number, you have succeeded in your of the session it is gone, none is carried over
task. to the next session. The gods of theatre are
fickle, and if you don’t take advantage of their
7 – Hang on, what about 7 and 8? favour when you have it, it vanishes pretty
You will have noticed that it is impossible swiftly.
to roll a 7 or an 8 on a six-sided die. So, here When you add a point of Glamour to a
is what you do. On any roll, you can trade in roll, you can add +1 to the result of every die
3 of the dice you are about to roll in your dice included in that roll (like trading in 3 dice but
pool. Instead of rolling those dice, you can without trading anything in).
add 1 to every die you do roll. Trade in 6 dice Each character begins each session with 1
and you can add 2. This might mean, even if point of Glamour. Any unspent points are lost
you are a master of a skill, you may still have at the end of the session, as the theatre gods
to roll a 6 on 1 die. However, this would mean are flighty.
you are trying to do the impossible, so you Once spent, the point is gone, but the
didn’t expect it to be easy, did you? Trading Gamemaster can award points as and when
3 dice for a +1 is an option even on lower- they see fit. Like the gods of theatre, they can
difficulty tasks, so in this way, highly skilled be as fickle as they like. However, prayer can
characters can perform easy and even tricky work. Begging fate when the roll is critical to
tasks with little difficulty. the show sometimes yields a point. Making a
connection to another performer (like a high
five or a hug) just before a show might grant a
Glamour point (but just one). Also, rituals can help, and
each character has some simple superstition
There is a magic to theatre. No one knows they perform to appease the forces of the
how to harness it, but it’s there all the same. universe before a show.
We know this because without it, no show
would ever happen. Seriously, its chaos out
there. Sometimes the fates, spirit of theatre, Botch and Disaster
blessing of Dionysus or just an awful lot of
alcohol or desperation, helps you get the job Really screwing up can be a lot of fun,
done when you are most in need. especially for the Gamemaster. If, when you
This showbiz faerie power is called make a skill roll, all the dice you roll come
‘Glamour’, as it is illusionary, capricious and up a 1, you have failed spectacularly, or
not good to rely on. Every character begins ‘botched’. This means it is quite easy to botch
each session with a point of Glamour which if you have a low dice pool, but experts don’t

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make the same mistakes so often, unless they highest on any single die (unless one side has
are trying the impossible. ‘the edge’—see later).
When you botch, everything that could In many cases, opposed rolls will require
possibly go wrong does. Your character both characters to use the same skill. If you
basically becomes the Gamemaster’s chew toy. are both haggling over a price, you are both
So the trap you are setting up not only fails using Front of House skill. However, this is
to work, but it traps you instead. Botching a not always the case, especially when many
disguise roll makes you painfully obvious but skills offer the same options (like Stealth).
you think you are indistinguishable from the Some actions also oppose each other with
real thing. The effects are up to the cruelty different things. A character might use Actor
and sense of humour of the Gamemaster, and to disguise themselves, but anyone looking
no amount of pain or embarrassment is too for them might use Stage Manager or Flyman
harsh. (observation) to see through the disguise. In
some cases, you might
Critical Success make a roll and record the
Generally, the more dice number of successes you
that come up a success, made (the total amount
the better. However, if you of individual dice that
manage to roll three 6s for rolled equal to or better
your action, and succeed than the target number),
in the task, you have made which becomes the target
a critical success. In such that needs to be beaten.
a case the Gamemaster So, if a character disguises
will grant you a bonus to herself and 3 dice succeed,
the outcome. If anyone anyone trying to detect
else was around to see the her needs to roll more
action in question, you also than 3 successes to see
gain a point of Glamour. through the disguise,
rather than the character
Opposed Rolls rolling again and again
Sometimes, succeed or each time someone tries to
fail is not the only factor. see through the deceit.
When you are competing When the action is not
against someone else, their a direct physical challenge,
ability becomes a factor. Conflict is the most it may make sense to allow equal rolls to be
obvious opposed roll, but other examples are ‘not quite a failure’. So, the person looking
arm wrestling and most competitive sports. If for our disguised character won’t detect them
you need to know who does best in a contest, with an equal roll, but might think they have,
you add up the amount of dice that count as or catch a glimpse of them. Not enough to
a success for each contestant, and the highest find and uncover them, but enough to show
wins. them there is something amiss.
Should one side fail the roll and the other
pass, the winner is obvious. However, if Open-Ended Rolls
both sides fail then neither has won due to If the roll can’t really be failed, but you
a terribly poor showing by both parties. If still need to know how well a character does
there is a tie, whoever has the highest skill is at a task, you might call for an open-ended
the winner; failing that, whoever rolled the roll. The best example of this is a roll of

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Style to see how well-dressed the character smallest advantage but isn’t important enough
is. But it might also work for creating art or to warrant extra dice. When a draw occurs the
throwing darts in a competition. In this case side who has ‘the edge’ wins that round.
you roll the dice as usual, and note what the The side with ‘the edge’ keeps it until the
best result was (and how many successes it end of the contest, unless something happens
had). The result is measured as the difficulty to change the circumstances. It is up to the
rating you have passed. If you roll all 1s you Gamemaster to decide to apply the edge to
have botched, which is the only real way to either side. They might decide not to apply
fail. Any result or 3 or less is considered only it at all if things are very even. In some
a bare pass. You haven’t really failed, but situations (such as hiding—see page 85) the
your result is not worthy of any notice. If edge is already determined. Generally this
two people get the same result, the number of should be used for times when fast and furious
successes they got is taken into consideration action is called for, where draws will slow
as the tie breaker if one is required. But the the action too much, such as in combat and
highest roll is always considered the best result during chases.
(so one 6 is better than three 5s).
Trying Again
Example: Emma, Charlotte and Marianne In some cases, failing a skill roll might not
are going to the press night party for the mean the end of your attempt at the task. If,
latest show, and all of them want to impress. for instance, you fail to pick a lock, there’s
They each make an open-ended Style roll. nothing to stop you trying again and again
Marianne’s best result is 4 and she rolls 3 until you roll the right number. However, not
successes. She is doesn’t stand out but no only might there be consequences for failure
one is going to think she hasn’t made an that will prevent you from further attempts,
effort. Charlotte rolls nothing better than a the more you fail, the harder it is to succeed.
3 (usually a fail) and so has taken some sort There can be plenty of potential
of fashion risk that hasn’t paid off. However, consequences for failure. Failing to pick a lock
it’s not enough to make her a laughing stock. might set off a security system. Failing to jump
Unfortunately, Emma rolls all 1s and has a ditch puts you at the bottom of it. Failing
botched. Her attempt to imitate the style of to fast talk the guard means he’s on to you.
one of the more well-dressed performers has In these cases, trying again isn’t usually an
spectacularly backfired and people will be option. Performing an action also takes time.
talking about her outfit for some time, and not There isn’t anything to stop you trying several
in a good way. The best dressed of the evening times to seek out a certain herb in the forest,
is clearly Billy, one of the cast, who rolls two but each attempt might take an hour and there
6s and clearly looks especially well turned out. are only so many hours in the day. The longer
you take, the more chance someone will
Draws and the Edge discover you, or it just becomes too late to get
Sometimes both sides of an opposed roll what you need.
might get the same number of successes It is also possible that you’ll have no idea
reasonably often. When this happens a you’ve failed. By failing a disguise roll, you
lot, it can drag on. So before the challenge simply don’t do well enough to be convincing.
commences the Gamemaster should decide Unless someone points out how badly
which side has ‘the edge’. This edge might be they’ve done, your character will have no
because one side has better skill, or a home idea they’ve failed the roll. This applies most
advantage or even better quality weapons. It often to stealth and perception rolls. If you
might be anything that could give them the haven’t seen something, you don’t know you

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haven’t seen it, so you can’t try again. The show, difficult work mates, getting physically
Gamemaster is well within their rights not to attacked, etc. At high levels of ego you are
tell a player if their character has succeeded or doing well, but at low ones you have trouble
failed, instead just telling them what happens motivating yourself and eventually just curl
when they set out in disguise. The player can up in a ball and refuse to do anything at all.
take how good their dice result was as a guide This isn’t uncommon in some of the more
for their character’s confidence. In all these problematic companies.
cases, common sense should be a decent guide. There is also a difference between
There are also statistical penalties for performance staff and everyone else.
failing a roll. If you try again on a task you’ve Performers have three additional ego levels
failed, in the same scene, the difficulty should (Meglomaniac, Diva and Arrogant) and so are
increase by 1. By making each attempt, you able to increase their ego to higher levels than
may have used up resources, broken or worn anyone else. This gives them better protection
something or become weaker or more tired. against the trials and tribulations of theatre
If they’re in a good mood, the Gamemaster life. However, high levels of ego make you
might decide not to add a penalty, or to add pretty unpleasant to work with, so these
it only once despite several attempts, but extra levels come with a penalty to all social
they are well within their rights to increase interaction tests, as you are being a diva and
the difficulty of any task as many times as a pain in the arse to everyone. Luckily, not all
you attempt it. So don’t expect to have any performers are like this, and so a performer
chance to try again when you fail to attain the can refuse to rise higher than Inspired when
impossible. It is also important to point out they have the option (unless they have already
that you may well have used Glamour points allowed themselves to become Arrogant or
on your attempt, and these don’t remain for above - it’s a slippery slope).
any subsequent attempts. You spend them on
the roll, not the action. When spent, Glamour
is gone until earned again, so your dice pools
will suffer if you keep blowing points for a
continuing failure.

Ego
When things go badly in a conflict,
characters suffer damage. However, in Opera
House we are not just interested in physical
damage. Losing a physical conflict hurts, but
losing any conflict damages the ego, your
confidence and will to carry on. So while
physical damage might be the source of a
loss of ego, it’s the ego loss that causes the
problems, making the character unwilling to
go on.
Ego is measured in levels which offer a
descriptive title for how good the character
is feeling about themselves. Plenty of things
can screw with that: problems during the

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While non-performers don’t get access to Arrogant (performers only)

these extra levels (backstage staff in particular You are the axis upon which everything
have this option beaten out of them), they are turns, but that’s fine because you are just
better at coping with lower levels of ego and killing it. Everyone else should take a step
getting on with the job. So they suffer less back because you are going to spread your
penalty to their actions at the lowest levels of wings.
ego. -1 die to all social interactions
At the start of every adventure,
performance staff can decide which level of Inspired
ego they begin the adventure (not the session) Today isn’t just going to be good, it’s going
with. Non-performance staff all begin at to be great. You are just on fire (in a good
‘Coping’. way) and everything seems to be working out.
+1 die to all actions
Ego Levels
The following list shows what state you Enthusiastic
are in as you gain and lose ego. If you gain Today is actually going to be a good day.
ego you move one step up the list to a happier You feel really good about yourself and think
and healthier state. If you lose ego you move this time is really going to be different.
one step down the list, feeling worse and
worse until you are unable to do anything Coping
at all. Each step has particular bonuses or Everything is fine, you have a handle on
penalties that remain until the ego level things and are confident all will be well with a
changes (through healing or further damage). little luck.
The top three levels (Meglomaniac, Diva and
Arrogant) are for performers only, and it Upset
should be clear why... You are having a bad day, but it’ll be better
with a cup of tea. You’d like a break, but you
Megalomaniac (performers only) can get over it and carry on.
If it isn’t about you, why is anyone even -1 to all actions (-2 for performers)
talking about it. Nothing anyone else values
is important next to your slightest whim, Lost
because everything depends on you. Frankly, You feel empty and confused, but you are
that’s because you can do everyone else’s jobs able to push the trauma down deep and get
twice as better as them anyway. on with things.
+2 dice to all actions, except social -2 dice to all actions (-3 for performers)
interaction (-3 dice to all social interactions)
Drained
Diva (performers only) You are hanging on by a thread but you
Bow down, world, today you are bringing can still try and just get the job done.
it all together. You are the centre of this -3 dice to all actions (-4 for performers)
company and it’s about time you got the
respect you deserved. People need to get out Broken
of your way and let you nail this thing. You are done, it’s over. Nothing you can do
+1 dice to all actions, except social will possibly make anything all right again.
interaction (-2 dice to all social interactions) You curl up into a ball and try to think of
your happy place.
You cannot perform any actions.

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Healing Conflict
Characters have a number of ways to Sooner or later conflict will arise. You
restore ego, although it is easier to do when might need someone to back off, get a ghost
less damage has been done. The following are to leave you alone or fight off a saboteur. In
a few ways you can gain or restore ego. such cases you need to play out a conflict,
during which your ego may suffer. Conflict
• If you make a critical success, gain 1 is designed to move quickly and simply, but
ego. often leave a bloody mess in its wake. Time
• If you spend a point of Glamour, gain 1 moves in ‘rounds’ and everyone gets 1 action
ego. each round. Rather than specify a round
• If you are given successful medical aid taking a certain number of seconds, you can
after a physical conflict, gain 1 ego. assume it is long enough to engage in a quick
• If you are Upset, Coping or Enthusiastic action, such as an exchange of blows or a
you may gain +1 ego for taking an plea for mercy. When everyone has used their
hour’s tea break with a friend. action or decided to do nothing, a new round
• If you are Drained or Lost you can begins. Effectively, conflict is the same as
gain +1 ego if you take an hour’s break making an opposed skill test, with a few more
alone. bells and whistles for damage and different
• If you are broken, you many only gain actions and weapons. We’ll break it down into
1 ego after two hours’ bed rest in peace steps.
and quiet with no disturbances.
Step 1 - Set the Stakes
A successful attempt (at difficulty 5) to talk Not every fight is a duel to the death.
someone out of their mental state if they are Some might only require a minor exchange to
Drained, Lost or Upset will gain them +1 ego. send an opponent off with their tail between
But they lose an ego if the test fails. their legs. While objectives can change, you
Finally, a broken character can be generally go into a fight knowing what you
convinced to ‘think of the show’ by anyone are getting into.
else to get them back on their feet. Their So before things get going, the Gamemaster
professionalism and ingrained work ethic should announce what the player characters
will briefly rouse the tattered remains of need to do to win the fight. It might be a
their self confidence. This option may only conflict until only one person is left standing,
be used during a show and when they have but it might just as easily only require one side
a cue coming up reasonably soon (up to the to force the other to lose a point of ego.
Gamemaster how long this is). Each character It is important to note that we are not just
trying to rouse the broken character can talking about physical combat here (although
effectively give the broken character one of we are also talking about that). A conflict can
their ego levels. Any and all player characters be a shouting match between an actor and
present can do this. No matter what happens stage manager to get them to go on stage, or
this option cannot be tried again until the two dancers trying to outdo each other’s press
character who was broken has done at least 1 night outfits. In this way, what it takes to win
cue. the conflict depends very much on the nature
of it.

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Conversely, the one side has more

player characters characters acting than
should also be clear the other, anyone left
about what they want takes their turn once
out of the fight. Do the other side has run
they want to crush the out of actions.
errant actor who has
being annoying them Step 3 – Declare
all day or just teach intent
them a lesson and be Next, you need
done with it? If they to declare what you
win, what reparations intend to do for your
do they expect from the action. You declare
loser? You can’t decide and resolve actions
you want more out in initiative order.
of someone after the This means that those
fight just because you who act first have
won, as otherwise they the benefit of taking
may have fought all action early, but don’t
the harder. Unrealistic have the option of
demands may be an hanging back to see
important part of how things pan out.
theatre, but they often If the bad guys have
lead to further conflict something planned,
after something was thought settled. this might get overenthusiastic characters into
trouble.
Step 2 – Determine initiative order So, it is fine if someone who is able to act
The next thing to do in any conflict is to early in a round decides to defer their turn.
determine who gets to act first. While each This is called holding an action. On their turn
combatant gets one action each round, the anyone can decide to hold their action (but
order can often be vital. Who acts first can be only on their turn). From then on they can
determined by some power or ability, or by take their action at any point after someone
the circumstances of the situation (you can’t else’s action has been resolved. This is the
pre-empt a sneak attack if you don’t know it’s crucial point: They don’t get to interrupt
coming, for instance). anyone else’s action before it is resolved. If the
All things being equal, whoever has the next character declares an action the holding
highest Stage Management skill gets to go character wants to stop, they can’t announce,
first. If there is a tie, the character with the “Oh, before they do that I’ll...” However,
highest Actor skill goes first. Failing that, once that action is resolved they can insist
characters act in order of Dancer skill. If that’s they are the next to act. If two people with
still not broken any ties, the group gets to held actions wish to both act next, resolve the
decide who goes next by mutual assent. order between them as you would any tie for
NPCs and creatures take a turn after each initiative as previously explained.
player character takes theirs. So the round The actions of NPCs are declared and
begins with a player character’s go, then an resolved by the Gamemaster, again as part of
opponent, then another PC, then another the initiative order.
opponent until everyone has had a go. If

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Step 4 – Resolve action Anyone escaping combat must opt not to

This is where you actually get to put the attack and instead of an attack they may make
boot in (figuratively or literally). The attacker a Dancer roll (Difficulty 5) on their turn. If
makes a skill roll based on the weapon they succeed they have escaped the conflict.
they are using. For a physical conflict this If not they suffer -1 to their ego and are still a
is probably Security, but any skill might viable target. If the conflict is social you can
potentially be used to resolve a conflict. Style run at any time, but doing so loses the conflict.
determines who is the best dressed, any skill
with a social element (like Front of House) Ranged Attacks
might be used to bitch about someone. If the attack is a ranged attack (a gun or
The difficulty for the roll to see if your a bow and arrow, for instance) the defensive
attack does any damage to your opponent ability of the defender makes little difference.
depends on how well armed you are. This Few attempts to dodge bullets are successful.
need not mean a physical weapon (although it In this case the difficulty for such attacks
can). The backing of more people in a social depends on the range between the attacker
contest counts as being better armed. Having and target.
a greater position of power is to be armed in
a leadership struggle. Getting into a conflict • Difficulty 4 – Point blank: Standing
when one of you needs to be on stage and has next to the target
no time to fight is another way to be better • Difficulty 5 – Close: You are just
‘armed’. outside arm’s reach
• Difficulty 6 – Medium: You are
• Difficulty 4 – You are better armed than significantly outside the area of combat
your opponent. • Difficulty 7 – Long: You are over 100
• Difficulty 5 – Equal opponents yards away
(standard difficulty). • Difficulty 8 – Extreme: You are having
• Difficulty 6 – Your opponent is better trouble even seeing the target
armed than you.
This difficulty is modified by a few other
The Gamemaster might modify this factors:
difficulty if they feel things might make the
conflict more difficult for both opponents. If • Target is moving: +1 Difficulty
they both have to get on stage in moments • Target is in combat (with anyone):
they might both add 1 to the difficulty, for +2 Difficulty
instance. This might push it up to 7 or 8 for • Target is aware of the attack:
some opponents, but it can never be more +0 Difficulty
than 8. • Target unaware of the impending
If the attacker manages one or more attack: -2 Difficulty
successes, they have damaged their opponent. • Target is obscured (by people, hedges,
If not they have missed, or at least failed to fog): +1 to +3 Difficulty
score a hit on their ego.

Running Away Step 5 – Figuring Damage

In some cases, you may be looking to get If the attacker wins, roll 1D6 and add the
the hell out of the fight, if it is a physical amount of successes you got to the result (so if
one. You can declare ‘running away’ as your you got 3 successes you may add 3 to the D6
action. result).

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Damage
Modified 1D6 Result Wound
0-4 Struck: -1 ego to target
5-8 Wounded: -2 ego to target
9-10 Injured: -3 ego to target
Broken: Target is ‘Broken’ no matter what their
11+
ego was

The result shows the amount of ego of combat skill. If the defender can match
levels the opponent loses. Once the attack is the successes of the attacker, the attack fails.
resolved, move on to the next action. While this may be a more realistic approach
to the thrust and parry of combat, it makes
Optional Conflict Rules fighting take a lot longer. It also means those
Some people like conflict to be simple, with lower dice pools will often find their
others like to make it more complex. So, attacks fail.
depending on what you want from a rules If you like this idea but want to avoid too
system, there are a few other optional rules much dice rolling, each character might make
you may choose to use. You can use as many the roll at the start of combat and keep that
or as few of the following as you like; it need as their defence roll for the rest of the round.
not be all or nothing. In general, each of these This is faster, but a lucky (or unlucky) roll at
options makes conflict more realistic, but also the start of combat can make dealing in these
makes it more complex and time consuming. sorts of absolutes frustrating.
So in a single session game you may wish to Defence Points: A slightly easier way to
stick to the standard rules. simulate defence is to grant each character
an amount of ‘defence points’ equal to 3 plus
Close Combat Defence their combat skill at the start of each combat
I tried a number of systems for close (melee) (not combat round). These points can be spent
combat, and have opted for simple rather than to negate the successes of your opponents in
simulationist approach. However, this means close combat, and once gone they are gone
the defence ability of your opponent is not (until the next fight).
factored in as well as it might be. To solve this The problem with these is that we are
issue we offer two defence options: defence dealing with absolutes again. Most players
rolls and defence points. However, making it will spend them early to ensure they avoid
harder to hit an opponent works both ways wounds, even though tactically saving them
and will always make a conflict last longer, as to negate single-success hits may be better in
it takes longer to damage your opponent. the long term. However, they can be used to
Defence Rolls: When you make an attack, remove successes scored against other nearby
your opponent gets to make a defence roll. player characters, allowing the fighting types
Both of you use difficulty 5 as a base for to defend the non-combatants.
your roll, all things being equal, regardless

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Multiple Opponents Falling, Fire and Drowning

Fighting more than one person is tricky.
The rules already cope with this, as you may The environment can also stand against
well suffer more hits from engaging more you, so falling off balconies, setting fire to
opponents, because everyone only gets one yourself and others, or trying not to drown,
action. But if the characters are having an easy all have a system that may damage you, too.
time of it, the Gamemaster might reduce their Luckily, the myriad ways that Mother Nature
dice pool by 1 (or more) if they face more can be a bitch are also represented in one
than one opponent in close combat. handy little system.
All you do is roll one six-sided die and
Weapon Modifiers consult the same wound table used to figure
As some weapons are more dangerous out damage in combat. However, you modify
than others, it seems only fair to modify the the roll depending on how severe the fall /
damage roll (the D6 roll not the actual ego drowning / inferno actually is. In some cases,
damage) a little depending on what you are this will be a penalty to the roll because it just
wielding. isn’t that dangerous. If the D6 roll is modified
If you have no weapon (you’re punching to 0 or less, then you receive no injury.
and kicking) you must subtract 1. Each different way to get hurt is measured
If you are using an improvised weapon in a slightly different way.
(broken bottle, spanner, tyre iron) or a small Falling – It matters how far you fall. Find
weapon (knife, cudgel or knuckle duster) the the category that matches the farthest the
roll is unmodified. character is going to fall in their descent. Each
If you have a sword, or other large melee landing on a hard substance is considered
weapon designed for combat, you can add 1. another fall, so try to avoid bouncing off any
If you have a firearm you can add 3 (unless roofs on your way down. The Gamemaster
you use the firearms optional rule below). may lower the modifier if a soft landing is
If your weapon is any bigger than that available, such as on a mattress or another
we have to wonder what the Gamemaster is player character.
letting you get up to (although there are plenty Fire – With fire, it matters how much of it
of halberds in the props stores). I think we can you are exposed to and for how long, so the
safely say that even winging someone with a Gamemaster may count some fire experiences
cannon will knock them insensible at best. as more dangerous than they might otherwise
be. For example, if someone holds a candle
Firearms against your skin until it goes out, that might
Guns are exceptionally dangerous, and be equivalent to passing your hand through a
thankfully real ones are quite rare in Opera campfire (and remember, we do these things so
House. However, they do turn up now and you don’t have to!). Take the levels indicated
again and they are not fun. Bullet wounds here as a general guide to the amount of fire
deal twice the amount of ego damage rolled the character is exposed to. Alternatively, you
on the wound table. If this is only 2 ego, the could make a new damage roll for each round
bullet grazed them. But if the target suffers 3 you are exposed to that level of fire.
or more ego damage from a bullet wound they Drowning – We assume most people
need proper medical attention before they can can hold their breath for around a minute
recover any ego levels. The bullet is either still (the world record stands at 15 minutes 58
in them or made a very nasty hole. seconds). So, being underwater for longer
runs the risk of drowning. Characters must

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Falling, Fire and Drowning

Modified 1D6 Falling Fire Drowning Hypothermia
Result
-4 Up to 4 feet Match 2 minutes Up to 1 hour
-2 5 to 8 feet Bunsen burner 3 minutes Up to 2 hours

0 9 to 15 feet Flaming torch 4 minutes Up to 3 hours

1st floor
+2 Clothes on fire 6 minutes Up to 4 hours
window
2nd floor
+4 Bonfire 8 minutes Up to 6 hours
window
3rd floor
+6 Flamethrower 10 minutes Up to 8 hours
window
Top of a Up to 10
+8 Furnace 12 minutes
building hours

Explosives
Type Size Damage Area of Effect
Small A handful +1 1 foot
Medium A bagful +3 10 feet
Large A barrelful +5 20 feet
Whole building, or if
What the hell are you are close enough
A roomful +8
you thinking? to see it go bang, you
get hurt

make a roll to check for drowning damage Hypothermia – Cold can be just as
as soon as they’ve past the two minute mark bad as hot sometimes. While frostbite can
underwater without air. They must then make give you permanent damage, much of the
a roll for each minute they remain underwater. damage gained simply slows down the body
The modifier for the roll depends on the total so much you cannot act, which applies the
time the character has been underwater, and same modifier as for an injury. Hypothermia
increases periodically. damage applies when you have been subjected

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to sub-zero or near sub-zero temperatures a revulsion when you experience something

for a while (such as being locked in a meat deeply shocking or especially hard to process.
freezer). When you’ve been stuck somewhere Fear can make you better at dealing with a
cold, with no source of heat, make an injury threat, horror makes you suffer mental trauma
roll when you escape and return to an area in the form of loss of ego.
with normal temperature. (We assume you’re
trapped as otherwise you’d just get out and Fear
not freeze!) After a good thawing out, you’ll At any point when you think your
usually be fine as long as the frostbite hasn’t character is in a scary place, you can declare
set in. they are getting frightened. There are three
levels of fear, and each one incurs a penalty
to most actions. However, they also provide a
Explosives bonus to any action involving running away
or fighting. It’s up to you which of those you
There will no doubt come a time when your do. Being afraid gears you up for escape or
characters will want to blow something up. conflict but hurts your ability to think or
Proper explosives are hard to come by; in fact process anything else.
the only thing available is gunpowder, but that The three levels of being afraid are
can be dangerous enough. The question is, Nervous, Frightened and Terrified. If you
how much are you using? declare you are Nervous, the next round you
In general, explosives come in four can declare you are Frightened, the next round
categories. These are: small, medium, large
and ‘What the hell are you thinking?’. These
types are summarised in the table on the
previous page.
Each size of charge has an area of effect,
which is how wide its immediate range of
destruction reaches. Anyone inside that range
immediately makes a roll on the wound table
to see how many ego levels they lose. The area
of effect is the centre of the blast, so those
outside may also be hurt. If you are within
twice the area of effect (for example, within
40 feet of a large explosive) you roll as if you
were the next lowest category (so standing 30
feet from a large explosion means you roll on
the damage table with +3). If you are 2 feet
from a small explosion you roll on the damage
table with a -1 modifier.

Fear and Horror

Sooner or later, your characters will come
across things that they may find frightening
or horrifying. Fear is a surge of adrenaline
in response to a feeling of danger; horror is

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Fear
Fear Level Bonus to Fight or Penalty to Other
Flight Actions
Nervous +1 Die -1 Die
Scared +2 Dice -2 Dice
Petrified +3 Dice -3 Dice

Horror
Horror Rating Difficulty to Resist Damage Table Bonus
Shocking 4 +1
Revolting 5 +3
Terrifying 6 +5

Terrified. But you can decide you are just Example: Bob and Juliet are in the
Nervous and stay there. However, you cannot depths of the theatre looking for their friend
drop your fear level until the Gamemaster Charlotte, who has gone missing. As it is dark,
agrees you are clearly and absolutely out of Bob’s player decides he is getting scared and
danger (and ideally sitting down with a nice declares he is Nervous. As they go deeper
cup of tea). However, another player character he later declares he has moved up to Scared.
might be able to use a skill with empathy to Although they don’t find anything for a
help you reduce your fear level by one step while, Bob’s player cannot declare Bob is just
(but never to less than Nervous if there is still Nervous again, or not frightened, until they
danger). leave the basement.
If you do find yourself faced with a conflict
when you are frightened, you may either fight Horror
or run away. You get a bonus to either but The effects of horror are not optional.
once you have made a decision you have to When you see something the Gamemaster
stick to it. You can’t get into a fight and then believes is horrifying (such as a ghost or a
run away, or run and then come back while body), you must make a Stage Management
under the effects of fear. You need to be away test to resist its effects and cope with what
from it or able to defeat it before returning. you have seen. The horrific scene will have a
Once this is resolved your fear level drops by horror rating that defines the difficulty rating
one automatically, and if this means you are that you must pass to avoid the effects.
no longer under the effects of fear you can do Shocking scenes are usually just surprising
what you like. or unnerving. It is the shock rather than the
scene itself that is the most upsetting part. It

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might be seeing a nasty wound, a lot of spiders suffer an additional loss of ego levels equal to
or snakes, a friend getting badly hurt in an the fight or flight bonus of the level you are at.
accident or any production of the musical If you suffer ego level loss from a horrific
‘Annie’. event, increase your fear level by 1. If you
Revolting scenes are more than just a are already ‘Petrified’ you must flee the scene
surprise, they are deeply disturbing and completely (and will attack anything that
unnatural. This might be witnessing or being stops you doing so).
subjected to a brutal attack, seeing a dead
body or facing something you have a phobia Example: While in the basement, Bob
about. and Juliet encounter a ghost. As it has a
Terrifying scenes are wrong on every horror rating, they need to roll their Stage
level and tend to mark you for life with the Management skill to cope with the encounter.
trauma. Seeing a friend die, encountering a The ghost has a horror rating of Revolting, so
creature from the depths or being faced with they must both make a Stage Manager test at
your deepest fears all count as terrifying. If difficulty 5.
such a scene causes enough damage to leave Sadly, both of them fail the test, so both
a character broken, they suffer a permanent roll on the damage table to see how many
reduction in their maximum ego level by 1 ego levels they lose to trauma. As the horror
until they can receive professional psychiatric rating is Revolting they need to add +3 to
therapy and help. the D6 roll. As it is about to attack them
Pass the test and you are fine, but if you this increases to +4. Juliet rolls a 2, which
fail the test you roll on the usual conflict becomes a 6 with the +4. She loses 2 levels
damage table to see how many ego levels you of ego. Bob rolls a 1, taking his result to a
lose, as witnessing the scene causes you to 5. While he loses 2 ego levels from the table,
suffer mental trauma. The usual roll of 1D6 he is currently Frightened and so loses an
is modified by the horror rating of the scene. additional 2 ego levels, for a total of four.
If the Stage Management test to resist it was a Having both suffered ego loss from the
botch, the modifier is doubled. horror, Bob and Juliet gain a fear level. Bob is
Some monsters, like ghosts and beasts from now Petrified and Juliet is Nervous.
the deeps, have their own horror rating. Just If they choose to fight the ghost, as they
seeing one counts as facing a horrific scene. both have fear levels they must choose to fight
However, you only need to roll once for each or flee the encounter. They both opt to fight.
encounter. Seeing two ghosts does not mean Due to their fear, Bob will be getting +3 dice
two horror tests, just one at the worst rating. to his pool and Juliet will get +1. However,
Once rolled, the characters might then fight having chosen to fight they cannot leave the
the ghosts without further tests. You only have conflict until the ghost is defeated or they are.
to make a further test when you encounter a
different creature (even one of the same type).
While monster horror ratings work the Chases
same way as those for scenes, angry creatures
are more frightening. If the creature or ghost It is inevitable that at some point, someone
looks like it might attack the characters will be chasing the player characters, or they’ll
making a resistance test, the test is the same, be looking to chase someone else. There are
but the character must add another +1 to the a number of ways you might end up chasing
modifier on the damage table roll. or being chased. In all cases, you use the same
If you have any fear levels, what you see is system, which has been kept simple to keep
magnified through the lens of your terror. You the chase sequence moving swiftly. However,

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Chases
1 We’ve nearly got The pursuers are almost on top of their quarry.
them They can make close combat attacks.
The chasing groups are near enough to use
2 Closing in
ranged weapons effectively.
The quarry is far ahead, and can’t be attacked by
3 We’re losing them
anything but long-ranged firearms.
The quarry is so far ahead they’ll lose their
4 They’re getting away
pursuers in moments.

it is important that such sequences don’t why the ranges are kept a little abstract.
just dissolve into a stream of dice rolls. So, The basic system for running a chase is
whether you are chasing or being chased, it simple. One member of each group (quarry
is important to describe what you are doing. and pursuer) makes a roll depending on the
How have you gained ground on the quarry? mode of transport they are using. This will
What did you do that allowed the hunters to usually be Dancer for running. Vehicles should
catch up? Did you slow down for a bend or usually be covered by the character’s main
did you forget about a low hanging truss? skill (the one they use for scrounging), but
When a chase begins, the Gamemaster most chases in the Royal Grand are done on
should decide if a chase is even possible. If the foot. The difficulty is normally 5, but may be
quarry gets to the only car, no matter how fast different for each group depending on what
the pursuers run, they are not going to catch they are using. Obviously, the person making
up. However, if the pursuers can get to an the roll (in the case of two people on a horse
equal method of transport quickly enough, the or similar) should be the person actually doing
chase could still be on. As most chases in the the riding!
theatre are on foot this isn’t usually an issue. Whichever group gets the most successes
When a chase occurs, the Gamemaster is the winner of that round of the chase,
decides the starting range for those involved and they can choose to increase or decrease
in the pursuit. This depends on the initial the range by one step, turning a ‘They’re
distance between the quarry and pursuer getting away’ into just ‘We’re losing them’,
before the pursuer can properly give chase. In for instance. If the losing side doesn’t get any
most cases, the starting range will be ‘Closing successes, the winner can change the range by
in’. There are four different ranges, which are 2 steps instead.
summarised in the table opposite. Chases are one of the times the
For all these ranges, the actual distance Gamemaster should assign one group ‘the
isn’t important. Two girls running between edge’ to avoid ties and speed up the action (see
winding side streets can lose each other with ‘Draws and the Edge’ on page 71).
little distance between them, but on a long If the pursuers manage to reduce the range
open road you might be able to follow each to below ‘We’ve nearly got them’, they have
other for miles. Losing a pursuer is not just caught the quarry. They might have forced
about going faster, but making tight turns and them off the road or made them stop. In
actively trying to confuse your pursuer. This is the case of a foot race, they’ve caught up to

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their quarry and grabbed them. If the quarry +4. This bonus is added to each roll the
manages to get the range above ‘They’re driver makes, but only if they succeed in their
getting away’, they have escaped. They have roll. So, if you ride a thoroughbred and get
got so far ahead the pursuers make a wrong 1 success, it counts as getting 5. But, if the
turn or just lose sight of them. It should be rider gets no successes, their result is still 0.
pointed out, though, that quite often, catching If one of the parties is worse than average,
your prey can be tricky. Even when caught, instead of granting a bonus to the other horse,
the quarry may prove hard to handle and a the Gamemaster might penalise the donkey.
combat could ensue. Just catching up and/ Again, the same applies, with an old horse
or overtaking them might not bring them being -1 and a surly donkey getting -4. In this
to a standstill. However, if the quarry is case, the penalty applies no matter what the
caught, you can assume they will have to do rider rolls, so failure even produces a negative
something pretty violent or cunning to escape result, and sometimes successful rolls can
capture. become failures.
Multiple layers: Sometimes, it isn’t just
Optional Complications one person chasing another. Sometimes, there
The system above allows you to work out are people chasing the people chasing other
who has caught whom, but chases should people. In this case, you should run each
also be fun and exciting. So, we also present group as a separate chase. It is possible the
a few optional ways to resolve chases that one in the middle might gain on their quarry,
complicate things a little bit more but allow but get caught by their pursuers before they
for more action and detail. can snatch them. If several groups are after
Quarry sets the difficulty: The person the same quarry, compare the results of both
being chased can determine which routes get pursuers against one result from their quarry.
taken and how fast things are going to get. Resolve the results as usual, so one pursuer
In this case, it is up to the quarry to decide might gain and the other might lose ground,
on the difficulty that all parties use in their or they could both gain ground, etc. In a
chase rolls. A highly skilled quarry might foot race, the various groups might not stick
increase the difficulty to make it harder for together; the same may apply to multiple
their pursuers, or lower it to generate more horse chases. So, the Gamemaster should
successes. They might even drop the difficulty make the least skilled (the slowest) make a
as low as 2 or 3, if they like. roll for the group. When the pursuer catches
Unequal transport: In the case of a foot up, everyone makes a roll, and only those the
race, things are pretty equal. However, if pursuer manages to beat can be caught.
you are chasing a racehorse with a donkey, Chase actions: It isn’t enough to know
you are going to have to work a little harder who is going faster, the question is how you
to catch up. In some cases, the Gamemaster are going to evade or capture the bad guys.
might rule the faster party is going to catch Using this rule, each person in the chase must
up with the slower one in a certain number say what they are doing, and it need not
of rounds, unless they can escape. However, just be the rider. It might be throwing spikes
the easiest way to resolve things is to give behind you, weaving down side streets, really
automatic successes to the faster party, or whipping the horse or trying to cut them off
penalise the success of one that is far worse at the pass. The Gamemaster should then give
than average. The Gamemaster might grant out a bonus or penalty (either to difficulty
up to 4 additional successes to the faster or granting additional successes as above)
party. So, a riding horse might get +1 and depending on how effective the plan might be
a thoroughbred racehorse might get the full (possibly calling on tests of throwing or area

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knowledge skills) which are applied to the When you are trying to hide or follow
chase roll. Even if no bonuses get assigned, the someone covertly, you make a stealth skill
chase will benefit from frantic storytelling and roll (such as Crime), looking to get as many
plans that can involve everyone, not just the successes as you can. Note down the result
one actively riding. of your dice roll, as it forms the difficulty for
Combat during chases: Fighting is a little any successive attempts to find you. Whenever
tricky, but possible during a chase. As noted anyone passes by or starts looking for you,
in the range detail, certain types of combat or is the target you are stalking, that person
are possible at certain ranges, whether you gets to make an observation skill roll (such
are on foot or on horseback. It is obviously as Stage Management). If the seeker’s roll
harder for someone riding or driving to make beats the hider’s roll, the hider is spotted. If
an attack as well as do the riding or driving the seeker can’t beat the hider’s roll the hider
(and if it’s a foot race everyone running is remains hidden.
effectively driving themselves). Each person If the contest is a draw, it depends on the
should decide which is more important, situation as to who the winner is. If the seeker
fighting or chasing. Actions made for the most is actively searching for someone, they have
important of these are made normally, while the edge and win any ties, but if the seeker
those made for the other option have their is just passing by, the hider has the edge and
dice pools halved. wins any ties. In some cases, the seeker might
be considered to be both actively searching
and just passing by, such as a guard on patrol.
Sneaking, Hiding and Scampering About In this case, it is up to the Gamemaster to
judge how active the seeker is. A guard who
Given the sort of things they are going to is just on their rounds and expecting nothing
get up to, your characters will spend a lot unusual is considered to be just passing by.
of their time sneaking around in places they If the alarm has been raised and the guards
shouldn’t be. The system for sneaking about know something might be amiss, they are
and being spotted should be reasonably considered to be searching.
obvious as an opposed roll. However, as This is also a good time for the
you’re likely to be doing it a lot, it makes Gamemaster to not tell the player what the
sense to take a more detailed look. difficulty of any hiding or observation roll
Sneaking about, following someone might be. In situations like this, they will not
or hiding are all covered by any skill that know if they have succeeded in what they are
includes stealth. They are opposed by any skill trying to do until a crucial moment. However,
that includes observation, spotting things and their character’s confidence in their attempt
detecting hidden people and things. However, will be shown by how good the roll appears. If
it is not very often you will be making you roll a lot of 6s, you can be pretty sure you
such rolls at the same time. For instance, if are OK; not so much if nothing rolled higher
someone is hiding in a bush, there is no need than a 3.
to see if anyone can spot them until someone
actually walks by.

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One Night Only

W hile Opera House is designed to work

for campaign play like any other RPG,
it is also designed to allow you to run it as a
going back to the stage’. So, it is generally
assumed that these two factors will balance
out. However, rather than trust to fate, and to
one-off single evening session. When running help keep things on track, we use a system of
a game for just one night, the game takes points to help keep a balance (but more about
place during a show at the Royal Grand. The that later).
Gamemaster decides on the time the show This all makes Opera House the perfect
begins and ends, and the adventure runs in game to run if you fancy a single-session
real time. Everything that goes on must be pause in your usual game. Maybe too many of
dealt with during the show; however, the your usual players can’t make it, or the usual
characters must also still do their jobs and not Gamemaster is ill. If that is the case, you can
miss their cues. run a single session of Opera House, knowing
A certain amount of prep work needs to for sure that (unlike many other fill-in games)
happen before play. Everyone must have a the adventure will be over at the end of the
character ready to play and know what they night. When the curtain falls, for better or
are meant to do during the show, before the worse, the adventure is finished. This also
scheduled time the show is meant to start. It applies if your usual game is Opera House.
will also help if people are familiar with the If you are running a campaign (more detail
rules, as explaining too much of the system on that in the following chapter) you can still
during the game will slow it down. Even if change the pace for a session by running a
everyone is ready, the Gamemaster should show with your usual characters. However,
make sure everyone gathers at least half an this way any fallout from the potential
hour before the start time to get all the settling calamities in the show will carry on into the
and snack organisation out of the way. campaign you are running.
You can even just run a whole campaign
where you run a new show each session. This
Timing is Everything might be the same show as last time, or you
might create a new one with new cues for all
The main difference with running a single the characters. Whether the show is the same
evening game and a campaign is that a single- or different, you might also play different
session game runs mostly in real time. What characters, gradually populating all of the
we mean by this is that the time it is in real backstage staff.
life is the same time as it is in the game, and
so time passes at the same rate. Obviously
the game cannot run absolutely to time, as it The Structure of a Show
takes longer to resolve things like combat than
it would in real life. However, it also takes Before we get into the details about playing
less time to walk around the theatre than it the game inside the show, we should discuss
would in real time, as you can just say ‘I’m a little more about how a theatrical show is

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run and structured. Here we will just concern department might have an especially involved
ourselves with a show that has been set up preset that will need them to come in and start
and is ready to run. How you get to that point much earlier.
will be the subject of the next chapter.
Stage Management
Preset Generally, the stage managers are the
Every department has a ‘preset’—the list first ones in and the last ones out. As you’d
of things they need to do before the show can expect, the stage managers basically oversee
begin. In a larger sense the term is also applied everyone else, so they need to be ready to do
to the stage itself. While everyone does need that as soon as anyone arrives. However, they
to be ready, not every task involves the stage. are also responsible for all the small props
Costumes might need to be placed ready-to-go on the stage, so they need to perform checks
in quick change areas, but the wardrobe staff to ensure that everything is ready on the
might have plenty of other things to do in the props table. When they believe every detail is
dressing rooms before they are ready for the organised and ready they do a ‘shout check’.
show, even though their work on the stage This involves one stage manager reading
itself is done. what should be found where from the ‘setting
Even so, the stage needs to be ready first list’ and another one checking each item is
so the audience can be let in. No audience where it should be. Not only does working
member should ever see the show being in a pair speed up the process, but it ensures
set up unless it’s part of some avant-garde two pairs of eyes have confirmed everything
production. In some cases this may mean you is set. Even if they are ready hours before
just need to bring in everyone else, a shout
the house tabs (main check is usually done
curtain), but the larger as late as possible
the show the more that in case anyone has
needs to be set up. At been messing with
the very least someone the props, or if some
will need to make things (like food)
sure the stage is clean cannot be set early.
and everything is in When everyone else
the right place. Some is set up and ready,
modern ‘spectaculars’ they inform stage
can take several hours management and it is
to preset, and that they who release the
is with a large crew house into the hands
and the advantages of of the front of house
technology. management.
In general, each
department will have Costume Department
their own particular As you’d expect,
things to do, so we’ll the costume
have a look at them in department must see
the order they usually that all the costumes
arrive at the theatre. are in good order.
However, this is not This means a massive
a cast iron rule. Any laundry session, which

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often begins after the show with washing the the pack usually requires the sort of space
costumes and continues the next day with that is only available when the stage is clear.
ironing and pressing them when they are If the order isn’t right when the show starts, it
dry (although at the Royal Grand, not every can be almost impossible to change while the
costume gets a wash every night...). This is show is running.
often a huge job, which is why many costumes
don’t get washed as often as the actors would Technical Department
like. Once the costumes are ready, they need The lighting team will need to do a ‘rig
to be taken to the various dressing rooms so check’. This involves lighting all the lanterns
the actors can put them on. A few costumes (just at a glow so you don’t go blind) to see
might also need to be set on stage in the everything works, still points in the right
quick change areas. While this might be just direction, and no bulbs have been blown. The
a change of jacket, it can be a full costume same applies to any follow spot operators
change with shirt, trousers/skirt, shoes and all who need to ensure their light is working
manner of pieces. The dressers need to make and in good order. If the lighting rig has
sure they have all the parts of a costume as moving lights, a sequence of moves and colour
there won’t be time to fetch anything they changes is usually run to ensure everything
missed. They are called quick changes for a responds as it should. Often the lighting crew
reason. will try and do a rig check earlier when they
The wigs department needs to do a similar have the stage, so they have time to get ladders
job, collecting all the wigs after the show and spares to fix any problems that occur.
and then spending the time before the show This is a lot harder to do if other people (like
resetting and redressing them. Once dressed the crew) are using the stage for their preset.
into a style, each wig then needs to be set by With that done, all the lighting crew need to
being baked in a wig oven, which can take a do is ensure the lighting board is in the right
matter of hours. They also need to hand out cue to start the show. This cue will have the
the wigs to those who need them, and often house lights on and some pretty lighting on
have to help the actors put them on properly. the main curtain or stage so it looks nice for
the incoming audience.
Crew However, the other job someone in the
The crew have to prepare the large pieces of lighting crew has to do is the ‘lamp round’.
scenery. The flymen bring in any flying scenery This is a quick check of all the front of house
that needs to be ‘set’ for the beginning of the areas to see no bulbs have blown. Not only
show, and check anything that isn’t supposed do blown bulbs look bad in the pristine
to be there is taken out. The crew need to audience areas, dark places in corridors and
sweep the stage and possibly mop it as well. stairwells can lead to accidents and lawsuits.
(If the stage is slippery, a can of sugary cola in The Royal Grand is so vast, usually two or
the water helps make it a bit sticky to avoid three lighting technicians are sent on a lamp
slips.) The crew will also need to make sure round each day. It is a tiresome job (especially
each piece of scenery is where it should be. in a building with so many stairs) but it is a
Sometimes there is enough wing space to find good opportunity to meet up with any front of
a place for everything. However, that is rarely house staff they may want to see.
the case, and many things need to be stored The sound crew need to do much the same
behind other things so they can be brought thing, check their equipment works and then
out in the right order for the show. This order set up their sound desk for the start of the
is usually called ‘the pack’ and often needs show. Often this involves a check of all the
reordering in the interval as well. Reordering radio microphones. Each microphone will

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probably need a battery

change as well. Radio
mics are rather prissy
about battery power and
start to fail when a battery
is about three quarters
full. As rechargeable
batteries never have
quite the same power as
standard batteries, the
sound department go
through a lot. If you need
batteries, the noise boys
are the ones to see, and
many have a box outside
their office full of barely
used batteries for anyone
who wants them.

Musicians
While I don’t mean to sound bitter, stage but leave it up to each performer to
musicians don’t need to do a hell of a lot decide if they want to attend. Some prefer
before the show. Basically, they just turn up to warm up in a dressing room for instance.
and play. Some have been known to turn up A show with a lot of dancing or singing will
just five minutes before the show is due to usually mandate a warm-up for everyone,
start. It is their responsibility to bring their where the dance captain may lead an exercise
instrument, but things like drums usually class as part of it. Dancers particularly need
remain in the orchestra pit. They should a moment to stretch and warm up their joints
ensure they are warmed up and in tune, but and limbs so they don’t get injured during the
plenty of musicians see no problem with show. However, actors also need to warm up
doing that any time they like, audience in the their vocal chords to be able to project their
building or not. The rest warm up backstage, lines to the audience.
annoying the hell out of everyone else by As warm-up gathers the whole company,
playing scales on (usually brass) instruments in it is also a good time for any notices or
the corridors that echo round all of backstage. announcements to be read out (be they show-
related or someone’s birthday). This has led
Performance Staff warm-up to be something of a social event
Generally, the performers just need to get where the company can catch up on news and
themselves in order. This means getting into gossip.
costume and warming up. Once all the crew Performers then need to get into costume
and technical staff are done with the stage it and do their own makeup. This doesn’t
is given to the cast for a brief warm-up, as the usually take too long, but that is not always
stage is the only area big enough to gather the case; it really depends on the part.
them all in one place. However, every actor will have to wear at
The formality of the warm-up depends on least a little makeup to not look washed out
the cast and director. Some are mandatory, under the glare of the lights.
other companies might just offer the time on

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Front of House
Before the show, the front of house staff
need to prepare and organise the bars and
Big Knickers
public areas. This means stocking the bars and
A lot of the slang that goes along
having a good look around the building to
with calls can be confusing to those
see everything is in order. Generally the front
who don’t know it. Clearance can
of house areas should be kept neat and tidy,
sometimes be called Clarence, so
and the front of house staff just need to get
people ask ‘have we had Clarence yet?’
themselves ready and in uniform to greet the
or ‘Has Clarence arrived?’ Beginners
public. The audience can start arriving at any
can be called ‘big knickers’ and used
time, but until the backstage crew have the
in the same way. Basically, if you
stage ready the public won’t be allowed into
can make a pun out of something,
the auditorium. This means the front of house
someone probably will.
staff need to keep them occupied in the bars
until then.
matter what the time really is, it is the DSM’s
clock everyone goes by. The DSM does a
Opening the House 30, 15 and 5-minute call before the final
‘beginner’s’ call. The 30-minute call is usually
When each department has done all called ‘the half’ (half an hour before) and the
they need to on stage, they inform stage 15-minute one is called ‘the quarter’. The half
management. Once everyone is set and ready, hour call is special as it is considered the cut-
the stage manager - usually the deputy stage off point for any work still being done behind
manager (DSM) - hands over the stage to the the scenes (but out of view of the audience if
front of house manager. This is little more the house is open). Most emergency work is
than a quick conversation to tell the front allowed ‘as long as you are done by the half.’
of house manager that the backstage team is People are also allowed to leave their posts as
ready and should no longer go on stage or long as they are ‘back by the half’. Anything
make any noise. The auditorium is now ready not fixed or ready before the half might
to allow the audience in. Until this time the potentially hold the show up and will require
audience are held in the bar and other front of special attention. The calls go something like
house areas. this:
The Royal Grand has a decent amount of
room to accommodate most of the audience Ladies and gentlemen, this is your half
in the bars, so they don’t need to open the hour call, your half hour call.
house very early. When the stage manager You have thirty minutes. Thank you.
has opened the house, everyone backstage is
informed over the backstage tannoy, so they To confuse things a little more, all the calls
all know not to cross the stage. are made five minutes before they should
When you play a single-evening show of be. So the half is called 35 minutes before
Opera House, this is usually the point that the show is meant to start, the quarter at
your game begins. 20 minutes before and so on. This is so that
the last call (beginners) is called five minutes
The Calls before curtain up. The beginners call is a
Before a show, the DSM is responsible summons to everyone who needs to be in
for making calls over the tannoy system so position for the start of the show. This may
everyone can keep track of the time. No not include everyone; some spot operators

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might only have cues in the later half of the find their seats in a quiet part of the show or
act and many performers may not be on stage during a big speech.
from the very start. The five-minute advance When the house manager is ready, they
ensures there is time for stage management communicate with the DSM or stage manager
to make a quick head count and ensure that and give them control of the show again. This
everyone is in position. is called ‘front of house clearance’, or usually
When they have given the beginner’s call, just ‘clearance’.
the DSM also does three calls to the front of When clearance has been given, it is up to
house areas. These are a three, two and one- the DSM to start the show. Sometimes the
minute warning for the audience to encourage audience is ready before the cast and crew,
them to settle into the auditorium. Such calls so even after clearance there may be a delay
(repeated twice) usually go like this: while panicked show staff desperately try
to fix a problem. However, usually when
Ladies and gentlemen, clearance is given, it’s time to give up on a
will you please take your seats. problem and work as best you can.
This (evening’s / afternoon’s)
performance will (commence / continue)
in (three / two / one) minutes. Running the Show
While it isn’t always the case, most shows
Starting the Show at the Royal Grand run as two acts with a
15-minute interval in between. In general,
With the stage set and the beginners called, each act lasts somewhere between one to two
the backstage part of the show should be hours. Although four-hour shows are rare,
ready to go at the scheduled time. However, they do happen; in fact, some of the larger
the audience may have other ideas. Having operas can go on for longer. However, theatres
handed the show over to the front of house generally shy away from very long shows as
staff (on opening the house), the backstage audiences don’t usually like them and the
crew must wait for their OK before they can show staff often require extra money.
start the show. Act one obviously runs until it finishes,
There are plenty of things that can stall the when the curtain falls and the house is
opening of a show. Late coach parties, medical automatically assumed to be under the control
emergencies, double bookings and even fights of the house manager. The crew perform any
or riots. For the sake of those who do get to resetting that needs doing and the cast get
their seats at a reasonable time, the house a breather before the next act. The ‘interval
manager cannot wait for everyone to be ready. change’ is often the largest in the show, as you
However, they need to make a judgement have 15 minutes to do it and the whole stage
call as to how settled and ready the audience to make use of. Large-scale adjustments to the
is, as seating latecomers during the show is order of big scenery pieces can happen, as the
annoying for everyone. Every show has a space and time is available to reorder them.
latecomer’s point, which is a preorganised Sometimes the interval change is quite small,
time after the show has begun where late requiring a few props to move and nothing
audience members will cause the least else; other times the whole interval is only just
disturbance. This might be the end of a song enough time to get things done.
when the audience is clapping, for instance. Aside from the interval change, several
This is to stop people disturbing others in the smaller scene changes may occur during the
audience (and the other performers) trying to act. During any scene change there is a strict

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order to what is done where.

You might have to move a
chair and then go and help
someone else take a piece of
scenery off stage. This is so
things work to an ordered
timetable to ensure nothing
gets missed. It is also because
many jobs can’t be done until
others are complete, so things
are ordered to allow everyone
to get their work done as soon
as they can. For instance, if
you do the piece of scenery
first the other person lifting it
with you might not be ready.
The person looking to put
something where the chair
went doesn’t have the space
they need and the stage manager is wondering Building a Show
if you forgot to do the chair. Like actors have
to stick to the script, so do the crew. That is how a show usually runs, but what
During the interval the DSM gives a five- does your character do in it? Each character
minute and a beginner’s call, just the same as has certain tasks that they need to do at
for the start of the show. They also do front of certain times to keep the show running; these
house calls in much the same way as well. The are called ‘cues’. The collated cues you need
house manager gives clearance, just as before, to perform during a show are called your
when the audience is settled. If the backstage ‘plot’ or sometimes your ‘track’. How many
staff are ready then, so much the better, and cues you have in a particular show is often the
act two can begin. result of random chance, and who is available
After the curtain call, when the show comes to do what. However, things are usually
to an end, there is usually little that needs structured as much as possible to ensure
doing. All that remains is for the audience everyone does roughly the same amount of
to be gently ushered out of the building work, although this does depend on who runs
and the stage areas to be shut down. Many your department, and what that department
departments may have to clear up certain needs to do in each show.
things after the show, such as wardrobe Luckily for the player characters (who will
collecting costumes that need washing. have more than enough outside the show to
Generally the scenery is left where it is, as it do) their low positions in the theatre ensure
will be checked and reorganised at the next they have far less responsibility. So they
preset. This means that most people can leave generally have lighter plots and a little more
the show when they have done their last cue. free time.
If you are unlucky, your last cue is to bring When not doing their cues, theatre staff
down the curtain at the end and you have to can go where they like, but they had better
watch everyone else slipping away to the pub. be where they need to be when their next
cue comes up. They can lurk in one of the
common rooms or wander the theatre as they

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see fit, as long as they are on stage and ready form of comedy, the farce—which relies of
for their next cue. In fact, staying on the unlikely coincidence at inopportune times—
stage itself is frowned upon unless you don’t can be especially difficult in terms of timing
have much time between cues, as spectators and accuracy.
generally get in the way.
In a single-night game, your player 3 - Musical
characters will face many different challenges, A musical combines almost every style of
but they will still have to do all their cues. theatre. It has singing, dancing and acting,
Therefore, we need to develop a plot for each often with a large cast and set. The songs in
player character. While different departments a musical mean they are generally quite long
will have different roles, even characters in the (and the management make extra cash selling
same department may have a very different the music in the foyer).
series of cues during the show. However, there
are times when members of a department are 4 - Opera
needed to do the same task, like a quick and An older form of musical, opera has no
complex costume change or moving a large or talking (except ‘recitative’, a cop-out form
heavy piece of scenery. of talking to music). Opera stories are often
grand and dramatic, involving gods, tragic
Defining the Show love stories and huge spectacles. Not only
While it is mostly flavour, given none of the are they long, but they often require lavish
characters will get to see it, you should take staging and highly complex scenery.
time to figure out what the show you are all
doing actually is. If you want to determine it 5 - Dance
randomly you can roll 1D6 on the list below. A dance show can come in many forms,
Theatre being what it is, no show really fits and sometimes in all of them. There are many
into a neat category, and so you are welcome forms of dance and all of them have a place
to mix the styles of several different show in theatre, from ballet, to modern, to tap and
types. street dance.
Dance usually has a lot less set as the
If you have characters from many different performance needs more space. More high-
performance types, this will also make sure brow shows like ballet can be quite long, but
they are all needed for the show. There isn’t a modern dance shows (except dance school
lot of call for actors in a ballet for instance. graduation shows) can be very short.

1 - Drama 6 - Art
This performance is a ‘straight play’. Little This last category is the weird experimental
or no singing and dancing and which relies stuff. Sometimes it works, sometimes it makes
on creating an intense atmosphere and good you wonder if it will ever end. Either way it’s
writing. Plays are generally shorter than most best not to comment on the bits that don’t
other performances and can cover a range of make sense in earshot of the performers or
subjects, from modern day to Shakespeare. creative team. These shows can be complex
or simple, but at least the cue sheets and
2 - Comedy plots make for interesting reading (‘Take the
While not really different to drama, being a elephant off stage after the cabbage has been
straight play, comedy often adds a few more placed in the fruit basket’).
twists for comic effect. The mood is lighter
although no less complex than a play. One

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Show Structure reach 9:00 (or an hour and a half from your
start time). Whether your timings come up
Before you can figure out what your exactly 9:00 or not doesn’t matter. Once you
characters will be doing in the show, you need reach or pass nine, that is when the interval
to know more about how it breaks down will occur.
in terms of acts and scenes. Time will play Counting twenty minutes for the interval,
a crucial part in what is going to happen. you start the process again, creating timings
While we offer a system for creating a show for each scene of act two until you pass 10:15
structure, there is no reason not to just put (or just under three hours from your start
whatever you like together as a group. As long time). It doesn’t matter how many scenes you
as you know how each act of the show breaks end up with in each act or how similar they
down and what sort of times things happen, are.
you have all the structure you need. You can Few shows are symmetrical. You might
even shrink the show to a one act model, or have several short scenes or only a few long
make it a grand opera with four acts and three ones. Your interval may end up very late or
intervals. come a little early as well. No one ever really
To create a show you will need a copy of knows how long a show will take, even when
the show planner sheet. We assume the show they have run it several times.
will start at 7:30 pm as most of them do
(apart from the matinees, that’ll be about 2:00 Example: The group is going to create a
pm). You can set any start time you like. We pretty standard show and decide it will start
assume the show will run up to about three at 7:30. Next they roll to see how long the
hours including the interval, so it will finish scenes are on the table. For scene 1 they roll a
(come down) at around 10:30 pm. Somewhere 2, so it lasts 10 minutes and will finish at 7:40.
in the middle will be a 15-minute interval, and For scene 2 they roll a 6, taking the show up
several scenes of various lengths. to 8:10. The next scene is 10 minutes long
Beginning from your start time, roll a die (8:20), scene 4 is 20 minutes long (8:40) and
on the table below to see the length of the first scene 5 is 30 minutes long (9:10). As this takes
scene. Add the time to the start time and that the show past 9:00 the interval will be after
tells you when it ends. Roll again on the table scene 5, and the audience will probably be
for the next scene and keep going until you grateful for it by then.
The interval lasts 20 minutes, so act 2 will
begin at 9:30. It’s clearly going to be a short
Scene Length second act. Scene 1 rolls 15 minutes (9:45)
and scene 2 rolls 30 minutes (10:15). As that
takes the show to 10:15 exactly, that is where
Die Roll Scene Length it ends. Had scene 2 only been 15 minutes
1 5 minutes long (10:10) they would roll another scene. If
that ended up 30 minutes the show wouldn’t
2 10 minutes
have ended until 10:40.
3 15 minutes
It is important to note that you should
4 20 minutes
time your show to your gaming group’s
5 25 minutes usual session (be it evening or matinee). If
you usually finish about ten in the evening,
6 30 minutes
make the last scene anything that passes 9:15
rather than 10:15, and make the interval

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happen about 8:00 or so. If you usually play cue. These are numbered for reference for each
all day, feel free to create a production like person, and where people share cues (such
Wagner’s Ring Cycle (or any opera, they are as the stage crew changing scenery together)
all obscenely long) or even a two-part show might be numbered for a department.
(like the Harry Potter stage show). All you Performers also have cues, but they are usually
are doing in this system is plotting out the to go on for a particular scene and don’t tend
time you usually game, so do what works to be numbered.
for your group. You can even forego all this Each person operating anything in the show
and just mark down scenes and times as the will have a cue sheet listing all the jobs they
Gamemaster sees fit. need to do and what cue number they are.
After a while they generally memorise them,
but it’s a good idea to have the cue sheet in
Building a Plot your pocket just in case. It is important for
cue sheets to be kept up-to-date in case an
Everything that happens during the show illness means someone new has to take over
is called a cue (or just ‘Q’). This might be someone’s track at the last minute. It is a rare
pushing on a piece of scenery, pressing a backstage worker that hasn’t at some point
button on the lighting board, taking a chair been told ‘You’re doing Bob’s track tonight,
off stage, setting a costume during the show or here’s the cue sheet. We go up in ten minutes,
changing the levels of the microphones. Any so give it a look over and mostly follow me.’
action someone takes during the show is a Cues are often numbered and collated by
department. Having a single set of numbers
for everyone would be ridiculous and give
Up and Down most people far more extraneous detail than
they need. The lighting operator doesn’t need
Generally, theatricals don’t talk about to know when the costumes get set for the
the show starting or finishing. Their second scene change. So where a set of cues is
work day begins and finishes irrespective particular to one person, they have their own
of the show times in many cases. So the set of cues, but where they are shared they
show ‘goes up’ when it starts and ‘comes are collated. For example, the lighting board
down’ when it finishes, referring to the has its own series of cues as there is only one
main curtain in both cases, even if there operator. But the crew might share the job
isn’t one. of changing a set and so all combine all their
Occasionally the show will stop, and cues, even the ones only one person does, into
that is bad. A ‘show stop’ is when the one list. This means some people might have
stage manager has to call for everything gaps in their cue sheet where other people do
to stop as a problem simply cannot be things they are not involved with.
fixed in situ or may endanger someone if Thankfully this at least means the numbers
left unfixed. These are very rare (unless are always sequential, even if they skip a few.
the show has a lot of automation) and However, you sometimes get ‘point cues’ such
so it means there is a big problem. If the as Q23.5. These are basically jobs that have
problem can’t be fixed in about half an been inserted (probably during the dress or
hour, the show may have to be cancelled. technical rehearsal) after the cues have been
This won’t happen in a one-night game organised.
as it would let the player characters off Given this can happen a lot, the last thing
the hook too easily. you want to do is start shifting all the numbers
around when you add something new. So

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Q23 and Q24 stay as they are, you just have Most people working backstage on a
Q23.5 happening between them (and possibly show can communicate during the show
Q23.7 happening between Q23.5 and Q24, over ‘the cans’ (referred to as such because
so always leave yourself some numbers either the technology is rarely more impressive
side just in case you need to slot in more). than linking tin cans together with string).
To make life easier, certain sets of cues have Each person has a pair of headphones with a
their own prefix. This is especially useful when microphone (which plug into a belt pack) and
the numbers are similar. This means that if they all talk over the system together.
someone asks the crew to do Q25, the lighting Generally, the cans use wires to link
operator doesn’t do their Q25. Generally, cues everyone together via a base unit, and the
are either sound cues, stage cues, LX (electrics) signal can be ‘daisy chained’ from one pack
cues, FX (effects: smoke, explosives) cues, to another without having everything needing
automation cues and fly cues. But anything to run back to the same point. That’s fine for
strange or different just gets a new label. If spot operators or desk operators who sit still
a rabbit has to be nudged to scamper on the for the show. Anyone who needs to be mobile
stage, that will probably become ‘Bunny Q1’. will find a trailing lead problematic. So, many
In many cases, people can do their cues of the crew and stage management might wear
without any coordination. You can set a a wireless radio cans set, although these are
costume anytime before it is needed, for prone to more interference, especially if the
the most part. However, if the cue needs to battery is low.
happen at a specific point in the show, or Not everyone needs to be ‘on cans’ as
needs to be coordinated with other people quite often they can have a cue relayed to
(sometimes across the stage), someone needs them by someone who is connected. There
to ‘call’ the cue over ‘cans’ or using a cue is also a system of ‘cue lights’ that shine red
light. for standby and green for go. This allows

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everyone pushing a The most important

large piece of scenery person on cans is the
to just watch the light deputy stage manager
instead of worrying (DSM), who is usually
about a set of cans the one ‘on the book’
each. giving people the
There is a social order to do their cues
aspect to the cans when needed. The
circuit, and it can DSM is the one voice
quickly become a form running the show, the
of call-in talk radio central hub around
if the show isn’t too which everything
busy. Some people turns. If any one
just chat, others might person could be said
even run quizzes to be driving the show,
(where the points are it is the DSM. This
usually tracked by centralisation is for
stage management). two reasons:
A common topic If an accident
of conversation is happens you only need
which members of the tell the DSM, who
audience are attractive, can hold cues or pass
how awful/good the the information on to
show or performers are everyone else. This is
and who has been sleeping with whom in the why, no matter what you think is happening,
company. if you are expecting to be told when to do a
If a lot of people are on cans the system cue by the DSM, you don’t do the cue unless
can be divided into ‘rings’. While some people the DSM tells you to. They might not have
have access to all rings, this divides the groups had time to explain the issue to anyone not
up into (for instance) stage management, involved in it, and there is a good reason
lighting, followspots and sound. This allows they’ve not said Go to you yet.
different departments to talk at the same time If there is a technical problem the operator
without the system becoming a cacophony of can fix it without having to keep an eye on
voices. It also allows people to have private where the show is in the script. They can just
conversations when they need to discuss an ask the DSM what cue they should be doing
issue in detail and not talk over the cues being when they are ready again.
given. As it is vital that there is no ambiguity
Occasionally faults in the system create in who is being given a cue, or when that
buzzing, or people leave their mic on when cue is meant to be done, a system has
they take off a set of cans (making a crashing developed to give cues clearly and quickly.
sound in everyone’s ear). Some people breathe For technical cues (such as lighting cues
heavily across a badly positioned mic, or have and cues for stage management to pass on
an open (active) mic when they are in a very to the crew), a standby is given first, such
noisy part of the stage. All these things can as ‘standby LX Q 34’. Then the DSM waits
make wearing cans utter hell. But in general for acknowledgement (usually the operator
the ability to communicate with anyone saying ‘standing by’). Now that they know the
working on the show at any time is essential. operator is ready, at the appropriate moment

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the DSM says ‘LX cue 34, Go (and the To define how many cues they have to do
operator presses the button when they hear in the show, each player rolls 1D6 and adds 2
the ‘G’ of Go). to the result. This number should be divided
All the cues are written down in the Prompt equally between each of the two acts, with the
Copy, also known as ‘The Book’. It is made player deciding where any odd numbers go.
from the most up-to-date copy of the script, If you want a more random assignment, roll
and is the bible for the show. When opened, another 1D6 for how many of your cues are in
one side will be the next page of the script, the act 1. If the number is higher than the amount
other is a blank page (the back of the previous of cues you have for the show, all your cues
script page) detailing any standby or Go cues are in act one. Any remaining cues from the
that need to be called. Arrows and lines point total you originally rolled are in act two. If
to the exact word or musical note where the you are lucky enough to get a result that puts
cue needs to occur. all your cues in one act, you have a whole act
Part of the art of the DSM is saying Go free. However, you’d better stay quiet about it
with just the right amount of time for the lag or someone will find you something to do.
of the operator pressing a button to make the To discover what each of the cues
cue happen at the correct moment. If you are themselves actually are, we offer a series of
timing lighting to musical flourishes, getting it tables for each department. Once you are
wrong can look disastrous. more familiar with Opera House you may
The book also contains most of the create cues for your character from your own
movements of the actors across the stage, and imagination. However, even if you do use the
when those actors enter and exit. While this is tables below, feel free to embellish them a
mainly useful in rehearsals, it helps determine little.
if something went wrong in the show or if For instance, you may have to move a large
someone needs to know where an actor will piece of scenery, but what does it look like,
be. The DSM also gives a ‘call’ across the and how many other crew lift it with you?
backstage tannoy system to remind actors What does the costume you have to set look
when they need to be ready to be on stage like? What are the lines you have to say for
(although this is a courtesy!). your brief speaking part? Players should be
Even without being given cues or calls allowed to invent whatever they like and then
by the DSM, everyone is expected to know discuss together what the show actually is
roughly what they are doing and when. This along the themes you have already defined.
is helped by the show relay, a live feed of Is it modern? Historical? Full of interpretive
whatever noise is on stage, piped into every dance?
dressing room and corridor that cannot hear Cues are generally broken into two types:
the stage. This allows most people to keep scene changes and live cues. Scene changes
track of what is going on and make sure they are things that happen in the breaks between
can get in position in time. scenes. They need to be done quickly and
efficiently as they otherwise break the
momentum of the show. While they are
Defining Cues commonly done by the crew, very often
performers will have some sort of business to
Now you know enough about the show cover the scene change to make things appear
and how it works, you need to know what seamless.
part your characters play in it. Working out Live cues are done while the scene is
what your character does is done randomly actually playing. Mostly this type of cue is
(for backstage and performance staff). for the performers, but the crew might have

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to hold back a curtain or even set or strike 4 - Quick Change (Live/SC): You either
something in an area revealed during the need to change costume or help with a
scene. Occasionally they may have to go on in costume change. It may be during a scene or a
costume to move something. quick turnaround between scenes, the choice
When plotting where your cues go in the is yours. You may opt for this to be a scene
show, scene changes occur either at the start change cue (push and pull) where you take off
or end of a scene. Live cues occur during a a piece of furniture or help the crew in some
scene, and may take all the scene to complete. way.
This is especially the case for performers, as
the scene may be all about their character. 5 - Walk-on Part (Live): This minor role
For the cues below, live cues are denoted has you featured for a moment in the scene,
‘Live’ and scene change cues are denoted ‘SC’. but it’s enough to get you a credit in the
Where both are noted the player can choose programme. You might be the receptionist,
which the cue is. taxi driver or wise urchin who interacts
briefly with the main characters. But at least
Actors and Dancers you get to say at a line or two, or do a small
Roll 1D6 or choose from the options below. featured dance!
All performers must at some point go on
stage, even if it’s only for the last scene. If you 6 - Role (Live): You actually have a named
don’t roll a cue that puts you on stage, then part to play in this scene, and possibly others.
your last one automatically does. You may have a speech or a scene with one
of the main characters, or perform your own
1 - Spear Carrier (Live): For this scene, you dance solo. If you roll this result again the
are little more than a prop, having to stand same role appears in another scene with equal
still as a guard or handmaiden waiting on focus.
the main characters. You are neither featured
nor more important than any other piece of Musicians
scenery. Even your own mother might not Musician cues are quite easy as you will be
notice you were in this scene. playing your instrument in the orchestra pit.
However, if they don’t need as many people
2 - Crowd Scene (Live): In this scene you playing your instrument, you are the one that
are basically filling up the stage. You will have doesn’t play. This means all your cues are live
things to do but you mime in the background cues and all involve the same thing.
helping to create a crowded scene like a However, for some variety you may also
station or factory. You are mainly performing play a different simple instrument (like a
a dumb show or a little dance, so you are triangle) rather than your main instrument
performing…a little, at least. in some cases. They should also be placed in
any scene defined as a dance number or the
3 - Chorus (Live): This whole scene is a like where there will clearly be more musical
dance number, but also involves support from accompaniment, but even dialogue scenes
the acting company as well as the dancers. might be underscored.
Everyone is on stage somewhere doing some
sort of business. Crew and Stage Management
The crew and stage management team
work very closely together. As a result, their
cues are very similar, except that the crew

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will be doing the cue and the stage manager a chandelier) might be flown in view of the
will be watching to make sure it goes audience.
smoothly. However, some stage managers
do get involved if props are being moved or 1 - Slow Fly Cue (Live): This piece of
something complex needs attending to. scenery needs to be brought in slowly during
the scene. This might be because it is a small
1 - Tiny Scene Change (Live/SC): This item (like a chandelier) or the movement of
scene change is so small it just involves you the scenery is being choreographed to music
setting or striking an item, like a chair. It or dance.
might be so swift it occurs during a scene
rather than between them. 2 - Retie (SC): You need to untie or lower
something light (or at least only one-person
2 - Small Scene Change (SC): This scene heavy) out of the way or down onto stage. It
change is only a few pieces of set and doesn’t might be a spare bar, piece of scenery stored
need everyone. hanging up or a curtain that needs tying back
high up.
3 - Big Scene Change (SC): This scene
change is big and heavy, involving pretty 3 - Live Cloth Cue (Live): This will be a
much all the crew. curtain (possibly the main house tabs) or a
gauze or backcloth coming in or out at the
4 - Oversight (Live/SC): You need to start or end of the scene.
provide light with a torch for someone to
do a job, hold open a curtain or wait by an 4 - Scene Change Fly Cue (SC): You need
emergency stop in case of accident or the like. to bring something in or take something out
This can either be for a scene or during a quickly and efficiently (and at precisely the
scene change. right moment) to facilitate a scene change. It
might be something light that can only be set
5 - Reset (Live): You need to help at a certain time, or something the crew need
rearrange some scenery for the next change. to bolt something to on the ground when
As it isn’t in view of the audience, if you miss other things are set.
it only your colleagues will notice (but that’s
bad enough). 5 - Heavy Fly Cue (Live/SC): This massive
piece of scenery weighs several tons and so
6 - Trapped (Live): As part of the way it takes a couple of flymen to get it moving,
the last scene change went, you are stuck and to stop it. This might even be a flying
somewhere for the whole of a scene. You ‘trapeze’ where you fly an actor across the
might be under some stairs or in a cupboard stage during a scene (some flymen handling
or just surrounded by scenery. Hope you the left and right, others the up and down).
brought a book.
6 - OP Floor (Live/SC): This cue doesn’t
Flyman involve being on the fly floor where main
While they have different ropes to pull, flying system is, but on the other fly floor to
essentially most fly cues are the same. tie or receive something before the flymen do
However, sometimes pieces of set will need a cue.
to have safety lines removed before they can
be lowered, and a few small pieces of set (like

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Technicians Dressers and Sound

The lighting technicians have a few different The wardrobe and sound department have
jobs to do. While most stay in one place all very little in common, but the structure of
show, your characters have ended up with all their cues are much the same. Like musicians,
the odd jobs. The advantage is that they get they have basically one job to do but they
to do a greater variety of work all over the might need to do it several times. However,
theatre. they are also on standby to fix problems that
might occur.
1 - Pyrotechnics (SC): While you don’t get Sound technicians are mainly ‘radio mic
to press the button to make anything go bang, runners’. Given that there aren’t enough radio
you have to set the explosive cartridge for a mics for all the cast, they sometimes need to
flash pot or similar effect. It has to be done manage moving them from one cast member
late in the show so explosives aren’t on stage to another. They also need to be present at
longer than they have to be. a quick change to check the mic hasn’t been
unplugged or hidden. If a mic suddenly fails
2 - Lighting Board (Live): While you never they need to get to the actor or the radio mic
get to touch the main lighting board, for a racks to fix the problem as quickly as possible.
part of the show you have to operate a small Dressers (or wig staff) mainly help
one working a self-contained lighting system performers dress during their quick changes.
in a large piece of scenery from the side of the Sometimes they might also need to help them
stage. in the dressing rooms with anything especially
unwieldy. They also need to be prepared to
3 - Follow Spot (Live): For this scene you fix costume (or wigs) when they get torn or
have to operate a barely used follow spot damaged.
that may be in a very awkward place. It will Because of their frequent ad-hoc functions,
usually be front of house or close to the fly both sound technicians and wardrobe/wig staff
floor. can put aside as many as half of their cues as
‘emergencies’. The cues remaining are split
4 - Stage Replug (SC): When the crew between the two acts and involve radio mic
have set something that needs power during changes, costume changes or wig changes as
the scene change, you need to make sure it is appropriate. These cues can be scene change
plugged in and working. or live cues.
The emergency cues may or may not
5 - Flyfloor Replug (SC/Live): The come up. At the start of any scene or scene
building doesn’t always have enough dimmers change the Gamemaster can roll 1D6 for each
to power all the lights, so here you are character, and if it comes up a 1 an emergency
unplugging something not used in the scene has occurred that needs their attention.
so you can plug in something extra that is This means the sound tech or dresser must
needed. It might stay like that for the rest of get to stage immediately and deal with the
the show or need quickly swapping back at issue, which will take the next scene. The
the end of the scene. Gamemaster can roll for emergencies anytime
they like, but once the character has dealt with
6 - Smoke (Live): You need to operate a as many emergencies as they put aside cues,
small handheld smoke machine, either to they cannot be called upon again.
cover an actor’s entrance or to just get some This means sound techs and dressers might
smoke on stage ready for a big reveal. be lucky and only have their pre-planned
cues to do for the whole show. But if they are

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unlucky, they will have a string of emergencies Putting It Together

that they cannot plan for throughout the
show. So, now you have a plan of the show and
you know what each of the player characters
Front of House has to do in it. What you need to do now is
The ushers and bar staff have a very to decide where each cue happens and if this
different show experience, as their work is means any player characters are involved in
centred around the audience. They don’t have the same ones or nearby each other. In general,
cues; instead they are working up until the except for the number of cues they have in
show starts, during the interval and after the each act, each player can take the show plot
show ends. While they may have some things and fill in their cues where they like, either on
to do during the show (like prepare interval the breaks between scenes or within the scenes
drinks or count programmes) they are mostly themselves as live cues.
left to their own devices. For this reason It is fine for each player to do this in
they don’t fit as player characters very easily. isolation, but much more interesting to work
However, they are available if the Gamemaster this out as a group. Two characters with the
agrees. same type of cue might decide they are part
Having said that, a game with only front of of a team doing the same cue at the same
house staff would allow a simpler one-night time, such as working a large scene change.
game without the added complexity of trying But characters need not be part of the same
to do cues. department to meet up. A technician might
have to plug in a piece of scenery the crew
are moving. A quick change for a dresser

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might be changing one of the player character Running the Show

performers, and a sound technician may have
to check their radio mic as well. Now you have characters, a show, and a
These moments will be both useful and plot of cues, you are ready to begin the show.
crucial in the show to come. There is going to As this setting up will take a little time, you
be a lot going on, and the player characters should schedule time to do it before the actual
will find it useful to have moments in the game session. You might call all the players
show where they know they can meet up together early to have time to set up before
and whisper to their colleagues about what the show start time, or do all this planning
is going on and where they need help. It also in a previous session. If you already have
helps you all develop and create the surreal characters from a previous show you can
experience of being part of the show. use them. You can even do the same show
Having set what they are doing, the players again. If a lot of characters are from the same
should detail more about what they actually department they might do the same show but
do. If they are performing, what is their role swap around who does which track.
in the scene? If they are moving scenery, Either way, everything must be done
what is it, and how heavy and unwieldy is and dusted ready for the beginners call, five
it? If they are operating smoke, why this minutes before the start time you have set for
scene, what is being hidden? Each cue should the show. This is because everything will be
make sense within itself, but you can be as happening in real time, and so once your real-
wild as you like with how they relate. Just time clock hits the show start time, the show
because someone is performing a speech from is running. If you aren’t ready or someone is
Shakespeare in one scene, it doesn’t mean a late, they are going to have to figure it out
dresser can’t be helping them into the back because nothing can stop the show. Nothing.
half of a pantomime horse in the next one. This means that the Gamemaster will need
However, everyone should keep the style of to have a clock somewhere everyone can see
the show in mind when detailing what they it. Whatever else is going on, each player
are up to. character must give themselves time to reach
The Gamemaster should make sure all the the stage to do their cues. If they can’t, their
players have filled all their cues in correctly, job will be on the line. There is no excuse for
and that nothing contradicts anything. ever missing cue, no matter how many ghosts,
However, contradictions will be rare as saboteurs or morlocks you may be fighting.
several things often happen at the same time. The game runs like a normal (for want of a
A scene change might be happening behind better word) RPG with the player characters
a performer doing a speech. A large scene dealing with problems the Gamemaster
change can be happening on one side of the presents them with and making sure they
stage while a smaller one happens on the other get to where they are meant to be to work
side. the show at the right times. There is no set
Any show has a lot of layers, and so some agenda for the issues that come up. So, if they
moments can be exceptionally busy. However, have a free moment the player characters will
not everyone will have a cue in every scene have to mount some sort of patrol to look for
and scene change, and so some players problems. It is up to them to handle them,
should find they have a few long gaps in their even if no one sees them! However, the front
schedule (in fact, ideally they should engineer of house team and backstage staff all know to
a couple as they place cues). report anything out of the ordinary to those
doing ‘extra duties’.

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when on stage they must be turned off or

someone calling it will ruin the scene. Also,
Using Music the radios are bulky and cannot be hidden
in a costume. As a final ‘Hail Mary’ for
If you are doing a musical, you might
performers, if they are fitted with a radio mic,
like to get a soundtrack of a real show
the sound crew can listen in to it at any time.
and play that during the game as if it is
While they can’t relay information back, they
the show relay. Instead of creating the
can hear the screams for help of a performer
show randomly, assume each song is
fighting a Morlock.
a scene and plan each cue accordingly.
If the Gamemaster would like to really
Performers can detail if they actually
screw with the players, they can make cards
sing any of the songs. When the start
either in a colour or just with the words ‘on
time comes around the Gamemaster just
cans’ (or radio) on one side and ‘off cans’ (or
presses play and begins the game.
radio) on the other. Whichever side of the
card is showing is the status of the character,
This means that at any moment, a colleague and the Gamemaster can rule anyone doesn’t
might tap a player character on the shoulder have access to the cans. The cards will show
and mention they saw a ghost in the royal who is able to speak on which medium. For
circle, or that a Morlock was wandering radios, if the player fails to swap their display
around substage. The player character will to ‘off’ when they are doing a cue, they have
then either have to deal with it themselves or forgotten to turn their radio off and any noise
pass a message to one of the others if they it makes will come out on stage.
don’t have time. Cues performed with other
player characters will be a big help in passing
around information or delegating tasks.
Apart from word of mouth, player
characters have two other ways to
communicate: radios and the cans. The one
concession the theatre has made to those
doing extra duties is to allow a spare ring
(or channel) on the cans system for them to
communicate. This stops them desperately
talking over cues screaming there is a ghost
in the substage. While some people tune into
this ring and listen to it for entertainment, the
player characters can say what they like here.
However, when they are on this channel they
cannot hear the DSM, so they cannot listen
to it all the time. Also, not everyone will be
on cans at all times. Few characters will get
a wireless set of cans, limiting them to only
being able to use them while on stage.
The other communication option is a radio.
A special channel is reserved for the extra
duties team here as well, and anyone might
carry a radio around the theatre. However,

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Time and Tickets are meeting. As Opera House will require the
player group to split up across the theatre to
So, we keep saying the game happens deal with what is going on, the Gamemaster
in real time. But the more experienced role skips to another group while the player
players among you may be thinking, how? is waiting for their character to catch up.
Game time and real time often don’t match Sometimes, though, players may be able to
up at all. Combat in the real world might interact while other things are going on. If the
take only a few seconds, but in game time it character walking up the stairs has a radio,
can take much longer as people roll dice and they can talk to anyone else while they are
calculate damage. Conversely, it is easy to say doing it if need be.
your character is walking up twelve flights The key to this is that it is up to the player
of stairs, but it will take the character a lot to remind the Gamemaster when they have
longer to actually do it. completed something. It is up to the player to
say to the Gamemaster, ‘It’s been ten minutes,
When Gaming Is Slower so I’m at the top of the stairs’, rather than
The second of those problems is the easiest expect the Gamemaster to keep track of
to solve, and it usually applies to movement. everyone. For this reason, everyone needs to
Anything that takes longer for your character keep an eye on the clock.
to do means the player must wait until they
have done it. If it is going to take ten minutes When Gaming Is the Same
to get up some stairs to meet someone, the Several actions will work the same way in
player has to wait ten minutes before getting both time scales. This mainly applies to role
to role play the scene with the person they play and interaction. Talking takes the same

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time in game as it does in real time. So do a For the most part this is what time tickets
few minor actions such as walking around a will be required for, rushing back to stage to
table, drawing a weapon or closing a door. get to a cue on time. However, they can be
It takes as long to do it as to say it. For these used for any reason to cross the theatre in an
actions nothing needs to be addressed; time apparent instant by tweaking what actually
will take care of itself. happened, so they are where they want to be
at the right time.
When Gaming is Faster If a character is having trouble with
This is the tricky one. When the game something and calls for help, time tickets can
slows down, usually due to game mechanics, also be used to get to them quickly. However,
real time can pass far too quickly. To deal a player cannot use them to move instantly
with this problem we cheat a little bit. When without good reason. If someone asks for
entering combat or the like where the game help, the character cannot set off before they
rules slow the action, each player whose hear the other character needs help. However,
character is involved is given a time ticket. if they can argue they were going in that
Each time ticket is worth up to five minutes of direction anyway, they may well be near when
instant time and can be spent at any point to they hear the call. As always, the Gamemaster
help a character get where they need to be. is the final arbiter on what is possible.

Example: Let’s say Bob gets into a fight

with a Morlock, and while the combat is brief Making It Work
it earns Bob’s player a time ticket. At the end
of the fight, Bob’s player realises Bob needs This is potentially quite a complex system
to be onstage right now to do a cue. But he when things get crazy, so it is vital that both
is five minutes away and three levels down the players and Gamemaster work together
in the theatre. At this point Bob’s player can and stay focused. Any player who wastes time
spend the time ticket they have, claiming this quoting movies, arguing with the Gamemaster
all happened just five minutes before the cue, or other players or going to the toilet does not
giving Bob time to reach the stage on time. get a time ticket for the lost time.
Players will have to remain focused on
In general, it is up to the Gamemaster to what is going on to coordinate their efforts
decide how many time tickets need to be spent across the theatre and be aware of when they
to reach a destination, or how far a character can act. As such, the Gamemaster needs to
can get using one. If the character can’t get all make sure they are listening when a player
the way there, they can use time tickets to get needs their attention. If for any reason they
as close as possible. However, given the size can’t give it, they can hand out a time ticket
of the Royal Grand, the following should be to the waiting group until they can. While the
a useful guide. Each of the following costs 1 player characters may get separated quite a
time ticket: lot, they will need to work as a team to make
sure they all get through the show safely.
• Moving from one side of the theatre If you prefer something visual, you might
to the other (prompt side to OP) either like to map out the various areas of the
backstage or front of house. theatre and place tokens to show where
• Moving up or down up to 4 floors. each character currently is. It will help avoid
• Crossing from any backstage area on confusion and arguments.
the same levels to any front of house In many ways the show schedule will help
area on the same level. you, keeping everyone on track. After all,

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you all know the plan for the evening. The make a crew roll, etc. This is to determine
tricky part will be filling time if everyone gets if they have a moment to slip away, so the
into position early so they don’t miss a cue difficulty is 6. Success gets the character out
and you have time to kill. In general, this is of the scene without anyone noticing (or the
the time to switch to anyone not involved in audience noticing, at least).
a cue and focus on them. But you can also Choosing the roll commits the character to
introduce problems they can’t do anything the act, so failure does not mean they didn’t
about. They might see a saboteur in the wings, find a moment, but that they blundered off at
or hear the growl of a Morlock. While they the wrong time and people noticed.
can’t leave their position, they might be able If they succeed in the test they believe they
to reach a cans set or radio to make the other have time to do something. They can take
player characters aware. The Gamemaster can one action, such as talk to someone, grab
encourage some desperate role play as they something nearby or check something. Then
try to coordinate some sort of defence effort. they must try and get back in position or risk
When they have done their cue, the race will missing their cue.
be on to finally deal with what they saw, if it’s If they fail the test, the Gamemaster
not too late. So, essentially, if things are quiet, rolls 2D6, and if they come up a double the
add a new problem. Simple as that. character misses their cue. If they get lucky
and decide to do something else while off
stage, the Gamemaster rolls 3 dice, and if any
Escaping Live Cues dice make a double, the character misses their
cue. This carries on adding a die each time.
Scene changes are fixed points in time This includes going anywhere. Saying ‘I go
where you do everything you need to do as to stage door and tell Bob about the ghost’
quickly as possible. If you are involved in a requires two actions.
cue during a scene change, you must be there Whether they miss a cue or not, the
for it, but it doesn’t last very long. character needs to get back in place.
Live cues are a little different, as while you Reinserting themselves into the scene requires
might be involved in something for the whole the same test they used to leave it. Failure
scene, most characters are unlikely to be a big means they get in position but don’t do so
feature for very long. An actor might only be subtly. A crew member might go in view of
in a crowd scene, or a crew member might just the audience, or an actor might interrupt
have to throw a stuffed cat onstage at the right someone’s speech. It won’t stop the show,
moment. but it won’t impress your co-workers or the
Characters have a bit of leeway to get management.
involved in something else if they are careful.
For example, if an actor on stage or a
technician waiting for their cue happens to Missing Cues
see a piece of scenery is about to fall or a
trespasser is in the wings, they might need to There is no specific system for the
get off stage to warn someone. They may just consequences of missing your cues, but it
need to help out the other characters if they should be clear what happens. While none
are in trouble. of the player characters are the lynchpin of
Leaving an active scene requires a test on the show, no one in theatre has a job that
your main career skill. So an actor needs to isn’t critical at some point in the show. If you
make an acting roll, a dancer makes a dancing are lucky and have other members of your
roll, a member of the stage crew needs to department as player characters, you can often

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arrange to swap cues with each other to cover, relaxed environment. You can do whatever
as most people know each other’s plots. But you like while you are working as long as
that stand-in will have to make a test to do the cues get done and the show isn’t affected.
the cue correctly using the appropriate skill, But the line is very firmly drawn and crossing
as they can still get it wrong. If they fail, it it makes you look like an amateur, lets your
will get noticed and both characters had better colleagues down and can ruin the show for
have a good excuse. ‘I was really busy’ will the audience, and when the show looks bad,
not cut it in the slightest. everyone in it looks bad.
The fallout of your absence depends on The Gamemaster can simply role play out
what you were doing. If there is one less the consequences. But we also provide the
person to move a piece of scenery, it will still following system to deal with missed cues.
get done. It’ll be harder on your colleagues If the cue is something the character does
and you will owe them all for covering for as part of a team, they simply suffer the loss
you, but it should be ok. One fewer dancer in of 2 ego levels. Their peers will cover for them
the chorus might leave a bit of a gap, but the and admonish them. They will (or should) feel
other performers can close ranks so no one shame and will certainly have used up any
notices. But if it is your job to set a costume, favours they were owed.
bring on a chair or perform a solo then no one If the cue was something the character did
is likely to be able to step in and cover you. alone, the Gamemaster rolls to see if anyone
Stage management will notice, and worse, the covered for them and did it in their absence.
audience might even notice. Congratulations, Many of their peers will know their track
you just put your job on the line. Doing this well enough to do this. The Gamemaster rolls
once is bad enough, but twice in the same 1D6, and on a 5 or 6 the cue got done and the
show and you may not be coming back to character who missed it suffers the loss of 2
work the next day. Theatre is in general a ego levels for the same reasons as above.

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If the die rolled 1-4, the cue was missed A kind Gamemaster might allow player
and no one covered it. The cue didn’t happen, characters a chance to spot where the problem
and it may cause a cascade failure, causing is and fix it before the show is called to a halt.
problems with other cues that relied on it to But for characters who miss their cues, there
happen correctly. This may eventually lead to should rarely ever be any quarter given.
a show stop.
This is when the show has to be halted,
the curtain brought in and the problem fixed Challenges and Problems
before it can carry on. Stopping a show is
the worst possible outcome; most companies So, what is actually going to happen during
and crews would rather stagger through a the show that you need to worry about? We’re
show that is barely holding together than stop going to give the Gamemaster that detail in
and fix it. Questions will be asked and the a later chapter, but in the meantime, every
managers will wonder if the character who character will have heard a few stories.
missed the cue is actually a saboteur. Any production will face a few of the usual
To see if a show stop occurs, the Game- issues inherent in the theatre. You might
master should roll 1D6 at the start of each have to find a missing prop or costume. If
scene after the missed cue (until the end of the something breaks you might have to fix it or
show or a show stop), and if it rolls a 1 the find a substitute in the myriad props rooms
show shops in that scene. below stage.
If more cues have been missed, things are Some of the performers can have a bit of
even worse and the show stops on a roll equal an attitude, or a substance abuse problem.
to or less than the number of missed cues The managers don’t really care as long as they
so far. Stopping the show will usually solve get on stage and do their lines. So whatever it
the problem, but if it stops the Gamemaster takes to make that happen might be your job.
should roll another 1D6. Alcohol is not just a problem with performers,
and backstage or creative staff might also
• 1 or 2 - The show only stops for a create a few problems by turning up drunk.
moment to do a reset. The audience It is said that ghosts are able to manifest
notices, but the show just gains 5 minutes around the theatre, front of house or
to its running time and carries on. backstage. These can sometimes be friendly
lost spirits, but often they are angry and
• 3 or 4 - The problem is difficult to fix and hungry. They have been known to drain
the show has to stop for anywhere up to the life from audience members or theatre
twenty minutes. The theatre has to offer employees, and need to be dealt with.
free drinks, and everyone in the building The deepest sub-basements under the stage
loses an ego level. go down a long way. There is something
down there. Most of the time it stays in the
• 5 or 6 - The problem can’t be fixed. The dark, but some of the creatures below find the
show (and game) is over and the audience sound of the show alluring. Unfortunately,
will have to be given a refund. The their social skills only range from violent to
character is in big trouble. brutal.
On a more prosaic note, other theatres
have been known to send in spies or saboteurs
to disrupt a performance. Rooting them out

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before they do any damage can be a tough

job, and there are often a lot of new faces and
freelancers on the show.
Finally, some of the old hands say the rats
in the theatre are actually intelligent, and you
might need to make a deal with them to stop
them chewing cables.

Ending the Show

Finally, at the appointed time, the show
will finally end (‘come down’). For the most
part this will be the end of the working day
for everyone involved. However, the player
characters will need to finish what they are
doing. Some may have cues to do in the last
act, but most generally don’t. A lot of the
crew leave before the show finishes if all their
cues have been done. All the performers will
have to take part in the curtain call, though.
So every performer must be on stage for the
show’s end time.
Unfortunately, if the player characters are
dealing with a ghost or the like, they will The show is generally left where it is by
have to finish what they are doing, although the crew at the end of the show, but stage
more people will be available to help. If this is management may collect a few valuable items
happening front of house, the end of the show or do a general tidy to make the space safe.
will make this more difficult as the audience If rehearsals require the stage in the morning
leaves. or afternoon, the crew might be kept back to
Once the show is over, all the front of clear the stage for the morning. Performers
house corridors and foyer will be full of will all need to change out of their costumes
people shuffling out. It often takes a good ten and may want a shower. The sound techs
to twenty minutes to clear the auditorium— will have to collect any radio mics, and the
moreso if people decide to sit and chat instead wardrobe and wigs staff will need to collect
of leaving. A few will have lost something, costume and wigs for cleaning and redressing.
fallen asleep or decide to wait for a friend who For this reason, performers who don’t get out
is in the loo. of costume quickly and promptly can earn the
While the ushers can do a general tidy up ire of all three departments.
around this, the technical staff can’t even start At this point the player characters can
to turn off the sound or lights that keep the finally rest and take stock of what happened.
final look of the show until the audience have Hopefully they managed to solve all the
gone (if you detect a note of bitterness there problems and do their cues in time. If not,
you would be right). Once the auditorium there will be consequences. But whatever
is clear, the lighting technicians can begin happened they all get to do it again
shutting down the stage power. tomorrow...

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 C hapter 6

Twice on Saturdays

P lenty of people who come to the Royal

Grand (if they pause to consider it) believe
the staff have an easy life, only needing to
although they may get a bit more holiday
time. Should a position become open, it is
up to the Gamemaster to determine if any
work in the evenings. Sadly for the company player characters might be in the running. If
and crew of the theatre, that is not the case they are, they are not likely to be the only one
at all. The theatre is an old building, and its going for it. In the real world the rivals will
maintenance keeps the technicians busy for just have to prove themselves to their head of
much of the day. That is to say nothing of the department, but at the Royal Grand any form
rehearsals and set building that needs to be of competition might occur to choose the right
done for each production. Granted, theatricals candidate. This might range from who can
get to stay in bed a little longer than most do a particular job the fastest, to a drinking
people, but they go to bed much, much later. contest. Even if the Gamemaster insists on a
Sometimes this is due to work as much as surreal contest that has little to do with the
after hours drinking. job in question, it may not be too far from the
This chapter is all about the ongoing life real world. Basically, consider such contests
within the theatre and how to play a more an excuse for an adventure, as the candidates
long-term campaign. We take a look at the work to prove themselves and their friends
world outside the theatre, and the process of try to help them beat the competition—and
creating and building a new show. It is aimed maybe cheat a bit.
mostly at the Gamemaster, but the players can Characters can also move between
read it too. departments, especially when they are on the
lower end of the scale, as long as they have the
right skills. There are some rivalries among all
Departmental Hierarchy the departments, but they are mostly friendly.
It also depends who you are talking to and
Your characters may be wondering how who their enemies are. Traditionally, lighting
they get promoted or who is in charge of and sound don’t get on, but they bind together
them. Promotion is possible, as while the if they are against the crew. The technical and
Royal Grand is a premier venue, people often carpentry departments will get together if its
leave for a higher-level job in another theatre, them or the performers. Stage management
or just burn out. A lot seem to leave to join are always the bad guys, musicians have little
a medical profession, especially osteopathy. contact with anyone and generally everyone
Don’t ask me why, but it’s a thing. loves wardrobe staff. However, there are
Advancing in your chosen department is plenty of times musicians have baked cakes
often difficult, as there needs to be a vacancy. for people and hung out, wardrobe staff have
There are a set amount of positions, and been annoying and actors have come out
only when one is empty is there a space for drinking with the crew. Departments carry
someone to move up. No one gets a new a reputation, but people are judged on their
position or a raise in salary just for longevity, actions as individuals for the most part. In

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general, everyone has to get along to do the which tends to treat them as second-class
show and even the worst rivalries will be put citizens to the performing members. It also
aside to get the job done. Theatre is one of means performers are allowed to take stage
the few places where the default assumption management work as ‘acting ASMs’. We’ll
is that you are a potential friend from the come back to that though.
moment you arrive until you prove to be an If a theatre doesn’t have a particular
arse. There just isn’t enough time to see if you department, they are also hired in for the
like someone before you help them, because show. This usually includes sound and
there is too much to get done. automation and often wardrobe and wigs.
This makes them part of the company. The
Company and Crew Royal Grand is a little different, though,
A few divisions are not especially important and operates an in-house sound, wigs and
during the show but do make a difference in wardrobe department, making them part of
the long-term relationships between the staff. the crew.
The first division is between company and In general, all the difference this really
crew. ‘In-house’ crew work directly for the makes is who is actually signing the paycheque
theatre and are employed to work whatever at the end of the week. However, it does mean
show is being performed there. The company that different systems are often involved when
is anyone employed by problems or issues
the show’s producers come up.
to work just that show.
While this may appear Show Staff and
to simply divide the Full-Timers
backstage staff and A further
performers, it isn’t quite distinction is made
that simple. Carpenters between show crew
and Electricians are and full-timers
usually part of the in- (something of a
house crew. However, misnomer given
some touring shows everyone works full
bring technical and time). Full-timers
backstage staff with are employed as
them. permanent staff in the
The company always theatre, regardless
includes the performance of what is going
staff, and also stage on. Show crew are
management. This is employed only for
because in times gone the show and will
by stage managers were be made redundant
also understudies for when it closes. This
any role and so were distinction only
considered part of the applies to the in-house
acting company so they could go on stage. crew, as anyone in the company is technically
They would also organise any troupe of actors only employed for the show’s run anyway.
who toured, so they were an essential part of While full-timers have better job security, this
the company. This means stage management means they are responsible for the building
shares the same union as performers, as well as the show. Show crew only have to

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worry about the show, so full-timers can have often be found around and about making their
a more nine-to-five schedule, and sometimes own entertainment.
have little to do with the show (although this
is rare). The LX (Electrics) Department
Luckily for the show staff and company, As the name implies, the electrical (LX)
the Royal Grand likes to maintain a team. At department deal with the power in the
the end of any show’s run, most people will be building. Essentially, if it doesn’t have a plug
reemployed for the next one as long as there is on it, it is nothing to do with them. This has
space. But if the new show needs fewer crew led some theatres to nail a plug to things
or a smaller ensemble (chorus), some people like brooms, rubbish bins and dustpans.
are going to need to find work elsewhere. The LX crew are led by the chief electrician
and the deputy chief electrician, and also
The Carpentry Department have chargehand electricians and dayman
(Crew and Flymen) electricians (all full-timers) like the carpenters.
The stage crew and fly crew are collectively These full-time staff are the ones who operate
the carpentry department. They are led by the lighting board during the show (except the
the master carpenter and the deputy master chief LX).
carpenter. Under them are chargehand The LX crew is responsible for the theatre
carpenters and then dayman carpenters (all lighting on the show, follow spots, smoke and
full timers) the only real difference between pyrotechnics. They also see to the maintenance
which is the rate of pay. of the building electrical system as well as
Under these full-time staff are the show air conditioning, plumbing and the boiler. It
crew, which consists of the stage crew and may sound odd that the electrical team are
flymen. There isn’t really an official head responsible for water, but it is a holdover from
flyman, but one of the full-time carpenters the days of gas lighting.
might be considered head flyman and left to When theatre lighting was gas powered
organise that aspect of the department. they were able to run gas piping, and so also
The carpenters are mainly responsible for had the right skills for running water pipes.
the scenery and the stage, and (as the name The crew quite understandably saw no reason
suggests) maintaining the doors, seats and why they should suddenly take on plumbing
walls of the building. When a seat is broken just because the lighting department had
in the auditorium, the carpenters need to send become the electrical department.
someone out to fix it before the show begins. Like the carpenters, the named positions are
No matter how much work they do during full-time staff, but there are plenty of LX crew.
the day on the seats, one will be broken by These are the follow spot operators and stage
an audience member about twice a week on electricians (who plug in stuff on the stage and
average. operate smoke or pyrotechnics). They, like the
The named positions among the carpenters crew, tend to live in the theatre secretly and
are all full-timers, and they spend the days are often around. However, most rehearsals
doing general maintenance on the building’s that require the crew won’t need all the bells
structure. However, the crew can often pick up and whistles of the lighting department, so
a lot of overtime as they will be needed to staff there isn’t as much overtime.
rehearsals a lot of the time. They might also
be employed to do some lifting and carrying The Sound Department
if the department has a big maintenance job Sound would usually be a part of the
going on. In the Royal Grand, many of the company, so this department is slightly
stage crew live secretly in the theatre, so can attached to the LX department yet somehow

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doesn’t have to do any maintenance. The to do. This might include fixing any small
hierarchy of sound is quite simple, as they props, sourcing replacements, stocking up
all have a number. Sound number one is the on any running props (things used up each
person in charge, sound number two is their show like food) and managing any rehearsals.
deputy, etc. Once you pass sound number four Stage management have one of the more
everyone is just a sound technician. detailed hierarchies with a changing series of
The higher sound positions operate responsibilities. Below we’ll look at the levels
the main mixing desk during the show, or they have in more detail.
possibly a monitor desk on stage for a music Assistant Stage Manager (ASM) is the
performance. Incidentally, in terms of control starting rung of stage management. They
systems, lighting have boards and sound are generally responsible for overseeing the
have desks, another oddity in terminology. crew in the wings. For this reason they are
Possibly because lighting boards used to be usually on stage in the wings for the entire
large dimmers with a lever nailed in rows to show, making it difficult for them to perform
a board on a wall. These days both lighting additional duties. There will be several ASMs
and sound often have ‘consoles’, although to ensure someone is keeping an eye on every
the term is usually used only by designers and area of the stage and especially the props
salespeople. tables.
During the rehearsal period, the ASMs
Stage Management work with the stage manager and DSM
Stage management, as you’d expect, to organise the show and take notes in
manage the stage. It is their responsibility to rehearsals. They also work with the director to
see the show as a whole functions normally. collect together all the props that are needed
During the day this means they have plenty for the show. While some large warehouses

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are available with collections of oddments and stage managers often have trouble getting
items to create a historical production (the work, as the ASM jobs are filled with actors.
right cigar holders, telephones, etc.), for the While some actors rise to the challenge, most
most part this is done by roaming antiques acting ASMs are useless and only trusted
shops and dumpster diving. Stage managers with the same duties as the crew. To be fair
are incredible scavengers. If you need the to the actors, this is not their fault. They
Holy Grail or the Golden Fleece, talk to a haven’t been trained and they need to do the
stage manager. At the Royal Grand they are understudy and small part roles to break into
lucky to have several rooms full of props in the business, which always come with ASM
the substage layers, though there is a lot of duties. They should be able to focus on their
unorganised clutter to work through. acting role, not forced to work the show to
The ASM role has three variants we should cut costs.
also mention. A technical ASM often has a So, for this reason the Royal Grand does
responsibility for something detailed, technical not hire acting ASMs. Ever. Instead, it hires
or outside the purview of their normal role. understudies and ASMs separately. It’s my
They may hae to work with some sort of setting and it’s time to right that injustice here
machine that the management doesn’t want at least!
to employ a stage electrician for, for example. Deputy Stage Manager (DSM) is the
However, sometimes it is just to give the next rung up in stage management, and a
ASM in question a small salary bump or completely different job. The DSM is the
differentiate them from other ASMs who don’t hub of the show, around which the entire
have their experience. production revolves. Not the lead actor, not
Any ASM might also be able to add ‘book the director and certainly not the producer,
cover’ to their title. This means they are but the DSM. They are the central knowledge
trained and trusted with calling the show vault of everything. During the rehearsals
when the DSM isn’t available or just needs a they stay with the director, acting as their PA
break. The DSM will teach them the show, in many ways and taking notes. This is to
and in the process they will create their remind the director what they said ten minutes
own copy of the show book (or ‘prompt ago and to gradually build the structure of
copy’). This is so they know it well and have the show from a technical angle. They build
everything in the best possible order for the lines of communication between each
themselves. They are often found in prompt department and make sure everyone has their
corner, with a video of the show, practicing problems answered and their questions heard.
calling the cues. As they are the one in the rehearsal room, they
Finally, we have the acting ASM. This is also organise the acting company. This means
a stage manager who may be called upon to they are often effectively the ‘responsible
play a small role onstage or understudy a part. adult’ that everyone expects will look after
It is not someone acting like a stage manager, them. The job is very like being a mother to
although in some cases it can be. The problem a painfully large family, but with a lot more
with the system is that theatre managers and paperwork.
producers always, always employ an actor in When the production reaches putting on
this role. Despite the fact most stage managers a show, the DSM is the one ‘on the book’.
train for two years, theatre managers and They write all the technical cues into the book
producers believe that anyone can just step (prompt copy) and give those cues to the
into the job, but to carry a spear on stage technical staff during the show. If anyone can
with proper gravitas can only be done by be said to be driving the show, it is the DSM.
a trained actor. This means newly trained They are the conductor of every element. This

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means they must very few people

remain in prompt actually see the
corner for the CSM and a few
entire show. As people think
the nexus through they don’t really
which everyone exist. The CSM
communicates, has little to do
without them in with the actual
position, the lines performances,
of communication as their job
are broken. is to run the
You might company. They
wonder why a job see the actors and
of such critical company crew
importance is given are paid and act
to a subordinate to as the conduit
the stage manager. to the producers
The reason is and production
simple: the stage team about
manager needs to how the show is
be free to make going. They can
decisions and act on them. also authorise major expenses for the show.
The DSM may as well be chained to the Along with the stage manager, they organise
book, so while they can make problems rehearsal schedules and manage the problems
known and issue commands about procedures developing from illness or the like in the
to solve them, they can’t do much themselves. company.
It is the stage manager’s job to actually fix
problems, so the DSM ensures the show is in Wardrobe
safe hands so the SM can deal with everything Although the role isn’t always taken by a
else. woman, the wardrobe department is run by
Stage Manager (SM) is the highest tier the wardrobe mistress and deputy wardrobe
of stage management that gets to work the mistress. There isn’t usually a structure
show. If the DSM is the company mum, the of chargehands and daymen and so the
SM is the company dad. You go to the DSM rest of the wardrobe staff are all dressers.
for cuddles and the SM is the one who will It’s a markedly flatter structure than most
tell you that you are grounded. Ideally they departments, so responsibility is often worked
should have little or nothing to do during the out in a more holistic way. Only the wardrobe
show so they can cover emergencies and make staff really know who is being trusted with
decisions about any problems that arise. It’s what as it is based on seniority, experience
usually more than enough to keep them busy. and who the wardrobe mistress likes/trusts the
For the run of the show they are effectively in most. However, for the most part the whole
charge of the whole production, and in many team knows what needs to be done with the
cases can overrule any other department. costumes and take it in turns to manage the
Company Stage Manager (CSM) is a job whole thing together.
that is often conflated with stage manager. The wardrobe department has a certain
Many companies save costs by employing one amount of power they could easily abuse, in
or the other. The Royal Grand has both, but access to washing machines. With so many

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the dressers, employed on the same level to do

much the same work. The wigs team are often
Men and Women in Theatre skilled in doing makeup as well as hair and
so are in high demand if a party is coming up.
While anyone can take on any role
The wigs mistress will employ more wig staff
in the Royal Grand, many departments
depending on the number of wigs in a show.
still have a distinct bias towards one
But even a modern drama may require
gender. Crew, flies and technical roles are
wigs. Many performers don’t want to, or
often filled by men, although sound has
can’t, maintain a period style haircut when out
proportionally a lot more women in their
of work, so it is easier to just put them in a
staff. Wardrobe and wigs are almost
wig. A large costume drama may well require
exclusively female. Front of house,
an army to tend to, as wigs take a lot of hours
security and performers have a pretty
to prepare and set. The wigs team can often
even split of men and women, although
be occupied for most of the day just preparing
there are many more female dancers
the wigs for the show that evening.
than male ones. Stage management is
especially interesting as almost all ASMs Front of House & Security
and DSMs are female, but almost all The ushers, bar staff and security staff front
SMs and CSMs are male. of house are all responsible to the theatre
While it may be that many women managers. The box office staff report to the
prefer the more hands-on and social box office manager but are also responsible to
aspect of the lower positions, as opposed the theatre managers to a certain degree. The
to the power and office work of its structure here is very flat as well. The security
higher levels, the glass ceiling is clearly staff may have a little variation but they are all
another factor. usually at the same level. As long as it doesn’t
distract from watching over the audience, a
people living in the theatre, making friends few might help the front of house staff show
with the wardrobe department so you can use people to their seats, take wheelchairs to be
their machines to wash clothes is vital. The stored, etc.
same goes for making repairs or alterations to The box office staff work in either the foyer
garments. If they really like you they might do box office or the phone room. While they are
it for free, but they are always open to barter. all at the same level, the more experienced
During the day the wardrobe department ones are usually placed in the foyer as they are
will be washing, ironing and mending the also dealing with the audience.
costumes. While they might try and get some The only place there is a little variation
of this done after the show, they have a huge is between bar staff and ushers. Bar staff
pile of laundry to sort out on a daily basis. are a step up from ushers as they have more
They also need to have everything ready and responsibility. They may be running one of the
dry by the time it is needed for the show. many smaller bars on their own. They have to
arrive earlier than the ushers as they have to
Wigs set up their bar and make sure they have all
The wigs department is one of the smaller their stock ready. But once they have tidied
ones, so it often just has a wigs mistress. after the interval they can leave, as the bars
Sometimes it is folded into wardrobe and don’t open after the show. If some bars (such
under the wardrobe mistress’s purview, but the as the stalls) are open after the interval during
Royal Grand has a separate department. The the show, they get no overtime, but they can
rest of the wig department are all much like do better in tips.

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the third violin in the orchestra. However,

unlike the other departments, this can change
The Barter System in an instant. Your rank as a performer is
defined only by the role you are performing
Each department has access to
in the current production. It doesn’t matter
resources the others do not. Some are
if you were the lead in the last show, in this
more useful than others, so there are
one you might be in the ensemble. A few
several services that some departments
performers fail to get this memo and annoy
offer in return for similar consideration.
everyone by throwing their weight around
(Note that performers and musicians
based on a past position. Generally, this does
generally don’t have any useful extra
not go well for them.
skills or resources.) Each department can
The higher-ranking actors, by their very
offer the following:
nature, set the tone for the company. If they
• Crew - rope, tools (including power
act like over-privileged divas, the rest of the
tools), workshop space, wood,
cast may start to do the same. It’s as if they
physical repairs
have given the others a licence. But if the leads
• LX - electrical repairs, plumbing
are polite, pleasant and easy to work with, the
supplies, electrical supplies and
rest of the company doesn’t feel they have any
computer parts
right to push their luck.
• Stage Management - stationery
There is one position of responsibility
supplies, schedule changes, leftover
among performers, and that is the role of
food and cigarettes
dance captain. This role is often given to the
• Sound - electrical repairs, batteries
most experienced dancer, but also ensures they
• Wardrobe - clothing repairs and
will not get a lead role in the performance as
alterations, washing machines and
they have other responsibilities. It is their job
dryers
to manage the dance company and ensure
• Wigs - haircuts, hair styling, make
everyone knows the steps and routines to a
up
professional level. This often means leading
• FoH - programmes, sweets, ice
dance rehearsals and teaching understudies.
cream
As such, the dance captain can usually take on
any dance role, as they have learned them all
While the box office and administration so they can teach them. They have a position
staff work during the day, there is little or akin to a resident director and often work
nothing that needs front of house or security with stage management to organise who
staff. Essentially, if there is no audience there will cover any role in the event of illness or
is no need for them. For this reason plenty holiday.
have jobs during the day they work before The last layer of hierarchy among the
coming to the theatre (where they catch some performers is ‘covers’. While every part of any
extra sleep during the show). importance has an understudy, this is rarely a
separate role. Members of the ensemble who
Performers have minor parts are often given the job of
The performance staff have an implied understudying one or more roles. This means
hierarchy based on the importance of their that if they are required, few people will notice
role in the production. Lead actors outrank the absence of their usual track. Cover roles
the chorus (or ‘ensemble’) and minor roles. are assigned as first, second and third covers,
Soloists outrank the dance ensemble (or ‘corps meaning up to three people might know any
de ballet’ in ballet). The first violin outranks one part. The first cover gets the first call on

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playing a role if the opportunity comes up. Performers and stage management will all
So they often go on at some point, the second be rehearsing the new show, either on stage
cover rarely, the third cover almost never. or in a rehearsal room elsewhere. There will
This layering of roles also means that be a lot to do and the theatre will only close
someone might find themselves going on to to physically build the new show on stage.
perform a cover when the person they are Everything that can be done during afternoons
covering is covering another role themselves. to reduce the closure time will be done.
They find themselves in the odd position of If things are quiet, few theatricals will be
watching and performing with someone else around in the early mornings. Theatre is a
doing their usual role. In a complex system of late-night profession, and after the show is
many different parts that require covers, one often the main time to drink and socialise.
absence can have half the cast changing roles Having been up that late, few will want to
for that production. start the day any earlier than they have to,
Performers are generally left to their especially if they are nursing a hangover.
own devices during the day, though they
are required to attend a certain number of
rehearsals. This might be to rehearse a part Experience and Character Advancement
they are understudying, or to play their
usual part and rehearse a new cast member. In long-term play, characters will advance
Directors also schedule rehearsals just to and develop. For the most part this will
‘brush the show up a bit’ or to justify their be determined by their experiences. Their
retainer payments. personality and goals can shift depending on
how their adventures go. However, their skills
may also improve over time, and this needs
Life in the Afternoon some system.
At the end of each one-night show or a
When there isn’t a show on, each decent sized gaming session, each character is
department has a few jobs they need to given an advancement point. The Gamemaster
do, but most are left to their own devices. might give out more for a longer game or one
However, if a new show is being prepared where the player characters were especially
everyone may be very busy indeed. Crew will clever or played their characters very well (or
be helping to build the new set, technicians when everyone just had a really good time).
will be working out power requirements and Players will always want more advancement
checking any new equipment is up to spec. points, but it is up to the Gamemaster to
decide how quickly they will advance. But
remember, it is easier to hand out more than
Skill Advancement cut them back, so see how things go first.
Advancement points can be used in several
ways: to improve skills, change attributes,
Current Advancement Point gain a new trait or create a truth.
Skill Level Cost to Improve by 1
0-1 3 Improving Skills
Increasing one of your skills is the simplest
2-3 5 use of advancement points. You simply spend
4 7 the appropriate amount of advancement
points and improve the skill level permanently
by one point.

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even buy new ones. However, as they can

be applied to a wide variety of dice tests,
Attribute Advancement attributes are expensive to increase.
Like skills, you spend a different amount
Current Advancement of advancement points to raise an attribute
Attribute Point Cost to by one point depending on its current
Level Improve by 1 level. Buying a new attribute is considered
0 4 improving it from 0 to 1. Attributes cannot be
improved to higher than three.
1 7 Negative attributes can also be bought
2 10 down for the same cost. Reducing a one point
attribute to zero costs 7 points, and reducing
a two point attribute to one costs 10 points.
The number of advancement points it costs Reducing a three point attribute to two is a
to improve a skill depends on the level it is special case, costing 12 points. However, a
already at. The more you know, the harder it negative attribute reduced to zero does not
is to learn more. entirely vanish, as it becomes a trait. It can
No skill can be improved beyond five. If be removed like any other trait at this point,
it costs more advancement points than you though.
currently have, you can save what you have
collected until you have the right amount from Truths
further adventures. When improving a skill Truths work in the same way as traits, but
from level 0 to level 1, the Gamemaster might represent what you learn rather than what you
insist the character engages some form of are. Some things your character learns will
tuition to teach them the basics. It is perfectly not relate to skills and attributes. These are
permissible for this tutor to be another player the highly specific lessons we get taught by the
character. school of life. For this reason, truths cannot
be gained in character creation, only with
Traits advancement points.
Instead of improving skills, advancement A truth costs 3 advancement points, and
points can be used to buy new traits for your just like a trait offers a bonus die to any test
character. You can pick a new trait from the that it might apply to. Only one truth may
list in character creation or create your own. apply to any one test, though, so diversity is
It costs 3 advancement points to buy a new encouraged. However, a truth and a trait can
trait, which adds an extra die to the dice pool apply to the same test.
of any test it might apply to. However, only A truth should relate to something the
one trait can be applied to any dice roll. character may have learned in the adventure,
Sometimes a trait can be a burden, so a and is expressed as a sentence. Some
player can opt to remove a trait at a cost of suggestions are:
1 advancement point. However, they must
always have at least one trait, so they cannot • I’ve learned that lions can be
buy off their only one. dangerous.
• Falling is not good for me.
Attributes • I’m more talented than people think.
It is possible to modify your character’s • I should be calm when using a firearm.
attributes with advancement points, and • Politeness helps me get what I want.

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Players may use this option to effectively occasions where more time is needed to build
give their characters a sixth skill point, and a new show, or the current one is doing badly
that’s fine. But a broader application will do and they invite travelling companies to use
them more good, and apply to more than the space. Having a group of outsiders in the
just one skill. Traits and truths might not just building invites all manner of tensions, which
apply to skill rolls; they could potentially be can lead to adventures, drinking contests,
used on any test in the right circumstances. Hawaiian parties and all manner of troubles.
What plays, operas and entertainments
are to be performed each year are decided
Putting on a Show far from the company and crew by the
management. Rumour becomes rife with
While running the show is central to a what could be on the new schedule and how
single-night session of Opera House, shows difficult or easy it will be to produce. Long
don’t happen by magic. Well, they do, but after the schedule is settled, rumours begin to
they involve a lot of hard work as well to circulate about what is actually on the list. It
give the miracle some hope of working. In will be a long time before any of the cast and
a campaign game, the player characters will crew know what is going on, and in some
find themselves part of building and creating cases they have to wait until the leaflets are in
a show as new productions cycle through the the foyer to discover what they will be doing.
theatre. In this next section we’ll take a look
at this process and what part the characters The Producer
may play in it. The show starts with a producer. It might
The Royal Grand is a production house, be the theatre manager or an independent
meaning it puts on shows itself, rather producer who wants to bring a show in. Some
than hiring itself out to travelling theatre producers can fund a show on their own,
companies. Having said that, there are while others are part of companies that sell

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shares in the show to investors (often other The Creative Team

producers). Sometimes the producer has Before the cast and crew get to know
been approached by a director or a famous what is going on, the ‘creative team’ will be
performer with a show they want to do. They employed by the producer or production
will insist the show begins with them. company. This is the name given to the inner
But in truth, a show only really begins circle of the design team, who are in artistic
when someone believes in it enough to spend control of the show. It consists of the director,
some money on it. Anything else is wishful the choreographer, the musical director, the
thinking. Some producers utterly believe in lighting designer, the sound designer, the set
the shows they fund, others are just doing it designer and the costume designer (the last
because they sell tickets and make money. The two may be collated into one ‘production
former are often better to work for artistically, designer’). Each may have their own assistants
the latter stay in business longer. who also get to be part of these discussions.
In general, producers should really just sign The Director is the ultimate artistic
the cheques and trust the people they employ authority for the show. Most come from a
to do their jobs. But when you are putting performance background and understand very
that much cash on the table, you tend to want little about technical theatre. This can often be
to see where it is going. Many producers like a godsend or a nightmare in equal measure.
to believe they are the ‘ideas person’, fine They will work with the actors to rehearse the
tuning with oversight. In some cases this is show and check everything from the smallest
true, but more often than not they just create prop to the largest scenic piece to ensure it fits
interference that everyone has to work doubly their vision.
hard to work around. The Designer might be only responsible for
the scenery, but might also design costumes

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and every aspect of the look of the show. feel of the production, and to make sure they
It varies on their skills and expertise and are all on the same track. These meetings
who the producer wants to hire. Costume is are called production meetings, which the
designed in concept drawing and passed on producer may try and attend even though they
to the wardrobe department to make. But the should just be getting the money together.
costume designer may sort though costume The stage manager and/or DSM will also
stores with the wardrobe staff looking for the be in attendance at any meetings to take notes
right pieces if they might have been used in and minutes. There will also be a production
another show. manager who works to ensure the technical
The set designer will not only have to aspects of the production get done. They
design the look of the scenery, but create organise budgets and contract any additional
technical scale drawings to ensure it fits in staff or equipment that is required. They
the theatre (and that the parts of it can come work closely with the company stage manager
through the doors). These drawings must be (CSM) who will be wrangling the acting
exceptionally accurate, as the scenic pieces company in much the same way, although
will be built to these measurements. The casting the acting company might take some
lighting and sound designers will also use time after the first production meetings begin.
these measurements to work out how much Each show will have its own creative team,
equipment they need to do their jobs. This is though some people might work on several
also helped by the creation of a ‘modelbox’, a shows at the same time. For instance, the
three-dimensional model of the theatre stage lighting designer might be responsible for the
with the set in place. It gives everyone a good next three shows in the season.
idea of what it will physically look like and As time goes on, details from the
helps the crew see the whole look when they production meetings will filter down to the
are assembling the set later on. theatre staff, mostly by rumour and gossip.
The Sound and Lighting Designers design It is up to the production manager and the
the technical aspect of the show. Each plans company stage manager to organise the
out where the speakers or lanterns will be schedules and order the work that needs doing
placed to create the look or feel they want for to get the show going. In today’s theatres,
the show. While they plan this around the set the building of scenery and props is often
design, it is still basically an educated guess. contracted out to specialists. However, at the
You never really know what anything will Royal Grand, most things are built ‘in house’
be like until you actually have it in place. So in the vast scenic workshop.
the mark of a good technical designer is both
experience and the ability to shift to a new
plan when their design turns out not to work Auditions and Rehearsals
as they expected.
The Choreographer and Musical Director The first official news of the show to reach
are as important as the music or dance in the the lower echelons of the theatre will be
show. A play rarely needs a choreographer when the audition process begins. While the
and only a few might need an MD. While the principal actors will probably be employed
choreographer’s work will be done once the without a public audition, there may be
show is up and running, the musical director is other lesser parts that need filling from the
also usually the conductor for any musicians, ranks of the acting company of the theatre.
and so works the run of the show. Competition will be fierce.
The creative team will have several This is one of the hardest parts about
meetings together to establish the look and being a performer—you are very often in

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direct competition with your friends every under pressure’ and trying to brutalise their
time you try to get a job. Some performers company into their best performance with
will do anything to get the job, and others let overwork. The other extreme offers no
people push past them too easily. But most guidance and lets everyone make it up as they
understand it is only fair to fight for the roles go along and hope for the best. Thankfully,
you want as long as you fight fairly for them. stage management are usually there to try and
Auditions can be a dehumanising cattle curtail the worst excesses of the director with
market with each performer being given a a careful nudge.
moment on stage to impress an apparently Rehearsals are a process, and while the
utterly disinterested creative team. Still, unlike creative team will have some very specific
many other forms of job interview, performers ideas about the staging, they may have to
get to show their skills in an audition. Even change them. Some simply don’t work once
a jaded casting team who have been sat you get into the rehearsal and see people start
watching an endless stream of performers for walking about as required. Other times the
hours trying to find the right one can still be performers might have a good idea about
impressed and excited when the right person how something might be done. How much
steps on stage. a director allows their performers creative
freedom is again highly dependent on the
Rehearsals director. Some encourage improvisation
Once the creative team has finalised the and change, others quash any suggestion on
look and feel of the show, and an acting principal. Each director has their own style
company has been assembled, the production and for this reason often pick performers,
can now move into rehearsals. This is a mainly as they know they work well together.
three-week process, during which the acting Anything that gets the job done quicker and
company is expected to learn all their lines more efficiently is worthwhile.
as swiftly and efficiently as possible. They As well as the cast and creatives, the
will also learn the moves and positioning the rehearsal room will also have the DSM and
director wants and any songs to be sung and an ASM or two managing the company and
dances being choreographed. Three weeks, taking notes. They will also mark out the
nine to five, from a standing start. rehearsal space (which isn’t the stage quite yet)
How the rehearsals are organised depends with tape lines so people can see where walls
very much on the director. Some like to do and doors will be. This ‘mark up’ will be done
a lot of team-building exercises, like passing to scale from the set designer’s drawings and
around imaginary balls or throwing words takes some time to do, so ideally the company
at each other and the like. They all look like will stick to the same rehearsal space.
playground games, and some are, but they Stage management will also work with
do help team-building and trust, which can the director to figure out a rehearsal schedule
be a vital part of building a company. Acting to make the best use of everyone’s time.
and dance are intimate things to do with your Instead of just doing the entire show each
work colleagues. Few jobs require you to kiss day, the company might work on a particular
your co-workers or lift them into the air. To scene or musical number for a whole day.
do these things requires trust on both sides. Only towards the end of the rehearsal
However, many directors and performers period do companies start putting the show
have very different views about how much of together. This allows the musical director or
this sort of exercise is useful. Some directors choreographer to take those performers not
even have some rather stupid ideas on team- being used for dance or musical rehearsals at
buildings, such as ‘everyone works harder the same time. While the rehearsal period will

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have a rough structure, it is kept fluid to allow Sunday - The Get In

the director to focus on problem areas as time Production week begins with an empty
goes on. A particular performer might need stage. The previous show’s set and technical
more help with a scene, or the director might equipment will have been taken down
want to adjust it but isn’t sure how. While the overnight on Saturday after the last show
performers need to learn their steps and lines, of the previous production. Any equipment
rehearsals are also a workshop to figure out being reused (such as lights and speakers)
the best way to do something. will be left in a reasonably neat pile, ready to
While all this is going on, the stage crew be installed again. If the crew are very, very
will be building the scenic pieces in the lucky, some of the same things can be used
workshop so that it can all be assembled in the same places, and they will have been
on stage in the smallest amount of time. left there if possible. It gives the last crew less
Technicians will be checking what equipment to take down and new crew less to put up.
they can and ordering anything new they need. But chances are everything will have to come
Wardrobe and wigs will be sourcing costumes down, as few shows or sets offer the same
and wigs either from their own stores or opportunities.
outside warehouses, or making them from Sunday morning belongs to the lighting and
scratch. Stage management will be gathering sound crew. They get the stage so they can rig
props and creating schedules for when this all all their lights and speakers on the appropriate
needs to be put together. fly bars. Once they are hung and cabled up,
During this time, the previous show is still the bars can then be flown up out of the way.
going on. Whatever anyone is doing, they will While the stage crew will be itching to get
have to be ready for a show that evening as started, it is a lot easier to bring bars in on an
usual. Some people might not be involved in empty stage than when bits of set are in the
both productions at the same time, but most way. As it might be difficult to get them all the
people will. way into stage level again, the technicians will
check everything works before it gets flown
away.
Production Week As the technical crew will work from
the front of the stage backwards (towards
At the end of rehearsals, a special form of upstage), by the time a few bars are done, the
hell, known as production week, descends on stage crew can start on the flooring. Most sets
the theatre. In this week, the set will be built have a wooden floor that covers the stage,
on the stage and all the technical equipment mainly as new floor looks better than old
rigged and positioned. Then the company will stage. This floor comes in large pieces that will
all rehearse the show so the performers can need to be put together like a jigsaw.
get used to how the set works and the stage With the floor sorted, the stage crew may
and technical crew can rehearse their jobs have control of the stage if the technicians
before the show opens at the end of the week. have finished. They can now bring in any
It a week of exceptionally long days (usually pieces of set that need to hang on fly bars or
9:00 am-10:00 pm) little sleep, hard work and ‘flying pieces’. Some flying pieces might just
frayed nerves for everyone involved. More hang in space, while others might be brought
time would be nice, but during this week the in and out during the show. This might
theatre has no paying audience attending and include painted scenic cloths, but can also be
so is making no money, a situation it needs to anything from a large wooden scenic flat to a
rectify as quickly as possible. car.

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While the stage crew have the stage, the

technicians will move out into the auditorium.
The Tallescope Most of the circle fronts have fixed bars that
lights, projectors and speakers can be hung
This clever device is effectively a
on. All this equipment will have to be carried
portable wheeled ladder. It is comprised
into the auditorium and hung in position,
of a wheeled base with an extendable
then cabled to the nearest power supply. More
ladder attached to it like a see-saw. This
often than not the sound or lighting designer
ladder can be swung vertical and locked
will want something hung in an obscure
into place and then extended to reach
position that offers no nearby power supply,
up to the fly bars or parts of the set,
necessitating an awkward run of cable.
often far higher than any other standard
ladder. When horizontal it can be pushed Monday
through doors or under archways on the Monday will involve more of the same. The
set. set will still be under construction and there
At the top of the ladder is a small cage will be plenty of technical equipment yet to
a person can climb into. Then, as the rig up. For the technical crew this is also a day
whole unit is on wheels, they can gently of fault finding and doing the more annoying
be wheeled from lantern to lantern jobs they put off to get ahead yesterday.
without having to climb down, move the Designers and directors may also start to come
ladder and climb back up again. in and see how things are going now the shape
There are dangers to using these of the show is in place. They may change their
devices, but few if people are careful minds on a few things, which always goes
and sensible with them. However, well...
no one wants to take the blame for
accidents and so an arcane selection of Tuesday
rules and systems have been developed Tuesday should see the set finally complete.
from several parties, for the most part While the basic structure was complete on
developed to shift the blame. As these Monday night, now they need to add all the
range from annoying, to ridiculous, fiddly bits like awnings on false shops or doors
to even dangerous, most crews use the in doorways. The stage crew will also have to
device as sensibly as possible and ignore start building the backstage infrastructure like
almost all of these guidelines. props tables and quick-change areas.
The technical staff will have installed all
With all the hanging stuff up in the air, their main stuff, but will now be champing at
the stage crew can begin building the set. the bit to get to anything reliant on the set.
They will carry the pieces of set out of the Some lanterns or speakers might need to hang
scene dock and assemble them on the stage in on parts of the scenery, so that part needs to
position. This will require a careful order, as be built before they can. The lighting crew
some things will need the support of others might also need to install ‘booms’, which are
not to fall over. The crew might often have to upright poles with lanterns on that create
hold one piece upright while the rest bring in sidelight though gaps in the scenery and
another piece to bolt to it. As these pieces may doorways. These can only be positioned when
have been put together as part of the build the set is done so they can get the angle right.
process, they should all fit. But building a set This means that if the stage crew are behind,
is still essentially trying to put together a large the technical team is left waiting when they
and extremely heavy three-dimensional jigsaw. have limited time to get their work done.

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By Tuesday evening stage management and Sound will also need to check their
wardrobe will start wanting to place props equipment, playing music or white noise
in the right places and make sure they have through the system to check the quality and
all they need for the rehearsal on Wednesday. functionality of their rig. They need to make
Wardrobe will also be looking at the quick- sure every seat in the auditorium gets the same
change areas and finding space for the quality of sound and nothing interferes with
costumes they need to put in them. Performers anything else.
tend to also arrive at this time and greet the This might all sound reasonably mellow,
set with complimentary ooohs and ahhhs and but it is actually the most difficult part of the
otherwise get in the way. process in many ways. The plan is usually
If the lighting and sound teams are very for the lighting team to have the afternoon to
lucky, they will have time for a focus and focus, so they can turn off all the lights and
sound check. While the lighting team will see what the one they are focusing actually
have hung and cabled all the lights, they does, and what needs to happen with it.
won’t be pointed in the right direction yet. Sound will then have the evening earmarked
Many will focus their light on parts of the set, on the schedule as ‘sound quiet time’. This is
so this cannot be done when they are being ironically a very noisy time; they need to be
rigged. A focus session involves the technical able to blast noise through their system to test
team moving someone around the stage in it (but also silence to hear all the levels are
a tallescope (a sort of wheeled ladder) and correct). They get a specific time to do this, as
individually pointing and adjusting each light with the sound system at full blast no one can
to the lighting designer’s specifications. The hear anything else, and anyone else working is
lighting designer will be on stage for this, anything but silent.
waving and pointing to get the light where Unfortunately, what usually happens is
they need it. this. The crew are running late (mainly as

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(with maybe a few exceptions) and start

working through the show from scene one.
But this never works. Ever. No technical
rehearsal in the history of theatre has ever
started at its appointed time. If you are lucky
it will probably begin after lunch or midway
through the afternoon. A thousand different
issues will get in the way. Lighting may still
need to finish focusing. Sound may not have
had their quiet time. The set will still need a
few tweaks that only more screws or a brutal
amount of hammering can solve. Performers
may point out they need an entrance where
there isn’t one as something changed in
rehearsal. Directors may decide they want
to talk through some element of the set
in painful detail. Wardrobe may discover
some performers don’t actually fit in their
costume or wigs and some hurried sewing and
adjusting needs to happen.
Eventually the technical rehearsal (or just
‘The Tech’) will begin. While many performers
consider this a day just for the backstage staff,
they haven’t been given the time they need that isn’t actually the case. They also need to
to build the set), so the lighting team don’t see how the set works, where they can find
get the stage to themselves until the evening. their props and if they can change a costume
However, the stage the crew are still working, in time. Some techs are done without costume,
so they can’t turn all the lights off as someone but ideally everything should be in place to see
is jigsawing something in the wings to make what works.
something else fit. As its now ‘sound quiet Having said that, the backstage crew
time’, loud music or white noise is blasting have the most to do. It is the first time the
from every speaker. So the lighting designer is scene changes are run and all the various
having to shout for the technician at the top cues are rehearsed and performed. While the
of the tallescope to hear his instructions on performers have had to commit their part
focusing each lantern. It can make for a long to memory, they have had three weeks. The
night and a lot of compromises, where no backstage crew will have a list of what they
one gets either the time or space they need to need to do but will be doing it for real on
complete their work. Saturday evening.
The technical rehearsal is a single run of
Wednesday/Thursday - Technical Rehearsal the show from the first cue to the last, and it
The next two days are going to seem like will take at least two days of fourteen hours
two weeks, as the unending endurance test apiece to complete. If everything works, then
called a technical rehearsal is due to begin. great, but anytime anything doesn’t work the
Except, it won’t…well, not on schedule. The whole company must stop, reset back as they
plan will be to gather the company in the were and start again from a reasonable lead
morning to show them the set properly and in. While the technical team will have worked
let them walk around it, then get into costume out what needs to happen in terms of set

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changes and lighting cues and the like, doing it dress rehearsal is basically a run of the show,
for real often shows problems and difficulties. under full show conditions, but without
Sometimes the backstage crew just need to run an audience. Where in a tech you stop if
a section a couple of times to get a complex anything goes wrong and fix it, the dress is the
series of operations right. The tech carries opposite. While things may take longer than
on, hour after hour, staggering forward until they should, the dress will ideally stop for
everything is done and everyone knows that it nothing. Everyone, for the sake of their work
will all (at least mostly) work. and sanity, needs to know the show will run
This is where the frayed nerves really start altogether without any stoppages.
to show. Performers get bored waiting for
their part to come up and lose focus. Some Saturday - First Preview
get bored doing the same line over and over If things went well in the week, the cast and
to lead into a scene change and start messing crew will have most of the day to rest or do
about. The stage crew get tired moving the any final adjustments before doing a show in
same heavy pieces backwards and forwards the evening. If the theatre managers have been
to do a scene change over and over (and have painfully optimistic they might have a matinee
been working 14-hour days since Sunday). performance.
The lighting team have to keep stopping to An old adage states, ‘Bad dress, good first
programme new light levels into the lighting night’, and there is a certain amount of truth
board. The director will decide to change to this. A dreadful failure of a dress rehearsal
aspects of the show or amend entrances and makes everyone work doubly hard to ensure
moves that don’t work on the set. the opening show doesn’t screw up quite
Finally, most annoying of all is that the so badly, and they often overcompensate.
choreographer will try and rehearse a dance Consequently, a good dress rehearsal can
number they are still not happy with but have add a layer of complacency to an already
had their time to get right. On top of that, by exhausted company.
the time you get to the end of the show, no If the technical rehearsal took up all of
one can really remember what they did in act Friday, the company may still need to do
one yesterday. a dress rehearsal in the afternoon. It is not
uncommon for the dress rehearsal and the first
Friday - Dress Rehearsal preview to be one and the same. Thankfully,
The schedule will have called for time in the very rarely does the paying audience ever
morning for any extra technical work, then know they are watching a show that no one
a dress rehearsal in the afternoon and again has ever managed to run in proper show
in the evening (unless more technical work conditions.
needs scheduling before Saturday). Again, For this reason, it is understood that the
this rarely happens. The tech won’t have got previews are just that, not the real shows. The
finished last night. Eventually at 10:30, having management can charge their patrons slightly
reached the end of the scene before the finale, less for the first few shows of the run up until
the stage manager decides to call a stop to the ‘press night’. But they usually only do this if
proceedings before anyone comes to blows. the show looks complex enough that many
This means the morning has now become things might go wrong. More often than not
‘finish the tech’. they expect it to run without a hitch, and so
However, whether it is in the afternoon charge the audience full whack.
or later, and whether you get one or two of Whether it is a show they have run
them, you will get to do a dress rehearsal (or several times, their first dress, or even (it has
just ‘dress’) at some point on Friday. The happened) mostly a technical rehearsal during

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act two, the first preview marks the end of be amended or adjusted to cope with any
the production week. The show is up and changes, and put it all back again before the
running, for better or worse, and whatever the show.
team has been able to put together is what it Thankfully, previews eventually come to
will have to be. Once this first show is over, an end with press night. This performance is
most people need a stiff drink. the official opening night of the show. From
this point the show is ‘locked’ and cannot be
changed (though some directors ignore this).
The Run For the cast and crew it is a confusing mixture
of emotions. By now they have done the show
The first week or possibly two of a new for a week, so they know it works and can
production are considered previews. They are probably do it in their sleep.
ready to be put in front of a paying audience However, press night is when the theatre
(theoretically at least) but are still a work in invites journalists and critics to see the show
progress. This means that the creative team so they can review it the next day. This
have the option to change and adapt the performance is the one the entire run will be
show as they like at any time over this period. judged on. Even if every other show is rife
How much they might do so depends on the with failure and mistakes, this one needs to
creative team. Some will rewrite and rehearse go off without a hitch with everyone on top
entire scenes, or call the entire company in to of their game. Unfortunately, this is theatre,
spend a day doing a single scene change that so no amount of willpower, begging or prayer
isn’t quite working how they want. However, can ever ensure this is the night nothing will
in many cases the creative team is mostly go wrong.
happy and are willing to give the company a Press night is followed by a press night
chance to practice and hone the show instead party. Several celebrities will have been invited
of messing about with it. to the audience to create more of an event,
For the most part, this is decided by the and they might be given invitations to the after
length of the preview period. Give a creative show party. The tone of these events is that
team two weeks of previews and they will the company and crew finally get to celebrate
mess with everything. So instead of being able and let their hair down after long weeks of
to settle into a run, the cast and crew are in desperately hard work and dedication. Anyone
every morning reworking and rehearsing small else, such as media, marketing and investment
changes to see what works. Sometimes (more people, is basically getting into this exclusive
frustratingly) this is because something just event as a favour.
isn’t working and no one knows how to fix it. This is all a lie (and you may have to
Other times (even more frustratingly) a certain excuse the rant here). Press night parties
aspect was not perfect but was clearly as are actually only there to impress the very
good as it was going to get given the time and people who have been made to feel as if they
budget, but the creative team refuses to stop have been privileged to be allowed to sneak
messing with it. in. The party is mainly to show off to them
These day rehearsals are a pain for and hope they invest in the next show. The
everyone. The cast are exhausted and still managers want the performers there, as they
expected to perform that night, often with a are the celebrities. But the rest of the company
confusing series of instructions about what and crew are just in the way as far as many
they should be doing. The crew have to set managers are concerned. They either are flat-
up tables and often move equipment into out not invited, or told ‘we’re sorry but we
the auditorium so lighting or projection can didn’t have the room’ (code for ‘you aren’t as

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important as anyone else’) or even told they When a show closes early, the reverse
are invited so late that have already made problem occurs, with the theatre needing to fill
other plans. Front of house staff are barely its space but not being able to offer a decent
ever considered either. It is a slap in the face to window for a proper run before the next
everyone who has worked behind the scenes. booked performance. This leads to a constant
However, it should be pointed out that several push and pull between theatre managers and
times the backstage staff have received a late producers about how solid any booking will
invitation when the performers heard the crew be and what dates they can have. This is
wasn’t invited and threatened not to attend further complicated by many theatre managers
the party either unless they were. also being producers, or part of investment
So, at the Royal Grand, everyone gets conglomerates funding several productions. It
an invitation to the press night party. They is not unusual for shows being produced by
are usually held in the Royal Circle bar, and different companies to have money coming
they are incredible affairs, the highlight of from all the same people.
any week. Cast and crew all make a point of A happy medium is a season of shows with
dressing up (possibly the only opportunity for a particular theme. This theme might be they
many of them) and for one night they actually are all starring the same performer or run by
get to enjoy the glamour that most people the same director or famous playwright. While
think their working days are mainly made up there will often be a weak link in such a chain,
of. Drink and vol-au-vents flow freely and the the other shows might prop it up and create
party lasts into the early hours of the morning. interest due to the shared theme.
In fact, on a good night the party doesn’t The run of a production can be any length
really end until everyone passes out. Some of time, and is often very different from what
make it back to their beds, others are woken the public are told. It all depends on how
up by cleaning staff, having passed out in long any star performer can be booked for.
the bar. The next day tends to be quiet and A three-to-six month run for any production
peaceful, with everyone doing their best to is quite common. Some that are expected to
nurse a hangover or catch up on their sleep. do well might set an open-ended run and try
The show after a press night is never one to for a matter of years. If so, contracts will be
see the cast and crew at their best. renewed every six months or so for any show
performers and crew.
Even if everyone on the show thinks
Settling In it’s probably in for a year or two, the box
office will only release tickets a few months
How long a show will be performed at a time. This means they don’t have too
depends on a host of factors. Sometimes a many tickets to refund if it closes early, but
show is put into the theatre with no particular it is mainly to ensure the weekdays book
end date in the hope it does well. If it does, it out. Most people want to see a show at the
gets extended, and if not it closes. However, weekend, and if they think it’s closing on a
productions need to be planned far in advance particular date they’ll make the effort to come
and producers are always looking to book during the week instead if the house is booked
space in the theatre as one of their first jobs out. Also, opening another booking period is a
when considering a new production. So some good opportunity to advertise the show again,
shows may only have a specific window for claim it is extending its run (even if everyone
their run as a new show is booked to come in is actually under contract for months longer)
at a certain date no matter how successful the and make everything appear more successful
previous one is. than it might actually be.

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In general, theatrical shows are already in place might not mean it is the only
performed in the evening, when the general thing going on.
public actually have time to come and Gala nights are a way to raise money,
see them. Doing shows on a Sunday is usually for a special charity or cause. There
rare, but becoming far more common if is little difference in the show itself, except
the management can pay the overtime. that the audience all pay a premium for their
Managements want to make the most of the tickets. This extra money then goes to the
public’s freedom at weekends, and so always charity in question. However, when people
see that two performances are run on a have paid four or even ten times the usual
Saturday, one in the afternoon (the matinee) ticket price, they expect VIP treatment. The
and the second in the evening as usual. Usually front of house staff will be run ragged serving
each theatre runs a midweek matinee (usually complimentary drinks, and the performers
on a Wednesday or Thursday) to catch the may have to do a ‘meet and greet’ in the bar
few patrons with odd (or non-existent) work afterwards. Gala nights are more formal
schedules. affairs, so they have the added glamour of the
However, for the theatrical worker, audience dressing formally.
Saturdays are a little more painful, as it is a Rehearsals will be an ongoing consideration
day you might see other people outside the during the run as well. Once the show is up
theatre. However, as every theatre runs two and running, the understudies need stage
shows on a Saturday, many workers can meet time to rehearse their cover roles. With some
their theatre friends ‘between shows’, knowing performers doing two or even more different
their schedules should be pretty much the covers, they will need to rehearse each one.
same no matter what the show. For the most part this will just involve the
Some theatres (especially when running company and stage management running
pantomime) schedule three shows (or more!) through moves and cues. However, they will
in a single day, morning, afternoon and need the stage crew occasionally to change
evening. Anyone who has worked such a the scenery and run some of their cues.
day wouldn’t wish that particular hell on Eventually they may do a full performance (an
their worst enemy. These shows are usually understudy run) under full show conditions
11:00, 3:00 and 7:00, meaning you might with lights and sound. While a paying
have as long between shows (before letting the audience won’t be invited, the company can
audience in) as you do for the interval change. often invite some friends to watch and offer
As theatres are dark, sunless places, halfway some support.
through the second show you have to sit and If the stage crew are very unlucky, the
wonder which show you are actually doing, management may book another small show
the first, second or third. It usually takes a to ‘run under’ the main performance. Usually
look at your watch and some calculations it is a show for children, as it will only be
before figuring it out. Time has little meaning performed when the main show isn’t. This
in the unending experience of three show a means mornings and afternoons for the most
day panto. part. So the new show will have to be set up,
performed and then packed away before the
main show needs to preset. It can be simple
Events but it’s usually a nightmare.
No one ever designs a show to run under
Theatre managers are always looking for another, so however simple the scenery
ways to sell more tickets, or to make use of it brings, it may well not fit in the space
the theatre space. So, having a production provided. This means trying to remove or shift

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parts of the main show,

which is never fun.
The new show will
have its own company
and stage management,
but rely on the Royal
Grand backstage crew
to change (turnaround)
the sets. Even so, this
building and striking
of the set does it very
little good and can cause
damage or breakages on
the main show. However,
the theatre and the crew
make a lot of extra
money.
While they are not
the glamorous celebrity
soirees you might expect,
theatre people do love expected, as everyone knew the plan for how
to party. Everyone works closely together long it would run. But sometimes a show’s
for long hours and often like to let their hair notice can come out of the blue, sometimes
down. For the most part this means regular even after the first performance.
outings to any nearby pub, but several small Once notice has been given, the
gatherings may occur spontaneously as the preparations begin to get rid of the show.
run goes on. Wardrobe are often good at There is little you can do to the show itself
impromptu parties and if the crew are having until the last night, as you need everything
a few drinks after the show, they are happy to to run the show. However, any spare props
share a beer with anyone who fancies joining or equipment can be packed or sent away.
them. On rare occasions a lead performer Transport to take the set pieces away can be
will do something special as a thank you arranged, or space found in the scenic stores.
to everyone they worked with. The theatre The whole company begins to prepare to
managers may even throw the odd cream tea bring everything to an end.
in the afternoon or even a mid-run gathering. One tradition that varies from company to
It’s not a life of endless parties, but theatricals company is that of playing jokes during the
know how to have a good time and bond like final matinee. In some cases this might have
family over productions…for the most part. been going on in any performance. These
pranks, usually played on the performers
by the backstage staff, are designed to put
The Get Out them off and make doing the show with a
straight face all the harder. Cast or crew
All good things must come to an end, and might pull faces in the wings, props might
if the show is rubbish it might even be sooner. be exchanged for something inappropriate,
At some point the show will ‘get its notice’, people might make entrances in different
this being a three-week warning the show places. Anything is allowed but with only one
will close on a particular date. Usually this is rule: the audience must never know. Every

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When the curtain comes down for the last

time, the crew will start pulling things apart
before the performers have even cleared the
stage after the curtain call. They can’t hang
around, as by the morning of the next day the
theatre must be an empty stage. Every trace
of the previous show will be gone, ready for
the next one to start the process of production
week again.
The get out takes as long as it takes. Only
when the stage is bare can everyone leave.
Generally this is between 3:00-5:00 am, but
some productions might work late enough to
see the new show arrive. Luckily, the theatre
makes sure the same people are not on the get
out and get in, as working 24 hours straight is
both draining and exceptionally dangerous.
Ending a show is an emotional experience
for everyone involved. Not everyone will be
back for the next one, and goodbyes can be
painful for a group that has worked so closely
together (although some people may be glad
to be shot of each other). It is also sometimes
hard to say goodbye to the show itself. Even
with the same people and scenery brought
back to do the same show again, it is never
prank must either be invisible to the audience quite the same.
or force the performer to hide what is going Once a show is gone, it will never be seen
on. Opinions vary as to how appropriate this again. They are all unique in some way, but
is. Some think it is a fun way to say goodbye, the fact is it gone forever makes it all the more
ease the boredom of a long run and keep special for those who were a part of it.
people in their toes. Others think it deeply
unprofessional and unfair to the paying
audience. Going Dark
Eventually the last show comes to a close.
Contrary to popular belief, this does not end Every now and again the theatre may find
with another party after the show. Well, the itself empty. This is called ‘going dark’ and it
performers might, but often they are tired or is quite a rare occurrence, because without a
have to pack any belongings they have in the show, there is no income. Sometimes a theatre
dressing rooms and clear them out. Wardrobe may plan to go dark for a while. It might
have to collect and pack all the costumes, need some essential maintenance to something
stage management have to pack the props and foundational like the electrics or fly system, or
the stage and technical crews need to get the even the stage itself. Some jobs just can’t be
entire set and equipment out of the theatre. done with a production going on.
Everyone will do what they can as the final However, for the most part, a theatre only
show progresses, packing away anything that goes dark when either a show closes early or
won’t be used again. a new show fails to arrive as it should. For

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the backstage full-timers this is often a great

opportunity. They will have a list of jobs they
want to get stuck into that they have been
Macbeth
trying to do for weeks. This might range from
To even mention the name of ‘the
painting the stage to rewiring old systems or
Scottish play’ is considered very bad luck
just fixing the leaks in the dressing rooms.
in theatre. Most theatricals won’t say
A dark period is rather odd, as with no
it just in case, or for fear of panicking
show the backstage staff do a more nine to
someone else. The reasons for this are
five schedule. They get their evenings free to
legion, from real magic in the witches’
see what other people do on a night out, but
speech, to how many characters are
also have to get up in the morning. Some love
killed or an ancient curse. Personally, I
it, others hate it, but it’s a gear change for
think the reason is more mundane.
everyone.
Many companies (touring or
repertory) know several different shows
Backstage Relationships and perform what will make money.
Macbeth, with a constant diet of action,
It is hard to find a relationship in theatre, blood and death, is a very popular show.
for the cast or crew. The strange hours and So if a show is going badly, Macbeth is
the odd priorities and lifestyle make it difficult a popular choice to replace the current
for outsiders to understand. Those involved show with to pull in some more money.
in shows are often on different schedules or For this reason, mentioning the play
even in competition for work, putting another and being overheard may start a rumour
strain on a relationship. However, the crew that this is going to happen and that
are often young and fit from moving heavy the current show is doing badly. This
scenery and equipment. Performers are often causes confidence to fall and a general
young and attractive, as a pretty face for men panic about what the future of the
or women is a great help in the stage business. company may be that never helps out
So, what happens if you put a group of young a performance. Theatre is a paranoid
attractive, single people in a space together in and precarious business, and it doesn’t
the intimacy of a theatre? Exactly what you take a lot to shatter the confidence of all
might expect. concerned.
Plenty of temporary relationships will come
and go in the space of a production run. Often fewer barriers to doing so off stage. While
these are between performers or between everyone knows it is just acting, it is hard to
backstage staff, but some relationships cross pledge undying love to someone eight shows
the divide. A lot of attractive people work a week and not have it rub off somewhere.
in theatre, and they often have little self Unfortunately, such relationships don’t
confidence—or too much. It is no surprise last very often, as they are rarely based on
if they start pairing off. However, not every anything solid. The problem is, even when a
relationship is innocent, and plenty of illicit relationship ends, the show might not. If you
affairs carry on between couples who know a think running into your ex or working with
secret spot in the theatre. them is bad, imagine having to profess your
The most common relationships are absolute love and devotion before kissing
between the performers who have love scenes them eight shows a week.
together. When you have already kissed your While the audience will never know, those
co-worker passionately on stage, there are on the crew watching the show can often

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spot what is going on between performers by However, in a long-term game the Royal
how their performance changes. An embrace Grand needs a little context. The player
on stage that is longer or shorter than usual, characters might also be able to leave the
or even becomes a handshake, often makes building on occasion to search for props or
it all too obvious. Having said that, some get people out of the nearest pub. So, we
relationships do work, and those that do are present the city of Pavilion to give you a place
very strong. After all, other theatricals are the to expand your game into. But if you want to
only ones who really understand each other. place the Royal Grand in Victorian London,
on a Federation planet, in downtown modern
Chicago or on the south side of Waterdeep,
Outside the Royal Grand that’s fine.

If you are an experienced gamer, having Pavilion

left things this long before discussing the The Royal Grand Opera House lies
setting outside the theatre might seem odd. at the heart of the city of Pavilion, a vast
However, if you have ever worked in theatre, urban landscape that is home to the best
you will understand how far from the outside entertainments known to humanity. The entire
world your characters will feel. The ‘outside’ city is home to legions of theatres, nightclubs,
isn’t especially important as the Royal Grand restaurants and bars. People have come to
itself is the real setting for Opera House. This Pavilion for decades to have fun, and the
means you can put the Royal Grand into most more people came, the more entertainment
game settings quite easily as it stands. and leisure businesses opened. The more

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things that opened, the more people came to Entertainment is everywhere in Pavilion, to
experience them, and so the city grew. While the point where it can become annoying. The
people can go to the beach or find a quiet entire city is littered with street performers
getaway, thousands, even millions flock to and people handing out flyers for their latest
Pavilion to spend their free time in the pursuit show. Competition can be fierce for the best
of its various wonders. pitches, and many street performers have
The Royal Grand is one of the centres formed small gangs to protect their territory,
of the city, and remains one of the most taking turns to use their prime positions. If
prestigious theatres there or anywhere else. you see a group of mimes walking towards a
Its age and reputation have built the theatre gang of jugglers, it is best to step out of the
district, as smaller venues clustered close in way. The life of a street gang performer is
the hopes of enticing those who could not get dangerous and blood is often spilled when
a ticket at the Royal Grand. In ages past, the territories are challenged.
Royal Grand’s reputation was unassailable. As well as live theatre, cinema also thrives
But since the district has become known as in Pavilion. Several large studios built film
the place to go for theatre, larger and more lots outside the city when its reputation was
modern buildings have been built to challenge growing. As the city expanded most have
its supremacy. found themselves now in an outer district
Pavilion is a place that caters to all tastes. rather than on the fringes. This has brought
While the Royal Grand offers everything from with it increased taxation and restriction
opera to comedy nights, all manner of other as the laws of Pavilion have gradually
delights can be found in its shadows. Brothels surrounded them. The film district fights hard
and strip clubs operate across the city, and for its independence, though, and regards
those who delve further into the nightlife of itself as a separate town within Pavilion. They
Pavilion can find entertainments that might have their own police and flagrantly flout
horrify most of their fellow revellers. legislation from the Pavilion city government.
Almost everyone who lives in the city Things may come to a head one day, but are
works in some form of entertainment industry, held in check by large bribes from the studio
or came here to try and get work there in moguls.
some form. Almost every waitress will tell you Due to the production of major film
she is an actress, and every valet will tell you projects here, small independent filmmakers
the same. Pavilion draws people like a moth are also here in droves. Each is hoping their
to a flame, and many get burned. However, film will get them the attention of a major
for many people, working outside theatre is studio and prove the key to a lucrative job as a
just a stopgap rather than a failure. Despite director. As competition is fierce, to stand any
a range of theatres, opera houses, comedy hope of this the film has to be exceptional. But
clubs, cinemas and fringe venues, there isn’t that doesn’t stop people trying, making it hard
quite enough work to go around for everyone. to walk the streets of Pavilion for a whole day
So, plenty of people need to fall back on without seeing someone filming something.
something else when times get tough. Theatre It is said that Pavilion only wakes up at
is a harsh business, and so the woman waiting night, but that isn’t entirely true. Half the
your table might well be the same one you city wakes up at night. With so many art
saw on stage last month, and you may see her galleries, museums, restaurants and bars,
on stage again a month later. While Pavilion not to mention a legion of overpriced shops,
is a place where dreams can be crushed, it is tourists are awake from the early hours of the
a place that always offers hope if you keep morning. The city remains busy all through
fighting. the evening as the dinner crowd give way to

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the theatre and cinema crowd, which give way on one particular end of the bar when they
to the bar and nightclub crowd. However, went back to the theatre to do their cues.
it is those who work in the city that stay up Unfortunately for them, when the show was
the longest. While the retail and food service running particularly quickly one performance
workers often get an early night, once the and they missed the main scene change
theatres close the crew and company of the (causing a show stop), the management
various theatres hit the town. While they tend quickly put a stop to the practice.
not to go out clubbing just before a matinee The Old Nell has been standing longer
day, many theatricals stay up drinking and than the Royal Grand. It’s a small pub, but
socialising long into the night. Most have a its wood panelled walls give it an old world
relationship with the owners of their preferred feel that makes anyone from the Royal Grand
bar and pubs who often close the doors to feel at home. It serves a variety of beers as
the public but let the theatrical regulars keep a decent price, which is the reason for its
drinking. popularity among the crew. However, it
Every theatre has its own particular pub, doesn’t do cocktails or food. It is basically
usually the nearest, which is considered as just a place to drink beer, and that is how the
much their territory as the theatre itself. While crew like it. It is a long-standing tradition that
there is no law stopping anyone from any any new backstage crew who does well on
theatre drinking in any pub, anyone entering their first show (and most do) gets their first
another theatre’s chosen pub will cause drink on the house. At a nod from one of the
hackles to rise. Fights don’t often ensure, older crew the barman simply doesn’t charge
but everyone knows when someone else is the new apprentice. If a new crewmember
on another’s territory, so it is considered a did badly, they’d better be prepared to buy
flagrant act of aggression. The only exception a round of drinks for the workmates they let
is when a pub is equidistant from two down.
theatres, or one theatre’s pub has closed. No
theatrical ever begrudges any other theatrical The Arts Bar and Grill
a drink if they have no option. While the crew tend to go to the Old Nell,
Quite often crew who used to work at the the performers at the Royal Grand tend to
Royal Grand, or used to work with those patronise the more salubrious Arts Bar and
who do, might get invited out to socialise. In Grill. The Arts does a range of cocktails,
such a case the mood is completely different. wines and spirits as well as overpriced (but
Everyone is keen to hear how things are on nice) snacks. It also has a small restaurant
another show, bemoan their various ills and area where it serves excellent but simple
compare the quality of each other’s show and meals at high end prices. Actually, just about
its resources. Technicians in particular are everything is overpriced in the Arts, which
always interested to know how another gadget is why the crew tend not to go. It has to be
is being used somewhere else. said that plenty of the performers can’t really
afford to drink here, but most feel they ought
The Old Nell to be seen to drink here as it has a reputation
The Royal Grand is rare among theatres as a watering hole for the stars of theatre.
as it claims two pubs as its territory. Both are Being asked to give the Arts a signed photo for
almost opposite the stage door, and it is not its wall is an honour many performers hope
unknown for staff to be drinking in either to attain. While the Arts is expensive, you get
during a show if they can get away with it. what you pay for. They can mix any cocktail,
In ancient times the crew used to spend most the interior is well lit and designed in an art
of the show in the Nell and leave their pints deco style and the floor isn’t sticky.

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While the crew tend to go to the Nell and has a thick concentration of them. These are
the performers to the Arts, it is not a strict especially useful to theatricals looking to
policy. In fact, there is no rule the two cannot find props, obscure objet d’art and period
mix. It is just that for the most part they don’t. furniture. While many of these shops sell
They are different departments and have their junk, even these are useful to a desperate ASM
own crowd. However, people who cross both, looking for a particular object with a limited
like stage management, tend to alternate budget and no time.
(depending on who they get on with best) and As well as helping people find what they
this creates links between the two. Performers need for a show as cheaply as possible,
bored with the pretention of talking to other antiques row can also be a source of
performers often like to come to the Nell for expert advice. The better shops are highly
some more down-to-earth talk with the crew. knowledgeable about antiques and where to
Crew who want to push the boat out a little, find rare pieces. A good relationship with such
or want to impress someone they fancy, often an expert can make the job of finding what
go for a few drinks at the Arts. you are after much quicker.

Antiques Row
Pavilion is a city of all manner of districts, Travelling Companies
some expensive, some dangerous even in
daytime. However, outside the drinking Not everyone who works at the Royal
establishments, the most popular district Grand is part of its in-house company. To fill
for theatricals is Antiques Row. As a city of in any gaps between the shows it produces,
tourists, Pavilion picks up a lot of bric-a-brac, the theatre often plays host to a touring
and since ‘antiquing’ is a popular hobby, production. Travelling companies are common
the city caters to it. This particular district in Pavilion, and a campaign might follow such
began as a street of antiques shops, and now a troupe instead of one living at the Royal

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Grand quite easily if the Gamemaster fancies It is also the case that the larger and more
taking things farther afield. self reliant the incoming company is, the
In general, touring companies are less they tend to mingle with the in-house
composed of just the performers and the stage crew. When few people are working directly
management department. The larger ones may together, they just don’t make the same
bring a few other technicians and possibly the connections. Having said that, this is not
wigs and wardrobe staff. Often anyone outside the case with every show. Some incoming
performance or stage management is simply companies are exceptionally friendly and
there to teach the house staff how to set up inclusive, and some in-house crews are
and run the show. This is something often left exceptionally welcoming. It all depends who
to stage management, but if it is very technical you get, and life on the road can make a
or specific it is a good idea to bring someone company forget that anyone else really exists.
who speaks the right technical language. When a touring company arrives in the
Having said that, it is also common to just theatre, production week happens just as
dump any such job on the stage management usual. However, the process will be more
team, regardless of their skill set, and hope painful in some ways and easier in others.
they can figure it out. For a start, the company all know the show
If the company is very large it may bring its backwards and forwards. They have put their
own crew and operation staff. In such a case set into several different theatres (unless you
they are often self-contained and just need have them fresh out of rehearsals) and so
someone to let them into the theatre and lock know the quickest and most efficient ways to
up after them when the show is done. Such build and break down the scenery.
shows make for an easy life for the in-house They will also know each other well enough
crew, but also robs them of the opportunity to have a shorthand between each other,
to actually work the show, which makes them making problem solving easier. Performers
feel like outsiders in their own building. will already be used to the set and props, but

Attitude of Venue or Company

Roll 2D6 Attitude and Ability of Company or House Staff
1 Difficult to work with and useless
3 Friendly but useless
4 Under-skilled and difficult
5-6 Under-skilled but eager
7-9 Professional and helpful
10 Professional but difficult to work with
11 Difficult to work with but very talented
12 Very friendly and very talented

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they still need a run or two to figure out where • A difficult company or crew will be lazy,
the things they need will be found in this inexperienced, rude or all three (and/or
particular venue (both on and off the stage). possibly drunk).
While the house crew will need instruction,
the way to do everything has already figured • Friendly company or crew are pleasant
out, so they just need to be taught how to do to be around and do their best to make
it and practice any tricky bits. everything work.
On the downside, the production wasn’t
built specifically for the theatre in question. • Eager and helpful company or crew might
While someone will have checked every not be instant buddies but are looking
theatre they are booked into has roughly the to do a good job, and get along with
right dimensions, managers have a concerning strangers, even if it isn’t their best job.
tendency to just hope it will fit. When it
doesn’t, either because the stage has some • Useless company or crew don’t know
obstacle that isn’t on the plan, or the set has what they are doing. They won’t
some aspect no one mentioned, something understand technical terms, even ones
needs to be adjusted. By ‘adjusted’ we mean that apply to their own department. They
sawn off or hammered into place. It rarely only ever understand anything as much
does the theatre or the set any good, and as it relates to their show or building and
gluing back what you sawed off for the next cannot extrapolate or problem solve.
venue is even harder.
The other problem is one for the touring • Under-skilled company and crew are
company, and that is the quality of the crew either not the sharpest tools or simply
they get at each venue. In most places the don’t have the experience to cope with
crew will be competent and professional, or at anything out of the box. But they know
least enough of them will be, to cover anyone the show well and understand their part
who is either inexperienced or just not very in it.
good. Unfortunately, at some venues (usually
where the wages are bad and no one with any • Professional company and crew are the
qualifications will work there) the in-house level you hope to find. They have done
staff are inexperienced, idle, cantankerous or this sort of thing before in many different
all three. You never know what you are going ways and know how to make it work
to get until you step into the theatre ready for quickly and efficiently.
a production week.
The same can apply to touring companies. • The talented company and crew are the
Some are talented and experienced, others rare diamonds. They offer a performance
barely know how to build their own set. So that makes even a cynical crewman
the in house staff also need to figure out what gasp in awe, or have such knowledge of
sort of people they are working with if the stagecraft you feel like you are learning
production week isn’t going to lead to a few new skills just being around them.
deaths (accidental or intentional).
Whether you are the travelling company Bringing a travelling company into the
wondering about the quality of venue staff, or Royal Grand offers the Gamemaster a chance
the venue staff wondering about the quality of to shake things up. Characters will have to
the incoming company, you can use the table change a few things they are used to, and
on the previous page. the company will be an unknown quantity.

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There may be a few new (and temporary) are touring, but it is possible they might
relationships as plenty of companies hold to have a very basic set that will fit a couple
the adage ‘what happens on tour, stays on of different shows, each better suited to a
tour’. different venue. As with a single-night game,
If the player characters are the travelling the group should get together to decide what
company, they’ll find a lot more adventure to their show is and who does what. However,
be had. They can explore Pavilion, working everyone in the company can have a much
in a different venue every week. If the bigger role, with performers taking leading
Gamemaster enjoys the idea of creating new roles and technicians operating the main desks
theatres and settings, they will have a lot of and equipment. In this game, the issue is not
fun with this. The company will also have to how to deal with the extra problems of a
manage and maintain their own finances and performance. Instead they need to just make
resources. If they are to stay on the road, they sure the show does well enough to keep the
need to look after the set and costumes, work company afloat.
out the cheapest way to get to the next venue The time the company spends in a venue is
and possibly find ways to make extra money if detailed in three rolls (all collated on a single
their show isn’t doing well. table for convenience). Venue details where
the company does the show. Success details
how well the show does in its run there. Costs
Tour Management shows how expensive the production was to
put on.
If you are playing a touring company and Each time the company arrives at a new
want a quick and dirty way to track their venue, make a roll to see where they end up.
progress, we offer the following tables. We It will be the company’s job to try and fit the
assume the company has one show they show into the space. If it doesn’t, they will

Tour Venues
Roll 1D6 Venue Success Cost
1 Comedy Club Awful (-5 Resources) Nightmare (-3 Resources)
Problematic
2 Fringe Venue Bad (-3 Resources)
(-2 Resources)
3 Small Theatre* OK (0 Resources) Usual (-1 Resources)
Acceptable
4 Medium Theatre* Acceptable (No loss)
(+1 Resources)
5 Large Theatre* Good (+3 Resources) Decent (No loss)
Good Deal
6 Festival Superb (+5 Resources)
(+1 Resources)

*Upon rolling a theatre the players can choose for the venue to be considered ‘Historic’ (see
later). This further modifies the cost and success of the show. The Gamemaster is well within
their rights to just declare any venue is historic on a whim after the roll.

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have to decide what gets cut. Each venue has of everything you need in one form or
a bonus or penalty to the success of a show. another. You may have to make a few
This represents how good the marketing and cuts but you can get everything in if you
local audience are, and it modifies the roll pack it tightly. Success: 0, Costs: +1.
for the success of the show. However, some
venues are simply smaller than others and • Medium Theatre: This is the type of
can’t pack as many people in, no matter how venue you planned to play in. The entire
many want to see the show. show will fit and run as you want it to.
After the venue and the success rolls have Success: +1, Costs: 0.
been made, a roll needs to be made on costs.
This too might be modified by the venue, as a • Large Theatre: This venue is a little too
smaller place may have required the set to be big. You’ll have to add a lot of masking
adjusted, or forced the company to find extra so the audience doesn’t see past your tiny
storage space. It might just be an awkward set into the wings. The hire charges will
place to get to, adding to travel costs, or the be larger and the director may decide to
crew might be so dreadful they broke bits come back and redirect the show, as it’s
of the set. Injury or illness might mean deps in a more premier venue and they have
(‘deputies’ - a skilled freelancer who is either people coming to see it here. Success: +2,
trained in the show or can jump straight into Costs: -1.
the particular role for one night) have to be
hired in, and some venues might have a sea of • Festival: This is a tricky one. You never
hidden costs to fall foul of. A long or drawn know quite what you are going to get as
out production week might increase the there is no specific audience. You’ll get
overtime bill for the house crew as well. space in a tent and it might be anything,
Note that no modifier can bring any dice so it’s hard to plan. You won’t have time
result below 1 or higher than 6. Any bonus to build a set or rehearse, but you will
points are lost. have the space for the whole show. You
just don’t know if anyone will want to
• Comedy Club: A tiny venue with almost see it. Success: 0, Costs: 0.
no stage and limited space. Most of
the set will have to be left behind. This • *Historic Theatre: This theatre has a
means costs can be lower, but the show is history. It is old and packed with stories
little more than a play reading and there of first runs and celebrity performers.
won’t be space for any dance numbers. People love the building, which is
Success: -2, Costs: +2. beautifully made and (hopefully) well
maintained. The audience are loyal and
• Fringe Venue: While it says it’s a small have been built up over many years.
theatre, this is really a large comedy club. However, the building was not built
It does have a stage, and most of the set for a modern show, making the get in
will fit on it as long as nothing is over very awkward and the stage unable
six feet tall. There will be one shared to take as much weight. As a historic
dressing room for everyone and all exits building nothing can be changed and
and entrances have to come from there. any breakages are charged at twice the
Success: -1, Costs: +2. price. This adapts the modifiers set by
the theatre type by Success: +1, Costs:
• Small Theatre: At last, a proper theatre! -1. The Royal Grand is a Historic Large
It isn’t very large, but it has the basics Theatre.

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Resources Resources are not just a measure of how

well you are doing, they can also be spent to
You company begins with a resources influence the rolls you make for the show.
rating of 6. This represents the money they You might risk putting down an expensive
have for wages, travel and any expenses deposit to reserve space in a good venue, put
required to keep the company going. If the more into advertising to spread the word of
company drops to 0 resources it becomes your show or get expensive insurance to cover
bankrupt and must fold. The dream is over. breakages.
A successful show will add to the resources You may spend points of resources on
rating, but a poor show will fail to recoup the any of the dice rolls—Venue, Success and
building hire and might even incur additional Costs—in any way you like. Spending a point
costs that could destroy the company. of resources grants +1 to the dice roll. But
Resources are broken up into four levels to once they are spent they are gone, so if you
help you gauge how the company is doing: overspend on a show and don’t get a good
result, you can go bankrupt quickly. Luckily,
• 0 - Bankrupt: It’s over, there is no money it you reach 0 resources due to making bonus
to hire another venue and you have used spends on your time at a venue, you don’t
up all your favours. It is time to end the officially become bankrupt until the results
company. for success and costs are calculated. So, you
never know, maybe spending everything you
• 1-5 - Poor: You are struggling from one have on some extra marketing might save the
venue to the next and most of you have company, or damn it.
taken a pay cut to keep going, but you
are still in business. Maybe just one Example: The Bocadillo Theatre company
good show will get you back on your feet. is a shoestring company with a resources
rating of 5. They are hanging in there and
• 6-10 - Managing: Things are going well. hoping their clown show can be a hit on the
Your outgoings are being met with circuit. Rolling for their first venue they get
incoming cash and the shows are being a 3, a small theatre. The players decide it is
well received. You aren’t going to be a cool central theatre called the Bedlam that
millionaires, but you can be confident has a quirky crowd. Rolling for success, they
you can stay in business for some time to get a 2 (Bad), and the venue has a modifier
come. of 0, so they lose money and drop 3 resource
points. The audience just didn’t want to come
• 11-15 - Wealthy: Everything is going for some reason, although those who came
spectacularly well. The shows have been enjoyed the show.
better received than you ever expected, Next they roll for costs and get a 4,
and venues are coming to you to book which the venue adds +1 to, for a result of
your show. You can afford to add bonuses 5 (Decent). Thankfully they don’t make any
to everyone’s paycheques and it will take further losses. They leave the Bedlam with a
a run of very bad luck to make you even resource rating of 2.
worry about the future. For their next venue they roll a medium
theatre, the Blackgate theatre, a new build in
a town centre. They decide to risk everything
and spend both their remaining resource

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points on a +1 to the success roll and a +1 to While in a single-session game you are
the costs roll, which the players imagine as playing through the chaos of a show in detail,
advertising and insurance, respectively. They any of the usual problems can be fleshed out
have reached 0 but don’t become bankrupt into a larger adventure. When something
until the end of the run. comes up from the deep, rather than just
Rolling for success, the advertising they fighting to keep it at bay, is there a way to
bought adds +1 and the venue also adds +1. stop it coming back? What else might be
They roll a 3 for a result of 5 (Good). The down there? When dealing with a ghost, what
show is a hit and they gain 3 resource points. trauma might lie at the centre of its anger?
The costs are not too bad here and they get no Did someone do something to it that they can
modifier from the venue but +1 for spending make amends for? When saboteurs have snuck
their resources. This makes a roll of 5 into a 6 into the theatre, you might try to root them
(Good Deal) and they gain another resource out before the show rather than wait for them
point for a clever deal with the managers. to show their hand.
Their resources have come back to 4 from the Adventures can also be made out of the
brink of bankruptcy. With bated breath they problems that arise from trying to just keep
pick up the dice to see what the next venue a show going. A lead actor might disappear.
will bring. Are they just in the pub, and if so, which
one? Are they in a state to perform, and if
Remember that in all cases the dice are here not who will replace them? If they’re sober,
to help you tell the story of your company, have they been kidnapped, and can the player
so use them as a framework rather than characters get them back in time for the show?
a straightjacket. The Gamemaster should Something might break and need a last-minute
play out scenes with the company trying to replacement, or parts of the building might
negotiate, make repairs or adapt their show collapse and need holding in place while
to fit, or search for supplies they need. They repairs are made during a show.
might also make rolls to see how good the Plenty of adventures can also be had
performance was (in terms of the performers around the city of Pavilion and over the
and the skills of the backstage staff) and use process of creating a show. Player characters
those to help modify the success and costs of might have to find an obscure prop, or
the show. talk a celebrated performer into joining the
company. Maybe they have to look after a
celebrity that is considering a role and make
Campaign Play sure they have a great time at the theatre.
They might even try to raid other theatres to
While life on the road can be fun (if steal resources or sabotage their shows, either
precarious), we should return to the Royal for fun or revenge. A murder or a crime might
Grand to end the chapter. In the next chapter be discovered, and the player characters need
we’ll look at what sort of adventures the to find the culprit or prove it isn’t them. The
Gamemaster can run in both single-session local pub might even just run out of beer and
play and campaign play. However, as part need someone to deliver a new shipment.
of the setting, it seems only fair to warn the There is plenty to do at the Royal Grand,
players about the sort of things that may be and many things to make sure the player
coming their way as part of their ‘additional characters regret ticking the box for ‘extra
duties’ at the Royal Grand in campaign play. duties’.

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Behind the Curtain

If you are reading this chapter, you’ve While the Gamemaster has the most
chosen the hard job, being the Gamemaster. control, they don’t have total control. It is fine
Either that or you are reading something for players to add new ideas to the scenes and
you shouldn’t, and if that is the case you are present their own characters with problems
only spoiling the game for yourself anyway. and conflict. The Gamemaster is mainly there
However, if you really want to just read the so one voice mediates conflicts and keeps
secrets of the game, go ahead. Just expect to everyone on track.
be really bored when everyone else is enjoying This chapter is just for the Gamemaster. It
discovering everything in the story. You may is essentially a toolbox for them to make use
also be surprised when you discover the of to run the game. Here is where they will
Gamemaster has changed it all anyway. There find the details about the various adversaries
are no reliable ‘cheat codes’ in an RPG, which the players might face, and the sort of
is what makes them so interesting. adventures they can run for an evening or a
campaign. We’ve also included a few titbits of
advice to help get you started, but we’ll try not
Running the Show to ramble on too long with advice. The only
way to really learn is to run a game, make a
Running a game does require a lot more few mistakes and discover a few techniques
effort and imagination than playing it. for yourself. No group is the same, and no one
However, in role playing what you get out can tell you what will work best for yours. We
of a game is directly proportional to what can give you a lot of good ways to find out,
you put into it. As the one most likely to put though. Discovering how to make the best
the most into a game, you are also the one game is all part of the fun, so we wouldn’t
most likely to get the most out of it. As the want to spoil it.
Gamemaster, the world of the Royal Grand is
in your hands. You are the only law and the
only limit. That is a lot of responsibility, but it Ten Simple Rules
is also a lot of fun.
Having said that, you are not on your To give you an overview of the job of the
own. An RPG is a team sport, but not one Gamemaster, here are ten rules you should
where the players are on one side and the bear in mind while you are running the game.
Gamemaster on another. You are all working Like every other rule in gaming, nothing is
together to have fun and tell an entertaining carved in stone. It is your game, so not all of
story. You are all performer, audience and them will be appropriate, but think carefully
director. So while the Gamemaster may seem before you ignore any of these bits of advice.
like the bad guy tormenting the characters, it They are in no particular order, so treat them
is by making them face tough decisions that all equally.
drama and story evolves.

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1- Know the rules. In general, remember that the rules are

As the judge of the game, players will look there to serve the story, not the other way
to you to make the right decisions, so you around. If the rules get in the way of the flow
should know the rules thoroughly. Otherwise, of the story and having fun, change them.
how can you make reasonable and consistent However, if you change things, make sure you
judgements? The more knowledgeable you are are changing them for the better, both in the
about how to run and interpret the building long and the short term.
blocks of the game, the more the players will
respect your rulings. 3 – Know that they are your rules.
There are no winners or losers. You are
2- Know when to break the rules. not looking to beat the players. You are
All the rules here are guidelines. If there to judge the rules. That said, you are
something is slowing down the game or the one in charge. You must listen to your
spoiling the story, don’t feel you have to keep player’s problems and take their opinions into
it. However, if you are going to change things account, but the final decision is yours alone.
you cannot be inconsistent and random about If they don’t like your judgments, they should
it. If you make a new call, stick to it. If you run a game for you. This doesn’t mean you
decide to change a rule, tell the players. It is can be a dictator. No one will force the players
very important that everyone feels they are to play your game if they don’t want to. You
working with the same set of rules; otherwise must give them a voice, but just remember the
you are playing different games. final voice is yours.

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4 – Your problems are your own. a soapbox, and everyone should be OK with
Things are going to get forgotten and where it goes. Gaming is a very intimate
missed sooner or later. You might forget to passtime, and people get deeply attached and
give the players important information; they invested in their characters. Respect that, and
may forget to add bonuses or penalties to respect the fact that everyone has different
dice rolls. Lay the blame where it belongs. If levels about what they are OK with in the
a player forgets to add a bonus to a roll, they game. If you are unsure, ask. If you are still
have missed their chance. However, if you unsure, wind back or leave out the part you
forgot to give them the right modifier, give aren’t sure of. If you need more advice on
them another chance. You must admit your this, you can find a lot on the internet written
mistakes, in the same way the players have to. in much more detail. Find out more, find out
Deal with any problems and move on, your what works for your group, and remember,
players will respect your honesty. However, you might not know your friends and their life
in general, what is done is done. If something experiences as well as you think you do.
is long past, don’t go back on the story and
start replaying things. Make sure whoever 6 - Let your players love their characters.
got an unfair benefit or penalty get some sort Your player’s characters are pretty much
of payback later on. Rewriting what is now their only artistic input into the world you
history won’t help and means you’ve been are creating, so let them enjoy them. This will
wasting time. work in your favour, because if they love their
characters they will often come back to play
5 – Leave it outside the game. your game no matter how awful it might be.
Characters may argue, and any circle of Sometimes they will want a character that just
gamers has its own politics. However (and will not fit. However, as far as is reasonable,
this goes for the players too), leave the outside let them have the background they want.
stuff outside the game. If one of the players is Try to make your world accommodate their
seeing the person you fancy, don’t try and get characters rather than the other way around.
even by killing their character. Don’t penalise Don’t brow-beat them into playing what you
another player’s skill rolls because they want them to play. If you have to bend a few
ordered anchovies on the pizza. rules to let them get what they really want,
The reverse also applies. If two characters then that is OK. Treat everyone fairly, though;
are getting romantically involved in the if you are going to give one player an extra
game, it does not mean the players are. If two skill point, do the same for everyone.
characters have an argument, it doesn’t mean
the players should take anything personally. 7- Be prepared.
Good, intense role playing can chill a room While you will have to improvise from
and often be very believable. In which case, time to time (players never react exactly to
take a step back, have a break and then pick plan), you shouldn’t do it all the time. The
things up again when everyone has chilled out more solid your notes and details, the better
a little. Remember, at the end of the day, it is a foundation you will have to improvise
just a game. and cope with errant players without the
While we’re on this subject, remember adventure falling apart. Let them go off on
that in all cases consent is important. Don’t a tangent if that is where the story is going.
take a game somewhere the players are not However, you must be ready to pick up the
comfortable with just to shock them or even action as soon as things go quiet. If the table
because you think it would make great story falls silent at any point, it is your job to speak
at the expense of others. This is a game, not and get things going again.

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8 – You are not a player. You get to build words and make people.
Don’t fall into the trap of playing a You can create anything you imagine and lead
character of your own. Such characters are other people into those dreams. Don’t forget
unnecessary and often end up overshadowing to have fun while you are doing it.
the players. The players haven’t come to hear
your story; they have come to tell one with
you. You have a wealth of NPCs to play, Judging Character Creation
and some will become your favourites, but
enjoy the diversity. If you want a character As we mentioned before, it is important
of your own, become a player. If you swap that players can create characters they are
the Gamemaster between adventures, then by interested in and inspired by. If they don’t like
all means create a character that knows the or feel any connection to the character they
group. However, you should find a reason have created, their interest in the game will
(such as illness or some long assignment) that wane.
means they cannot join the characters for the In Opera House, character creation can be
adventure you are running. deceptively difficult. The game is designed to
be very open ended and dynamic. However,
9 – It is OK if they fail. without things like classes and templates,
Your players will screw up, often and many players may be confounded by too
sometimes quite alarmingly. That is OK. much choice. So it is vitally important you
Dramatic failure can be just as good a story talk about the characters before putting pen
as impressive success. If they fail to solve the to paper. Characters in Opera House are
adventure or stop the bad guy, then they pay not great heroes with impressive powers
the consequences. With no fear of failure, and talents. They are capable individuals
there is no conflict or excitement. Try not to who (mostly through desperation) can work
make the consequences of failure mean the together to solve their problems. Without
theatre will be in ruins (unless you have an special powers or some other hook to hang
idea for a new theatre they can join). That a character concept on, creating one can be
way their failure will not end the game. difficult.
On the upside, occasionally the players First, talk to the player about the sort
will be several steps ahead of you and of character they would like to play. Some
make connections you never thought they’d people prefer action and combative characters;
figure out. In which case, good for them. others prefer problem solvers or just plain
Be prepared for spectacular insight and weird characters. When you understand the
unbelievable stupidity and you should have all sort of thing the player likes, you can help to
the bases covered. lead them to options they may find interesting.
If they still cannot come up with an idea, they
10 - Enjoy yourself. can spend their points randomly. When the
No one is paying for your services and you player has picked from all the options, have
are doing a lot of hard work. It is easy to see a talk about how this selection of attributes,
Gamemastering as a chore and lose sight of skills and traits can make sense. When you
why you are doing it. Remember at all times have a clearer idea, you can revisit some of the
that you are running a game because you have choices the player made to fine-tune the idea.
a story to tell and a world to show people. At Often the character may start to form as the
the end of the day you are doing this because player picks from the listings, so encourage
you enjoy it, so don’t let the hard work dull the player to overcome creative inertia and
that. make a few choices.

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You will most likely have a group of However, dice are cool and people like
players who know little about theatre. While rolling them, so let your players do that.
you should find everything you need in this There are a lot of conversations about dice
book, the players may well not have read it. being meaningless and how a Gamemaster
This can make the more technical aspects of should just roll them for the noise they make
the game difficult. Many people don’t even and make up the rest. That fine if you want a
know that there are lighting technicians and purely narrative game, but if so, why bother
wig dressers, let along what they actually do with dice at all?
for a living. However, this isn’t too much of a Sometimes a failed test will take the story
problem. You may allow players to run what somewhere that just isn’t fun, or doesn’t make
they like and just try to explain things as they sense. In such cases, feel free to ignore them
go. The other option is to restrict the players (but only if you are a Gamemaster—for the
to creating performer characters for their Gamemaster it’s fudging, for a player it’s
first game. Most people have an idea of what just cheating). But don’t underestimate the
actors are all about. power of randomness to enhance your story.
If you ignore dice results to take the story
where you want to take it, you’ll often find
Judging Rules yourself treading the same paths. The dice
make things unexpected, for both players
It is important to note that you do not and the Gamemaster. They stop you falling
always need to roll dice to resolve something. into a story rut. They make you adjust your
Making story decisions by role play rather plans and take unexpected turns. A good
than dice can often improve your game. If an Gamemaster knows when to ignore the
action looks pretty simple, or a character has dice, but an expert Gamemaster can craft an
enough time to keep trying until they succeed, amazing story no matter what the dice roll.
you shouldn’t make them roll.
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The Inhabitants of the Royal Grand for your NPCs, consider for a minute if you
actually need any. For instance, anyone who
Aside from the player characters, a great is likely to avoid trouble probably won’t need
many other characters live and work at any combat statistics. However, if the player
the Royal Grand. There are a host of other characters need to chase an NPC, you’ll need
people who will become their enemies and to know how fast they can run and if they’ll
allies as they go about their adventures. be able to put up a fight. This means the first
Such characters are called Non-player thing you need to know about any NPC is
characters, or NPCs. They are controlled why they are in the adventure and what are
by the Gamemaster, as is their part in the they supposed to be doing there.
adventure. As many of these NPCs will only It is also important to note that some
appear briefly, and you don’t want to have to characters will know certain things to provide
create a whole character sheet for each brash clues and information to the player characters,
new actor or charming lighting technician regardless of their skills. An archivist that
that crosses the player character’s paths. the characters visit in order to learn certain
This section details how you can build such horrific secrets, need not have many skills,
characters with the bare minimum of statistics as the characters are unlikely to try and fight
to keep things moving. them.
Also, the Gamemaster isn’t going to make
Creating NPCs a skill roll to see if he knows the information
Your player characters will run into a host the player characters are after, as that is the
of characters as the game progresses. But not whole point of them meeting up. If the roll
all of them will need detailed statistics, so failed, the adventure would be missing a vital
before you start working out skills and traits clue. For this reason, you can assume that

NPC Levels
Level NPC Description
Children and slackers, the sort of people that cannot
0 Nobody
do anything outside their areas of expertise.
Your bog standard guy on the street. They get a die to
1 Anybody roll like anyone else but may be specialists in a field.
Much the same as any starting player character.
Experienced professionals. Skilled and well-rounded
2 Henchman individuals. More than equal to an experienced player
character.
Multi-talented. These people have been everywhere
3 Expert and done everything, making them dangerous
opponents.
True superbeings, they are extremely talented and
4 Mastermind experienced and there is little they cannot turn their
hand to. Extremely rare.

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any NPC knows what the Gamemaster needs Level 2 characters are highly skilled and
them to know. Of course, whether they choose well rounded. The Gamemaster may fudge
to tell the player characters is another thing a little here and make some specialised
entirely. characters level 2 to save giving them lots of
Having said all that, player characters, traits. A tainted thug might not know much
especially in this game, will often veer wildly about art, but he is only going to be fighting
off tangent and present you with strange, the player characters, so a general skill of 2 in
cleverly lateral or utterly stupid ways of every form of fighting works out quite well. It
approaching NPCs which will often force the is up to the Gamemaster to pick the level and
Gamemaster to improvise characteristics when decide if the NPC should be able to make a
they head off the adventure’s beaten track. So roll, regardless of the rules.
it sometimes becomes necessary to create more
statistics than usual to cover all your bases. Level 3 characters are extremely well
Luckily, for NPCs, we use a simple level educated and experienced. They are rare,
system, giving the Gamemaster a baseline for often being the hero or villain of the
instant NPC creation. Even if you are caught piece. Extremely experienced explorers or
on the hop you can just pick a level for the academics might fall into this category. They
NPC and most of their abilities will come into are usually wealthy, as all that travel and
focus there and then. training takes funds.

NPC Levels Level 4 characters are true Renaissance

We begin NPC creation with their level, men and women. There is little or nothing
which is rated 0-4. The Gamemaster should they cannot turn their hand to. Their
assign each NPC a level, and that level is the improvised guess is often much better than
dice pool they use for any skill roll they need someone with years of training. They are rare
to make. To keep things simple, they don’t get in the extreme and usually become world-
the base die a player character does. So, when renowned for their skill and expertise in one
an NPC is about to attempt an action, you just or more subjects.
roll their level as a dice pool, which works the
same way as it does for any skill roll. If they
only have a level of 0 then they can’t make the Adding Traits
roll unless they have additional traits. Once your NPC has been assigned a level,
that’s most of the hard work done. All you
Level 0 characters are quite rare. They have to do next is give them a few traits.
are the sort of people with very limited skills Traits are bonus dice they can add to their
and an inability to do anything they are not level when the situation warrants, as defined
trained in. Children and even animals come by the Gamemaster. Traits are usually just
under this category. skills, the same as the characters have. For
example, a member of stage crew might only
Level 1 characters are much like the player be a level 1 NPC, but have Crew and Crime
characters. They have a chance to perform at +3 each. In most situations the Gamemaster
most tasks, but are not especially good unless rolls 1 die (their level) for their skill roll, but
they have some training. Most average people when the situation requires the Crew or Crime
fit into this category. skills they roll 4 dice.
When assigning the levels of traits, it is
important to remember the level of the NPC.
Adding a +2 for a Mastermind gives a dice

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pool of 6, but only a Traits need not

dice pool of 2 for a be bonuses all the
Nobody. The broader time either. ‘Coward’
skills of higher-level might subtract from
NPCs may mean the combat dice pools
Gamemaster can be but add to escape
more specific with and running away
their skills and give rolls. Fists of Stone
them fewer traits. sounds good in
Note that a level combat, but won’t
0 Nobody without help you fixing a
the right traits cannot delicate pocket watch.
even attempt certain The Gamemaster is
tasks. As these traits encouraged to create
often represent skills whatever traits they
the NPC is a specialist like that fit the style
in, make sure you and character of
get the right levels. any given NPC. You
For instance, a highly already have the skills
specialised scientist list to get you started
might be only a level and, among the
1 NPC but have an sample NPCs below,
Archivist trait of +5. you’ll find a few more
In general, you should ideas. However, it is
make traits no higher up to the Gamemaster
than 5 unless the NPC is especially skilled. to decide how to apply any modifiers and how
However, just mimicking the standard skills to define what they mean. Traits are noted as
isn’t especially interesting, so you can flesh being +1 to +5, to remind the Gamemaster to
out your NPCs with all manner of strange apply them to the NPC’s level. But they might
and interesting traits. The Gamemaster should just as easily provide a penalty instead of the
decide how these traits might be apply in any implied bonus.
given situation. Instead of stage management, Each NPC should generally have between
you might use the trait ‘Paranoid’; they are 2-4 traits to keep things simple. If you
keeping an eye out as they are a little crazy. want to give them broader skills, make
This helps the Gamemaster decide what they the traits broader. An actor duellist might
might do if they find the characters. You can have ‘Bladework’ as a trait, representing
also use physical attributes such as Strong or his skill with swords and knives. A crew
Dextrous and apply the bonus not just to dice member might just have ‘Fighting’ as a trait
rolls but (in the case of ‘Strong’) possibly to representing his ability to make use of pretty
damage rolls. But why stop there? If you get much anything as a weapon without giving
really enthusiastic, instead of just ‘Strong +2’, him a legion of improvised weapon traits.
a street boxer might have ‘Fists of Stone +2’. We won’t give you a long list of traits as
However, do be careful not to get too limiting they are all listed in the dictionary. But we do
with your traits, as Fists of Stone makes a offer several example NPCs you can use off
dangerous fist fighter but not a very good the peg or tweak as you like. Take a look at
weightlifter. their listed traits to get a few ideas for your
own creations.

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NPCs and Ego The Royal Grand belongs to you now, so

As NPCs are often subjected to brutality by if you want to change any of the characters
the player characters, we also need to know here, just do so. You can even do this during a
how much damage they can take before they game as people leave the theatre for a number
fall over. To keep things simple, each NPC has of different reasons, prompting a reshuffle.
an ego level equal to twice their NPC level. So One unfortunate fact of many places is that
a level 1 NPC who suffers two levels of ego they are happy to promote people within
damage will be Broken. While this generally a department, but rarely let people move
doesn’t give them as many ego levels as player between departments. People get very settled,
characters, NPCs don’t suffer any penalties to and taking someone from another department
their actions from low ego. Imagine all their means that department head has to find
ego levels are ‘Coping’ until they are Broken. someone new. They can get very grumpy
Sometimes a Gamemaster may want an about it.
NPC to be a little tougher and that’s fine. They
just assign them the trait ‘Ego’ as a bonus and Chisolm – The Master Carpenter
improve their ego by that much. So a level 2
NPC with an Ego of +2 would have a total of Level: 3
6 levels of ego. Traits: Craft (Carpentry) +3, Crew +4,
You will have noticed by now that level Flyman +2, Security +3, My bloody stage
0 NPCs are a bit stuffed, as twice 0 is still +3, Strongman +3, Don’t do electrics +4,
0. This basically means that unless the Opinionated +4, Ego +4
Gamemaster assigned them some extra ego
levels they will drop when they suffer any The head of the carpentry department is
damage at all. That’s fine, as such NPCs a thin but muscular creature. While he looks
are not really up to the rigours of combat. frail, he is in fact exceptionally strong, and
However, it does also suck for the player able to bend iron bars as well as lift massive
characters if they are trying to protect such an weights. He is also the most opinionated
NPC. member of the staff at the Royal Grand.
Chisolm has an opinion about everything,
especially things he knows little about,
Allies, Colleagues and Superiors and it is usually extreme. No logic will
dissuade him from his beliefs and neither will
The player characters are not alone at incontrovertible evidence. When faced with
the Royal Grand. There are a host of other such facts he just replies, ‘Well, I know what
characters who they work with or who run I know’, as if it proves his point. He also
the departments. In this section we offer a considers the stage to personally belong to
selection of NPCs to populate the theatre him. Any damage to the stage is a personal
with. Some are generic co-workers for affront to him. For all that he is an exceptional
when the Gamemaster needs some quick carpenter. What he builds never breaks, until
statistics; others are long term employees he decides to take it down, in which case it
and the heads of each department. While collapses in moments. When he doesn’t have
the player characters will know the head of anything to build he likes to play around
their department very well, and know who shaping wood. Some say the small carved
runs the other departments, they are in the figures he makes have been known to move on
Gamemaster’s chapter in case they want to their own.
change them.

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Johnson - Head Flyman theatre, but the few times he speaks, people
listen. Whenever he is denied anything the
Level: 3 lights in the building flicker threateningly and
Traits: Craft +2, Crew +3, Flyman +5, the walls start to feel a little closer than usual.
Security +3, Strength of ten +5, Graceful
+3, People person -4, Ego +4 Madrigal - Head of Pyrotechnics

Those who meet Johnson in the darker Level: 3

parts of the theatre could be excused for Traits: Craft (Explosives) +4, Crew +2,
thinking they have run into a gorilla. He is a Technical +2, Fire is fun +4, Explosives
large round man, with a dark complexion and alchemist +3, Nine lives +5, Ego +2
an unusual amount of body hair. He says little,
preferring to communicate in grunts. Despite While she is cheerful and well-liked, most
his unsociable nature, no one comments on people avoid Madrigal at every opportunity.
his manners as his strength is legendary. He She has a love for fire and explosions that
can haul up the most immense weights. One makes her either the best, or the worst,
rumour says he once lifted a piece of scenery person to be in charge of the pyrotechnics.
that the entire cast and crew had sat on as a Technically this isn’t actually a position, given
joke (believing he’d fail to lift such a weight) it falls under the purview of the electrics
without batting an eyelid. Despite his surly department. But everyone thought it would
nature, Johnson does have a certain amount of be best if Madrigal had her own office, away
grace and can drop in a piece of scenery to the from everyone else (and anything flammable).
stage without making a noise or banging the She is an expert in the amounts of powder
piece on the stage. used to create all manner of bangs, flames and
coloured smoke for any occasion. She always
Malaise - The Chief Electrician has an odd grin, and her long curly hair swirls
around her in an uncombed cloud. She usually
Level: 3 wears a slightly ragged pinafore dress which
Traits: Craft (Devices) +3, Technical +5, is stained with various explosive chemicals.
Silent +3, Machine whisperer +3, Ego +2 People tend to put out their cigarettes the
moment Madrigal enters a room.
The head of the electrics department (and
therefore in charge of lighting, sound and Carlisle – The Company Manager (CSM)
effects) is Malaise, a quiet creature who is
pained in bright light. He prefers to lurk in his Level: 3
office constructing odd electrical creations he Traits: Archivist +2, Crew +2, Front of
is often heard talking to. Malaise has worked house +2, Stage management +3, Style +4,
in the Royal Grand for such a long time he is Hard to find +3, Knows the right people +4,
almost part of the building. He knows about Ego +2
any electrical failure before it happens. He
often fixes systems like the boiler and the air Always dressed in full evening wear, the
conditioning by just stroking the pipes and figure of Carlisle is only ever seen moving
whispering. around the corridors and never in his office.
Malaise rarely speaks above a whisper, but No one is quite sure what he actually does,
the corridors of the building seem to carry his as he has little to do with the running of
words with ease. Malaise has no more power the show. However, whatever it is seems to
than any other head of department at the involve liaising with the management on a

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Pilbrow - The Stage Manager (SM)

Level: 3
Traits: Archivist +1, Crew +4, Stage
management +4, Too busy right now +3,
Problem solver +4, Ego +1

Pilbrow is a tall and thin man who seems

permanently tired. No matter how much
sleep he has had, it never seems to be enough,
although no one has ever seen him sleep. He
would dearly love to be on stage working
the show, but he always seems to be trapped
behind a wall of paperwork. The only time
anyone has ever seen him appear to finish is
when they are bringing him more.
While he is always found in the office,
this doesn’t mean Pilbrow never knows
what is going on. He has a cans set with a
loudspeaker in his office and often chimes into
the conversation if need be.

Celine – The Deputy Stage Manager (DSM)

Level: 3
Traits: Archivist +3, Crew +1, Stage
management +4, Queen of stationery +5,
Nice +4, Knows the show +5
regular basis. He is one of the few people
allowed to wander around the theatre as he There are rumours that Celine is actually
pleases. It is rumoured he knows all the secret a princess from a small country, such is her
pathways throughout the theatre as he is able grace and quiet beauty. Celine is a gentle and
to move about the place with amazing speed. slightly timid creature, who is usually found in
Carlisle is a stern father figure. His dark prompt corner working on ‘the book’. She has
features and steely glare remind everyone of long blonde hair piled up out of the way using
their most feared teacher. What the rest of the a couple of pencils, and wears a fisherman’s
stage management think of him is unknown, smock with long baggy sleeves. She has the
as he ensures the secrets of his department uncommon ability to remain smiling and
are well kept. Rumours abound about odd polite in the most difficult and troubled
rituals and strange occult practices carried circumstances.
out in the stage management office. However, Celine is the person to come to if you need
even the DSM, Celine, says nothing and goes to know anything about the show, or just
ominously quiet when asked. need a hug. After a conversation with her,
most people just generally feel better. She is
always easy to find as she seems to always be
rewriting the prompt copy to keep up with
changes in the show. She is also one of the

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most well-equipped people in the building, Miriam - Head of Wardrobe

with an almost never-ending supply of
stationery products and tape. Level: 3
Traits: Craft (Sewing) +4, Front of house
Suranne – Assistant Stage Manager (ASM) +3, Stage management +1, Resourceful
pockets +3, Tea drinker +4, Good hugger
Level: 2 +5
Traits: Craft (Prop making) +2, Crew +2, Miriam is the bespectacled matriarch of
Stage management +3, Hawk’s glare +4, the Royal Grand. She can always be relied on
Hear conversation +5, Strict +4, Ego +3 for calm and sensible advice, and as much tea
and sympathy as you need. Miriam is a large
Suranne doesn’t seem to have an ‘off figure, mostly because of all the baggage she
switch’. From the moment she enters the carries in an array of pockets. She can always
building she is prepped and ready to do the be relied on to provide safety pins, rubber
show. She is the very embodiment of the stage bands, chalk and needles, as well as drawing
manager’s mantra ‘Early is on time, on time pins, small tools, sink unblocker and even
is late, and late is unacceptable’. While many fresh fruit on occasion. Even though wardrobe
other stage managers will allow a certain is one of the most busy and overworked
amount of messing around as long as the show departments, somehow Miriam always has
is being done properly, to Suranne, those time for tea and a chat with anyone who pops
people are amateurs. She shushes any talking in.
at all, glares at anyone looking even slightly
unfocused and watches scene changes and the Darian - Head of Wigs
movements of performers like a hawk. In her
ideal world everyone would stand at attention Level: 3
between cues. She is bloody efficient, though. Traits: Craft (Wigs)+4, Dancer +3, Music
+3, Style +4, Fabulous +4, Gossipmonger
Anatole – Assistant Stage Manager (ASM) +4, Secret keeper -5

Level: 2 One of the most fabulous employees of the

Traits: Craft +2, Crew +2, Royal Grand is Darian, the head of the wigs
Stage management +3, Technician +3, department. While his fashion isn’t always to
On cans +4, Ego +1 everyone’s taste, he certainly makes people
notice. He is rarely seen in the same outfit
Anatole is almost as much of a technician twice, and a few are too wide to get through
as a stage manager. He is often found hanging some of the smaller corridors of the Royal
around the LX office talking to Malaise Grand. He does like to make an entrance, as
about some gadget or other. As such he is long as he can get through the door.
considered a ‘technical ASM’ and operates Darian is not only fashion conscious (and
anything that looks complicated on stage. He something of a flirt—with anyone), he really
also has a disconcerting tendency to answer loves to gossip… the more salacious, the
conversations being held on cans even when better. The darker the secret, the more he loves
he isn’t wearing a headset. to hear it, and to share it. Those who bring
him the best gossip can count him in their
debt, and any secret shared in confidence can
be guaranteed to be all round the theatre in
less than 24 hours.

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Annalise - Deputy House Manager Bob and Jane - Stage Door Keepers

Level: 3 Level: 2
Traits: Front of house +4, Security +3, Stage Traits: Front of house +4, Security +3,
management +2, Style +2, Glare of an angry Secret keepers +3, Friends in high places +4,
terrier +5, Problem solver +4, Ego +2 Owed a favour +3

A selection of managers run the vast front Several people are trained to stay on guard
of house operation at the Royal Grand. They at the stage door in a pinch, but Bob and Jane
usually work nine to five but take it in turns are the two official stage door keepers and
to stay late and be duty manager for the show. take it in turns on duty. They are both wary
The duty manager is the last word in any of new people, but once they get to know
problem front of house. They give clearance someone they are exceptionally friendly.
to stage management to get the show under Bob is rather an old man and close to
way, manage the ushers and bar staff and deal retirement. He often huffs and puffs and
with troublesome patrons. It’s a tough job as constantly complains about his knees.
basically everyone comes to you to sort out However, he used to serve in the military in
any problem they have. a special forces unit. While he isn’t as good
Annalise is one of the lower-ranking front as he was, the man could wrestle a charging
of house managers, and so she is often the one rhino if it tried to get past him.
on duty during the show. Luckily, she is one Jane is thin and tall, almost Bob’s complete
of the more efficient ones and does her best to opposite. She tends to see off interlopers with
look after her team. While she is quite short, just a look, and many suspect she was once a
she has stared down angry patrons more than teacher of some form. She smokes constantly
once, especially if they were being rude to her and is always interested in having a gossip.
staff. However, she always seems to draw more

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information out of the conversation than she Milarchy Veresco

puts into it. Both Bob and Jane have the same
statistics, they just use them in different ways. Level: 2
Traits: Actor +3, Front of house +2, Music
Isador - Theatre Archivist +4, Large +5, Confident +5, Ego +4

Level: 2 Things are certainly louder when Milarchy

Traits: Archivist +6, Craft (bookbinding) Veresco, a world-renowned opera tenor, joins
+2, Music +3, Stage management +3, the company. He is a large man in every sense
Unsettling +3, Possibly a demonologist +3, of the word. He never does anything quietly
Appears when least expected +4 or in half measures. When he does a warmup
his voice booms down every corridor. When
In the depths of the substage lie the theatre he laughs it echoes in every room. When he
archives, where you will always find Isador. hugs someone they can barely breathe. But
He is a thin and pale creature whose skin feels when he has a crisis, the whole theatre knows
like the parchments he takes care of. Most about it. It is as if his own life is an opera he
people think he mutters to himself a lot, but is performing in constantly. Whenever he is
actually he is usually talking to people who announced as part of a new company, half the
aren’t there. crew groan and the other half cheer. He is one
No one is sure of Isador’s age; he looks in of those people you either love or you hate,
his late sixties and moves like he is in his late but Veresco has such powerful confidence it is
nineties. No one in the entire theatre can claim a rare person that can even deflate him a little.
to have worked there longer. What really
makes people nervous around Isador is that Aylandra Entersador
he often knows things people would rather
keep secret. Every tiny scrap of knowledge Level: 2
that anyone learns seems to filter down to the Traits: Actor +3, Music +5, Diva +5, I get
archive store in some way eventually. what I want +5

Aylandra Entersador has one of the greatest

Principal Performers voices of the age. It is not just pitch perfect but
also extraordinarily powerful. She can shatter
The lead performers at the Royal Grand windows with it, but just as easily make glass
are often brought in from outside, as a sing with subtle vibration.
celebrity name can draw the crowds. Few such Unfortunately, Ms Entersador is well aware
celebrities allow themselves to get chained to of the uniqueness of her gift and this has
one venue, and so they often off to another made her difficult in the extreme. She wants
show as soon as their show at the Royal what she wants now, or she won’t go on. Her
Grand ends. However, the Royal Grand is contract basically allows her to withdraw
a premier venue and so many of them come her services at a moment’s notice if she is not
back if they can. The following are a few of happy. She is such a draw for the audience
the lead performers who come back again and that the theatre managers (who don’t have to
again (for better or worse, as far as the crew directly work with her) are happy to sign such
are concerned). contracts.
While she claims her behaviour is to ensure
perfection in her work, most of the company
and crew who work with her think it is just

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because she likes the power. She has had a good actress, she isn’t a great one. But she
people fired for standing too close to her, for lifts the spirits of everyone she works with,
having the wrong colour hair, or for standing and this has a positive effect on the show.
in her eyeline (and not just on stage). Most She takes to everyone, cast and crew, and if
people avoid her as much as possible. she’s not seen one department for a while she
always bakes something for them and brings
Isobel Sveeda it to their office. She fits in as well at the Arts
as she does at the Old Nell and is never short
Level: 2 of an invitation to either. Hardened crew
Traits: Actor +3, Dancer +2, Front of house members have been known to cry when her
+5, Music +1, Nice +5, Baker +3, Joy to time at the Royal Grand is over again.
work with +5
Catrina Andevora
Few people outside the Royal Grand know
Isobel Sveeda very well, but she is never short Level: 2
of work. This is because she is quite possibly Traits: Actor +1, Dancer +5, Front of
the nicest person in the world. Her acting house +1, Music +3, Snob +4, Rude +2,
career has always placed her as a sidekick Terrified +4
or friend to the female lead, and these days
she is often playing someone’s mother. She This up and coming ballerina has become
often jokes that the grandmother parts will the toast of the dance world. She is one of the
be coming along any day now. While she is youngest dancers to lead a ballet company and

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the recipient of every ‘best newcomer’ award They also give the Gamemaster a quick and
to be found. Unfortunately, she isn’t very dirty option for when the player characters
pleasant to work with as she is arrogant to go off the rails and decide to talk to ‘that guy
the point of rude. She clicks her fingers at her over there’. Just pick the closest set of statistics
dressers as if they are late when they are doing and work from there.
an exceptional job. She tuts at other dancers
on stage as she passes them if she thinks they Standard Technician
are out of place. She generally treats everyone Level: 2
with utter distain, as if they are not good Traits: Crew +2, Technical +3, Need a
enough to work with her. The only reason this cigarette +2, Fix your stuff +3
is tolerated by most people is that she is rarely
outright offensive. Standard Crew
However, what few people know is that Level: 2
Catrina is actually terrified most of the time Traits: Craft (Carpentry) +1, Crew +3,
and is putting on a front. She suffers from Flyman +2, Security +1, Not my problem
horrific imposter syndrome and is convinced +2, Stay awake +3
her talent and good fortune are blind luck and
she will be uncovered at any moment. As a Standard Wardrobe/Wigs
result, she works hard to keep everyone at a Level: 2
distance so they don’t discover her ‘secret’. Traits: Craft (Sewing) +3, Style +2, Ready
to party +2

Generic Characters Standard FOH staff

Level: 2
While some people stand out at the Royal Traits: Front of house +3, Security +2,
Grand, a lot of them are just getting on with Seriously? +2,
the job. They are the crew, chorus dancers,
crowd scene actors and the like who don’t Standard Actor
all need to be detailed. In the first place Level: 2
you might not need statistics and rules for Traits: Actor +3, Dancer +1, Style +2, I’m
everyone the player characters meet. You don’t going to be a star +3
need to roll any dice to just interact and chat
to them. If the Gamemaster needs them to Standard Dancer
know something, they know it. Level: 2
Also, we wanted to leave space for the Traits: Dancer +3, Music +2, Style +2,
Gamemaster to create new characters to Flexible +3
populate the theatre. The Royal Grand has
plenty of room to add as many new people as
you like. In fact, the player characters should
even be able to do so, describing new contacts
they want to talk to or inventing friends of
their characters.
To help you get as creative as you like,
we’ve done the boring statistical bit for you.
The following are a selection of standard
statistics for your generic characters that the
Gamemaster can adapt as they like.

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The Theatre Cats When the show isn’t on, Pasco can be
found touring the corridors with a smug look
To control the rat population the theatre and his chin in the air.
owns a few cats. Some were brought in
intentionally, and a couple of others just Mordenstern
wandered in for the free food. As long as they
don’t get in the way of the show no one minds Level: 2
them being around. In fact, many of the cats Traits: Dancer +4, Security +5, Killer
know the technical cues better than the staff. instinct +4, Ego +4
Plenty of people swear they have seen one of
the cats point out something they have missed, Mordenstern is a predator of the highest
or where they should be going. order. He is a huge grey-furred cat, easily the
All the theatre cats are scavengers of size of a bulldog. He has numerous scars and
the highest order. No one is specifically has almost lost one eye at some point. Those
responsible for feeding any of them. So it is who risk stroking him can tell his body is one
up to the staff to offer them food as and when hard ball of pure muscle. When stalking, he is
they can. Most people put out food for them, utterly silent, but occasionally he blasts down
but often forget. As a result, the cats have days corridors like a cannonball when his prey is
of gluttony or starvation, never in between. within his grasp. Most people stay out of his
Feel free to populate the theatre with a few way, and that is the way Mordenstern likes it.
more furred predators as you see fit, but don’t
go to crazy. The Royal Grand is a theatre, not Adrianna
the home of a mad old lady living alone.
Level: 2
Pasco Traits: Actor +2, Dancer +3, Security +2,
Style +5, Diva +4, Pointless +3,
Level: 2
Traits: Archivist +3, Dancer +3, Security No one is sure what purpose Adrianna
+1, Style +2, Critic +4, Spot weakness +4 serves. This long-haired pure white cat would
certainly not do anything that might make
Pasco is a theatre critic, or at least thinks her dirty. She will only spend time with the
he is. He was a rather scraggy tabby cat until most talented performers, being an extremely
the day one of the ballerinas thought he would shallow groupie. She is universally loved by
look cute in a polka-dot bow tie she found. the stars that come to the theatre, upon whom
This sartorial change brought out the best she lavishes attention. This is probably the
and worst in Pascoe. He cleaned up his act reason she remains, as those same stars would
completely, and also became fascinated with hate to see such a ‘dear little thing’ leave the
the shows. theatre. The same cannot be said of the rest of
He spends the first night of any show lying the staff, who she has been known to spit and
on a perch that no one else is able to reach, claw at whenever they come near.
yawning at the performances that do not
inspire him. He has scratched some actors
after a bad performance and often watches
them like a hawk until they get it right (or at
least done to Pasco’s satisfaction).

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Saboteurs come in many shapes and sizes.

Enemies and Denizens The most common are those who arrive as
a member of the audience (with usually the
There are more inhabitants in the Royal cheapest ticket possible) and then try and find
Grand than the player characters and their co- a way backstage. Once there they try and do
workers. Most of them are actually the player as much damage as possible before getting
character’s responsibility to deal with as well. caught. Their ultimate ideal is the cause the
In fact, handling these people and creatures show to stop, and if they can do enough
is one of the cornerstones of the game as the damage to keep it closed for a day or so, even
player characters try to get through the show. better.
In this section we’ll detail how these While these saboteurs are the most
enemies work, as many have special rules and common, they are the easiest to spot. Front
strange powers. Later on we’ll detail more of house staff often catch them trying to get
about how the Gamemaster can use them in through a pass door. If they do get backstage,
both single-session and campaign adventures. most of the company and crew will spot a
stranger instantly. So unless they keep out
of sight or manage to convince someone
Saboteurs credulous they are new, it is hard to get up to
much. If they still get past everyone, then they
Theatre is a brutal industry, and the Royal can try and do some damage. But, because
Grand has its competitors. Quite often these they don’t know the show, they don’t know
competitors send in agents to mess up the the best way to sabotage it. Thus they tend
shows. If this seems unfair, you should know to stick to more obvious effects like pushing
the Royal Grand does this as well, and might over scenery, breaking props and cutting
even send the player characters. ropes. Most of these are easily discovered

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and fixed. Then the crew take them sub-stage given a chance to come clean, confess and
‘for a word’, after which they are thrown explain themselves. It is not unknown for
out of a stage door (often literally) and sent some to keep their jobs after this if they were
home battered and bruised. Everyone makes desperate for money or they are popular with
a mental note to look out for them if they are the company and crew. They will still have to
ever seen again. make amends, and rebuild trust, but they keep
Such attacks are rarely very successful. working and nothing more is said. Although
Most such saboteurs know little about theatre if it happens again, there will be no second
and how it works. If they are found, they will chances.
never work in the Royal Grand, and so few For the most part, employees who turn
professionals take the risk for what is usually traitor can expect rough justice from the
not much reward. This makes most saboteurs company and crew, and then get passed on
desperate chancers looking for a quick to management in case they want to press
handout. However, that desperation can make charges. They are usually fired on the spot,
them dangerous when cornered. with no chance of ever working at the Royal
Unfortunately, some saboteurs are much Grand again, and no final paycheque. While
more insidious. The best agents to recruit are most theatres promise lucrative jobs at their
those already working for the Royal Grand. theatre for someone who turns traitor, these
They might be disgruntled for some reason, jobs never materialise. No one wants someone
think they are too clever to be caught, or just working for them who can be turned, even if
in desperate need of extra cash. All employees it was you that turned them.
are meant to report an encounter with another While sabotage is rampant, it does have
theatre’s agents, but few do. Sometimes some informal rules. Essentially a gentleman’s
they are just keeping their options open, but agreement exists between the theatres
everyone knows making a report puts them so ensure things don’t escalate. After all,
on a secret watch list by management that anything you can do, your competitors can
hangs over their career as a black mark. As a do to you. Any form of explosives is banned,
result, there is little incentive for them to do as is the use of fire. While accidents happen,
the honest thing, as they tend to get punished anything designed to hurt anyone is also out.
for it. But whether by accident or design, if someone
If one of the Royal Grand employees turns is injured, the saboteur will need a very good
saboteur, they are much more dangerous. excuse or there will be hell to pay.
There are a hundred small mistakes that Saboteurs all use the same stats as the
anyone can make in a show that will cascade standard company or crew they are pretending
into a nightmare if you know the right weak to be. Most will be standard crew. They might
points. As all employees are able to move be any level but are usually level 1 or 2. The
around most places as they like, it is too easy rare few level 3 or 4 will be like ninjas. The
to find yourself alone in the right place to only amendment to these statistics will be the
loosen something, move a costume, etc. If you addition of the crime skill at +2 or more.
are really clever you will make it look like
someone else made the mistake by making Standard Saboteur
their job just that bit more difficult and Level: 2
waiting for them to hit a bad day. Traits: Craft (Carpentry) +1, Crew +3,
When these saboteurs are caught, they are Crime +2, Flyman +2, Security +1, Ego +2,
usually dealt with by the department heads Don’t get caught +2
first. If the show didn’t get stopped and no
real harm was done, such a traitor is often

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Ghosts passion might be ‘Anger: Died in violent

murder’. This means that as a spirit they
For the living dead, theatre is a popular might only draw energy from the anger felt by
place to be. This isn’t just because there is a victim being senselessly murdered. However,
little to do in the afterlife, but because theatres as they gain power, the murder need not be
are full of the powerful emotional energy that violent. Later on, anger from any violent
ghosts need, and full of people to steal it from. confrontation might feed them, until finally
All ghosts begin their afterlife as any form of anger is something the spirit can
incorporeal and invisible spirits. Most are draw on. A death passion can be any form of
just a simple essence, the vague recollections emotion, but it must be negative. Ghosts of
of forgotten souls. Many people believe such love or joy are content as they are and rarely
creatures don’t actually have any souls. They ever manifest.
are not a person trapped on the mortal plane,
but a memory of that person left behind and Some Sample Death Passions:
given form. Many are drawn to the theatre • Anger: Died in a violent and senseless
and its powerful emotional energy, but few murder
understand where they are or why. • Apathy/Despair: Committed suicide after
The living never notice these poor forgotten giving up on life after a string of bad
things, except on the rare occasions when experiences
they might blow a cold draught through a • Despair: Died in poverty
room or cause a door to slam. Spirits are an • Fear: Killed by a very high fall
unimportant part of daily life at the Royal • Heartache: Killed by their lover
Grand Opera House. Everyone knows they • Greed: Killed trying to get rich or steal
might be around, but they do little to the • Hatred: Killed by (or killed trying to kill)
living and are rarely even cognizant of their the object of their hatred
surroundings to any degree. • Hunger: Died of starvation
Unfortunately, some spirits are not so • Jealousy: Died trying to take what they
easy to ignore. Those that died under terrible coveted from someone else
circumstances or in the throes of some great • Lust: Killed trying to sate their sexual
passion have a little more awareness than desires
most ghosts. If they find a store of emotional • Shame: Committed suicide due to a
energy that resonates with their passions guilty secret
in some way, they can draw on it and gain
power and physical form. As they drain more Essentially, each ghost begins at level 0
energy, they become more aware and more and each time they gain energy they increase
physical. They focus their efforts on draining their level. Finding the right source of energy
energy and engineering situations where they grants them an energy point, and when they
might find it. have collected as many energy points as their
All ghosts have a ‘death passion’. This level, they increase in level by 1. While ghosts
defines the sort of emotion they need to find can draw energy from as many emotional
to empower themselves. Initially they can only incidents as they can find, each incident only
draw energy from very specific circumstances, ever offers a single energy point.
but as time goes by and their powers increase Each time a ghost increases in level, they
they can steal energy more directly and in find it easier to draw energy from less specific
less specific circumstances. So if a ghost died sources. Gaining enough energy to rise to level
as the result of a murder and the injustice of 1 is easy, but the right circumstances are rare,
the random attack angered them, their death almost identical to the ghost’s death. However,

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details. To become level 3 the ghost needs to

find three incidents that match the broadest
strokes of their death passion. Finally, to
become level 4 they need to draw energy from
four separate events that offer a powerful
amount of the emotion of their death passion.
After that, they can feed on pretty much any
negative emotional energy, although the closer
it is to their death passion the better. But no
matter how much they take they, will always
be hungry.

For Example: A ghost has a death passion

of ‘Fear: Shot and killed in a bank robbery’.
To rise to level 1 it needs to find a bank
robbery where someone is killed with a gun
while being frightened in much the same way
as their original death. But to rise to level 2,
they just need to find someone frightened and
killed in some way during a bank robbery
(twice). To reach level 3 they need to find
someone in fear for their life during some
sort of crime three times. To reach level 4
they need to find four incidents of someone
suffering from real fear.
if the ghost comes across such a circumstance,
it can draw on the energy of the emotions and When a ghost feeds, it doesn’t drain the
gain an energy point to become level 1 in a emotions it craves from those around it.
few moments. Then it gets a real taste for the In fact, the emotion is little more than a
feeling and starts to search out more. While conduit to the life energy of the ghost’s target.
level 0 ghosts are little bother to anyone, Whoever is feeling the emotion the ghost feeds
becoming level 1 makes them very hungry. on begins to feel faint and will quickly pass
Most ghosts are only encountered when they out. If the ghost is level 0 or 1, the victim will
become level 1 and start being a problem. pass out but recover after a decent night’s rest.
Any ghost that reaches this state will not stop Those drained by a ghost of level 2 or 3 suffer
draining emotional energy until it can become greater trauma, and permanently lose an ego
level 4. While it can’t become any more level as well as the previous effects. When
physical than level 4, by the time it reaches ghosts of level 4 feed they are able to take all
that level the hunger is so ingrained it couldn’t the life energy from their victims, who are
stop if it wanted to. dead before they fall to the ground.
Becoming level 2 is a little harder; the As you might expect of any hunter, ghosts
ghost needs to find two incidents to draw are drawn to the emotion of their death
energy from, as it must gain 2 energy points passion like moths to a flame. For this reason
to become level 3. However, the incident need they come to the Royal Grand (and most
not be quite so specific to grant an energy theatres) in droves. Theatres are powerhouses
point—it just needs to match the general of emotion, be it the counterfeit offered on
theme of their death passion but not the stage or the real feelings experienced by the

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audience as one. Even if it is not the right it they can use it as a bonus, and so they are
emotion for a ghost, it cannot ignore such a often at the mercy of that emotion.
powerful force. How much they can interact with their
But, for the ghost to feed, the emotion must environment also depends on their current
be real. While they are drawn to the action of level.
stage, it grants no sustenance. However, they
can detect when the feelings that resonate with Level 0
their death passion are stirring, from one end • Invisible, incorporeal, can’t do anything
of the theatre to another. If the right emotion • No horror rating
or situation is about to occur, a ghost will be
there to draw on it. Level 1
As with any NPC, ghosts use their level as • A barely tangible breeze or vapour
the base dice pool for any action. However, • No horror rating
ghosts never have any real skills. They are
rarely able to access any knowledge, and so Level 2
their actions are limited to things they can • An insubstantial person made of mist
physically do. So, they can slam a door, but • Horror rating: Shocking
they can’t pick a lock.
However, ghosts can have personality Level 3
traits like any other NPC that can be used to • A translucent version of how they were
augment their base dice pool from their level. upon death.
Also, they all have a trait of the emotion they • Horror rating: Revolting
focus on. When they can find a way to apply
Level 4
• An apparently ordinary person, but
with a cold aura to them
• Horror rating: none, usually. But it may
manifest all its ghostly power and gain
a terrifying horror rating at will.

Fighting Ghosts
As they are essentially emotion-fed
incorporeal vampires, ghosts are tricky
to deal with. Unfortunately for the player
characters, making sure a ghost isn’t killing
any of the patrons, performers or even any
other members of staff is their job. Some
basic understanding of ghosts is offered in the
Royal Grand orientation package, but most
people take little notice of it. Every theatre
has the odd ghost, they are just spooky, no
big deal. This means many staff are painfully
unprepared when they meet a ghost for the
first time.
Ghosts are able to fight physically using
their dice pool to throw objects around.
This can cause ego damage in the same way

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as anyone else might. However, if they are of a single point of energy is utterly destroyed.
somehow in an empty or uncluttered room Either way, they will certainly not be a
(good luck finding one of those at the Royal problem for the rest of the show.
Grand) they won’t have anything to throw or A ghost can heal any outstanding levels of
swing and cannot fight. damage it has suffered by draining emotion.
Unfortunately, ghosts are not only hard to If it can find and drain its death passion from
see at low levels, but they are also intangible. a living person it can remove 1 level of ego
This means there is nothing the player damage. If a ghost has lost an energy level
characters can do physically to hurt them. As it cannot heal itself to any higher than its
such, they don’t have any ego levels. The only current energy level.
way to defeat a ghost is to reduce its level by
draining it of the life energy it has stolen. For Example: Bob and Jane both have
The first way to do this involves an the Archivist skill and are hunting a level 3
understanding of the occult. Anyone with the ghost. Bob encounters it first and uses an
Archivist skill will know some incantations incantation. His attack is successful and he
and wards that can keep a ghost at bay. A does 3 ego levels of damage, so the ghost loses
ward is a sigil drawn in chalk that a ghost 1 energy point and has 1 ego level of damage
cannot pass. To create a ward, the archivist outstanding. It will need to get that point back
must make a roll, and the number of successes before it can start collecting energy to rise to
they get determines the level the ghost must level 4. Bob loses an ego level for making the
be to pass over the ward. Unfortunately, to attack as well. The ghost is level 3, so losing
empower such a ward costs the archivist a only one level of energy will not reduce it.
level of ego, and the ward only lasts until Before Jane can catch up with it, the ghost
sunrise. However, for a one-night show this manages to find a victim and drains them,
can be a useful way to contain a ghost or removing the outstanding ego level. However,
protect an area from one. it must regain them all before it can try and
The Archivist skill can also be used to gain the next level up.
deliver damage to a ghost, with incantations So when Jane finally corners it, the ghost
and holy words. These words must be spoken is still one energy level down. Luckily, she
in the presence of the ghost, and done so scores the same damage as Bob and delivers 3
loudly (so not during the show near the ego levels of damage, reducing it by another
audience if possible), and each use costs the energy point and leaving an outstanding level
archivist a level of ego as they need to put of ego damage. Bob catches up and throws
some of their essence into the attack just another incantation at the ghost. While he
as with wards (although all ego lost in this only does 1 level of ego damage, it already
way can return as normal). When resolving carries an outstanding level of damage
this attack, the difficulty is determined by from Jane’s previous attack. The ghost loses
comparing the ghost’s level with the archivist’s another energy point. As it has now lost as
skill level to determine who is stronger. many energy points as its level, it is reduced
Damage is done as usual, but instead of losing to level 2 and must try to move up to level
a level of ego, the ghost loses energy. 3 as it did before. But if Bob and Jane can
For every 2 levels of ego damage a ghost hit it again, they only need to do 2 energy
suffers, it loses a point of energy. When it has points of damage (4 ego) to reduce it to level
lost as much energy as its level, it is reduced 1. When they reduce it to level 0 it will flee or
in level by 1. When reduced to level 0 they discorporate.
usually flee, although a few discorporate
entirely. A level 0 ghost who suffers the loss

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Now, that’s all very well for an occultist, to the auditorium, and scenes that inspire the
but what about everyone else? Thankfully, opposite will cause it to flee.
ghosts can also be drained by the opposite Once the player characters have an idea for
emotion to their death passion. Bravery drains an emotion they wish to try, they have to face
a ghost based on fear, calm drains one based the ghost and feel that emotion. If the emotion
on anger, confidence drains one based on is bravery or confidence, that’s reasonably
shame, etc. It need not be the exact opposite, easy to do. Just facing a ghost is a good way
but it needs to be fairly close to the mark. The to feel that way. But if you want happiness
Gamemaster is the final judge, as you might or pride you need some find something to
expect. inspire that emotion in yourself. This might
The problem here is that ghosts don’t mean someone needs to tell a joke or remind
wear a sign declaring their death passion, a character about something great they did. It
so the player characters are going to have is up to the Gamemaster how successful such
to do a few tests. To have a chance they will attempts will be. Performers should be able
need to do their research. What events have to use their skills in such attempts as evoking
happened recently that might have triggered emotion is what they do.
this ghost, and what were the key emotions? If they think they are feeling the right
Has it focused on the anger of an attacker or emotion, the player character then needs
the fear of their victim? The more you know, to turn that emotion into a weapon. This
the more you can narrow things down, but uses the Actor skill to project the emotion,
experimentation is the only real way to be although the Gamemaster might allow the
sure. use of Dance if there is enough room. Unlike
However, the audience during a show can using the Archivist skill to cast wards and
be very useful. Scenes that make them produce incantations, any character may attempt to use
the death passion emotion will draw the ghost Actor (but not Dance) without the skill. The

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skill in question is used as an attack skill just the shadows of the endless sub-stage levels.
like with incantations, and damage is done to If the player characters even consider going
the ghost in ego levels to reduce energy points down too far, an adventure will be waiting for
in just the same way. The wrong emotion does them, but one they may never live to tell the
the ghost no damage at all. story of.
In this way, fighting ghosts is about What we can detail here is what comes
containment and investigation, and trying up out of the basement. There is something
to keep them from gaining in strength (and about the shows at the Royal Grand that
feeding on patrons and friends) while the the inhabitants of the theatre deeps find
characters try to figure out what its death entrancing. Among the many theories about
passion might be. All the while the ghost will this, the most prevalent is that the noise
be trying to engineer situations that it can simply attracts them. However, even the
draw energy from (which the Gamemaster quietest shows have sometimes brought
may decide are more common than usual) so it creatures up from the depths, where the louder
can increase its power. It will also be throwing ones have not.
things at the player characters to hurt them as Other people have suggested that (like
much as possible, as ghosts hate people trying ghosts) the creatures are attracted to the
to spoil their fun. emotions and feelings the shows inspire.
No one is really sure, and it may be that the
answer is different for each type of creature.
Morlocks What is known is that whatever comes up
from below is brutish, aggressive and hungry.
Deep beneath the theatre lurks something The variety of creatures that might rise
dark and dangerous. The legends about what from the sub-levels is diverse. However, the
might be there are legion. They say there is most common are called ‘Morlocks’, and
an ancient city down there, that the theatre is it is generally assumed they live closer to
the top of one of its tallest towers. Those that the surface than most. The assumption is
live in the city are inhuman, perhaps a proto- that life in the under-depths is barren and
species, a mistake of evolution, alien or simply difficult. This means the nastiest beasts claim
animal. Ask ten people and you will get ten the deepest parts and consume anything they
answers, and all of them will swear they have come across, forcing the weaker creatures
their opinion on good authority. to the top to escape them. So, dangerous as
The only people who have tried to find they are, Morlocks may just be the lowest-
out more are those who have gone deep into ranking predators and come to the surface to
the sub-levels of the theatre. No one has ever hunt in the theatre. But it is hard to convince
gone far enough to claim to have seen the city any theatricals that the show isn’t the most
with their own eyes, but plenty of people have important thing in anybody’s existence.
never come back. Do they still travel down the Like humans, Morlocks are NPCs of levels
infinite stairs searching for an end? Did they 0-4. The lower-level ones are the most likely
reach the city and find it a paradise they never to appear first, and the higher-level ones
wanted to leave? Have they simply become always follow. They only even come up from
a meal for something living in the darkness? the depths during a show, and so it is wise to
Most people believe the latter is the most station someone on lookout once the curtain
likely. goes up. Thankfully, this is the one job most
While it might seem a cop-out on our part, of the backstage crew are happy to help out
we leave the answer to these questions up to with, as they will be the first to get eaten if the
each Gamemaster. There could be anything in alarm isn’t raised.

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Morlocks are hulking humanoid creatures, If they cannot be held back and they reach
standing between five to eight feet tall the higher levels of substage, Morlocks will
(depending on level). There are males and start to spread out and create havoc. Some
females but the differences are not very will make for the crew and quick-change
pronounced. Their features are apelike, but areas; others will try to get to the stage.
with mouths full of teeth and sometimes tusks. Anyone they find on the way will get attacked
Their hands and feet end in claws, making and possibly eaten. So far, none have ever
them adept at fighting but not at using tools. made it into the auditorium, and if they do the
Morlock bodies are covered in white, grey or player characters will be looking for another
black fur, and often the darker it is the more job—if they survive the night.
dangerous or aggressive they are. This has led
some to suggest the fur turns grey and they get Morlocks
smaller and weaker with age. Level 0-4
Morlocks are very aggressive, but also Horror rating: level 0-1: None, level 2-3:
cautious and not especially intelligent for Shocking, level 4: Revolting
the most part. They are aware that coming Security +3, Claws +2, Teeth +2, Thick
up to the theatre sub-levels is entering a hide +2, Pyrophobic +4
different world. As they are in constant fear
of predators, a new environment makes them The thick hide of the creatures can be used
cautious. In this way, noise and aggression to reduce the dice result from any damage
can initially intimidate them. But once they roll when they are hit in combat. However,
have fought someone in combat and survived, the pyrophobic trait can be added as a bonus
they get a lot more confident. However, to attempts to drive them away with fire or
coming from the darkness below they remain bright light. If also adds to the damage dice
frightened of light and fire. Either can be result if fire is used as a weapon.
used to enhance any attempt to intimidate or The Gamemaster can pick what level any
drive them back. This has led to several lights initial wave of Morlocks might be. They
being installed in the substage. Unfortunately, always work in packs, usually between three
they keep being needed for the show, and few to eight, and having weight of numbers also
technicians are keen on going down to change makes them bold. If they are not driven off,
the lamps when they blow. higher level Morlocks start arriving as well.
Luckily, the substage area is littered with They can be tenacious, though, and as long
props stores. These can often supply useful as the show is going on, they are never truly
items to distract or confuse the Morlocks. gone. Once they start coming up they can only
They do not quite comprehend the avant- be driven off for a while. But a solid defeat
garde, so strange behaviour and odd items will always give them pause. Sometimes they
give them pause. Given combat is often noisy might only be taking time to eat their own
and might disrupt a performance, some crews dead before making another attempt.
try to use well-placed props and costumes What else is down there is anybody’s
confuse Morlocks and keep them at bay. guess. Stories of tentacled horrors, vampires,
invisible assassins and any other manner of
nightmare given form circulate among all the
old timers on the crew, who all claim to have
seen them with their own eyes.

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Rats
Like many old buildings, the Royal Grand
has a few rodent inhabitants. In most cases
these furry residents stay out of the way of
the theatre staff and the show. The lights and
noise are a little frightening and they scamper
away for the most part. However, every now
and again they cross the stage or find their
way into the auditorium. This wouldn’t be a
problem, especially with the various theatre
cats that roam the building. However, at the
Royal Grand, the rats cannot just be removed;
they have to be negotiated with. they resorted to gas and poison, the rats could
Many years ago, the management decided nibble on all the power lines, cables and ropes
to deal with the rat problem. There had been in the theatre and show’s infrastructure and
too many complaints from audience members bring the building to a standstill.
when one had slipped between the seats or run So both sides came to an almost unspoken
through one of the bars. The technicians also arrangement that neither expected to see the
complained that some of the control cables other in their world. The rats could live under
had been nibbled on and caused equipment to the floors, in the vents and roof spaces and the
fail. Unfortunately, the attempt to purge the cracks in the walls. However, if they ventured
theatre failed for two reasons: Firstly, there outside, they were fair game for the cats and
were far, far more rats than they realised, and anyone else who took a dislike to them.
secondly, the rats were actually very clever. So far this truce has lasted well. It is not
Most rats that live in the Royal Grand unknown for some rats to venture above.
are highly intelligent, and not just in the Sometimes they come home with stolen
sense they can do tricks. They are reasoning objects or food for their community; other
creatures with human (or better) intellect, times they are mourned. Many of the crew
many of whom have learnt human speech and strike up a friendship with a contact in the rat
can communicate and listen. This last ability community in return for information the rat
is perhaps the most useful, given that the may have heard in the corridors and nooks.
nooks and crannies they live in allow them to The theatre staff offer food and oddments that
be privy to many clandestine conversations the rats can use to arm and clothe themselves
around the theatre. or build devices of their own.
The attempts to remove them, with Little is known of the actual rat culture
exterminators and more cats, made them beyond what those few staff who manage to
fight back. They sabotaged critical show befriend one of ratkind can share. It is rare for
equipment, made a point of frightening such friendships to develop any real trust, as
the audience and avoided every trap and each side has little reason to have faith in the
exterminator sent after them. It became other. What is known is that the rats operate
abundantly clear that some form of détente a place called the Vagabond Market. It is a
would have to be reached between the rat and great bazaar hidden deep in the theatre where
human population in the theatre. Violence the rat population trade and deal for goods
between the two sides would do no one any and items they have scavenged. The Vagabond
good. While the humans could easily destroy Market forms the centre and basis for their
many of the rats, and possibly all of them if economy, creating a stock market index of the

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value of various products and resources. the buttons. While they are small and weak,
What few know is that the rats are ruled by if they gather in a group they can perform
the strange and stagnant parliament of the rat actions that require far greater strength. They
king. The rat king is a group of at least eight are not especially hardy but have the same ego
to ten rats whose tails are all tangled together. levels as usual, as they are great at dodging
As a consequence, they have trouble even about and so are usually only grazed when hit
deciding which direction to go, as this requires until Broken.
a unanimous vote. Most of the time they
debate this very point, while getting nowhere
at all. Animated Props and Cursed Items
Only one rat has ever left the parliament:
the renegade known as ‘Cuttail’. This Sometimes even the props can be against
legendary rat is believed to have cut off his you. Theatre has a certain magic to it, and
own tail to leave the rat king and spends his sometimes that magic can infuse objects with
time doing his best to keep rat society safe and powers, curses and even a limited form of
secure. No rat has roamed the theatre as far sentience. There is no clear way to predict
as Cuttail, or faced off against theatre cats and what items might become enchanted in this
lived. Even though he is called a rogue and an way. Some are used for years in several
outcast, to many rats he is a hero. Cuttail is a different shows and remain mundane, while
powerful enemy, and a useful ally, but gives others are made for one show and gain a life
his trust rarely. of their own.
What is reasonably clear is that for an item
Rats to take on power of some form, someone must
Level 0-4 have a deep emotional connection to it, or it
Craft +2, Crime +3, Front of house +3, must be a part of a powerfully emotive event.
Dodge +4, Scurry +3 A special prop that a performer used a lot
in a particular act might draw on the energy
Cuttail of each performance it is used in. Chillingly,
Level 3 this is common for ventriloquist’s dummies,
Archivist +2, Craft +2, Crime +3, Front of and those things are bad enough as it is.
house +2, Security +2, Dodge +4, Scurry Other items might take on power through
+3, Secret keeper +3 continued use by many different people. An
especially nice prop dagger that is constantly
Rats as Player Characters used to murder King Duncan in productions
In a campaign game some players might of Macbeth might take on powers after several
like to use rats as their characters. In fact, you productions.
can run a game where all the player characters Essentially, the point at which an item
are rats. They will need to avoid the theatre takes on powers, and why, is entirely up to the
cats and steal or find items to trade at the Gamemaster. It might happen spontaneously
Vagabond Market to make a living. Rats have during a show, or an item long enchanted
access to all the same skills as humans, except might reveal its power gradually. It is hard to
they don’t actually know how to use them to know for sure if an item has power, as they
work a show, for the most part. So a rat with rarely glow with magic or anything especially
Crew skill can sneak about and knows a little obvious. Strange things just seem to happen
about wood but can’t lift scenery in place. around them, and with theatre being an odd
Having said that, a rat with technology environment generally, the cause is rarely
could operate a smoke machine if it can reach obvious. Especially powerful items might feel

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a little odd or unsettling when used as props

or handled. But objects have an alarming
tendency to be subtle in their influence.
They usually use their powers to nudge a
situation rather than control it, and often
pick one person in particular to focus on and
manipulate.
While any item can potentially gain power,
certain types of item are more prone than
others. Some common enchanted objects are:

Dummies/Puppets:
As the purpose of ventriloquism is to bring
life to these, it should come as no surprise
that they become animate with alarming
frequency. Some simply want to live and
cause trouble depending on their personality.
Given the character of most puppets is to be
a troublemaker in some way, they are often
mischievous at the very least. Unfortunately,
a few take on life when they are abandoned,
either when an owner dies, they get broken
or the act just doesn’t work anymore. Such
puppets are often full of malice at being tossed a production. These are prone to absorbing
aside after such long and dedicated service and emotional energy, given they were once
sometimes seek horrific revenge. alive. They can often manifest abilities based
not on the play they are used in but on the
Weapons: person they used to belong to. In such cases
Even prop weapons are tools of war, and the energy of the show might wake up some
when they are constantly used in some of the dormant part of the previous occupant’s soul.
most bloody battles and emotionally charged
confrontations on stage, a little rage seeps into Letters:
them. This happens most often with weapons Letters read on stage are often charged
used in particular scenes a lot, such as the with feeling, usually pronouncing the death
murder of Duncan in Macbeth, or Hamlet’s of a loved one or a heartbreaking goodbye.
duel to the death with Laertes, or anything In some cases they have the words of the
used in more than two productions of Titus script on them, and as such get reused in
Andronicus. This effect need not always apply the same scene again and again. Some can
to actual weapons—a spoon used to blind manifest their power to make the situation
Gloucester in King Lear once too often might they describe come to pass in the real world
also a liking to it. through a series of coincidences.

Bones/Skulls: Occult Items:

Body parts have a clearly macabre feel to People have a tendency to regard occult
them. Fake ones can get charged with energy paraphernalia with trepidation. While a stage
in the same way as weapons. However, it is spell book, voodoo doll or magic wand might
concerning how easy it is to get real bones for never have been anywhere near a witch or

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magical ritual, they carry a certain expectation However, not every goblet is cursed. Some
that can rub off. Some have been known to say the Holy Grail is not actually lost but
grant real occult powers, others to just bring has simply been sitting in a props store for
cursed luck to those near them. hundreds of years.

Royal Jewellery:
Crowns, rings of power or sceptres are the Object Powers
preserve of kings and queens. Some of their
lordly might can rub off on those who handle Each enchanted object has a purpose.
them, leading to megalomania and overblown These are similar to a ghost’s death passion
egos. As plenty of performers are prone to as they are both emotional, and this emotion
these traits anyway, it is often hard to spot is a driving force behind the object’s actions.
when one is the victim of an enchanted object. Many simply wish to continue to do whatever
they are used for most on stage. So a gun
Goblets and Cups: might want to commit murder, especially that
Whether poisoning people or drinking the of a soldier, or a dagger might be very keen on
health of villains, drinking vessels can often regicide. However, some can have a little more
take on manipulative traits. This is especially personality and be bent on revenge or just
true backstage where many people have a want to cause chaos for fun.
problematic relationship with alcohol. Any Just like NPCs, objects have a level that
prop cup might be used in a party and be part determines how powerful they are. Their
of an event off stage as well as on. level determines the power of any ability they
manifest. However, they can add a bonus
equal to any single trait or attribute possessed
by anyone who touches them, if it relates to
their purpose.

For Example: An object with a level of 0 is

essentially waiting for the right person to pick
it up. Whether a trait or attribute matches
is up to the Gamemaster. An actor who has
‘Lustful +2’ as an attribute might add 2 to
tests made by an object bent on seeing a tragic
love affair come to pass. An appropriate trait
just adds 1 to the object’s dice pool.

Only one attribute can apply, but as many

as three traits can also be applied if they all
fit. But an object can only use the traits or
attributes of one person at a time. Objects
can often sense those who align with their
needs and do their best to come into their
possession.
As well as a level, objects also have at least
one power to help them push those around
them into following their goals. All objects
have one power, and some have several,

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although not usually more than 1 plus their successes is in control of the target for a scene.
level. The Gamemaster should pick powers At the end of the scene the Gamemaster can
from the list below as they see fit, or even make another test to see if the item maintains
create their own. control.
How many times an object can use a power,
what difficulty it should roll against to activate Shift:
it, and if the target should have an option to This object can move from place to place.
resist are all up to the Gamemaster. You rarely ever see it, and if you do, it’s in
your hand one moment and somewhere else
Horror: the next. Maybe you suddenly find yourself
Some objects can inspire fear or horror carrying a bloody knife. An object can shift at
whenever they like, usually to unnerve a will, but not if it is being firmly held. In such
particular person. They have a specific rating a case it must make a test against whoever
(shocking, revolting or terrifying) and can is trying to restrain it and the most successes
manifest it when they choose. When they wins.
do so, anyone looking at them must make a
horror check (see page 81). Inspiration:
As each object’s purpose is usually linked
Inception: to an emotion, some can inspire that emotion
Objects all have a drive for a particular in others. This is a good way to cause chaos
goal, and some can directly inspire this in their or drive people to do what the object wants.
wielders. When attempting to do this (either The object makes a test against a target in its
to someone holding the item or just in its presence, and if it succeeds the target gains
presence) the object makes a roll using a dice an attribute of the emotion in question for a
pool of its level plus any bonus from its target. scene. The object can make another test to
The difficulty is usually 6 unless the object is increase the attribute, continuing the duration
especially powerful or the target especially for another scene. The test must score one
prone to influence. If it scores a success the more success than the attribute’s current level.
target performs a single action the object If the test gets at least 1 success, the duration
wants them to do. is extended for another scene.
The target usually isn’t aware they are The target must apply the new attribute as
being manipulated and won’t act entirely out usual, and the Gamemaster might choose to
of character. It is rare for a target to suddenly throw in a few events that will make it come
commit murder, for example. But hiring to the fore, unless the object is already doing
someone else to murder someone can be quite so.
common.
Engineer:
Mind Control: This power is usually the preserve of objects
This more powerful form of inception with a story to tell, such as letters. They
allows the object to take control of their make a test and if they succeed at difficulty
target for as long as they are in its presence. 6, something happens in the real world
They make a test using their level plus any connected to their story. So, if the object is
bonus traits and attributes from the target part of a story where someone loses a lover in
as with inception. However, the target does an air crash, the first event might be someone’s
get a resistance test (usually with the Stage partner mysteriously winning a holiday to
Management skill). The difficulty for both fly to an exotic location. The object will do
rolls is usually 5. Whoever gets the most their best to match the story as well as they

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can with the tools they have available, and all Illness
the events it influences must make sense. So, Many people, including high-ranking
instead of people getting shipwrecked as in a performers, don’t actually get paid when they
story, they might be locked in a room together. go off sick. Given there are few enough staff,
Think of the object as a frustrated director many ill people don’t want to let down their
who has got to use a particular company and co-workers. Sometimes a lead performer will
has no budget to tell its story. go off sick to let their understudy perform
the role, and some will perform from their
Illusion: death bed if they are worried the understudy is
Potentially the most dangerous power is actually better than them.
that of illusion. The object must make a test All this means that many people who often
against the target in question (who may resist look well at the half or beginners can be taken
at the same difficulty). If the object wins, the seriously ill during the show. Actors are often
Gamemaster can tell the player their character the worst about this as they are good at hiding
believes a fact that is false, such as ‘the floor how badly they feel—given they are actors. In
is lava’, or ‘your partner is cheating’. If shown one show I worked on the lead actress came
concrete proof the illusion isn’t real, the off stage after her first scene and passed out in
spell can be broken. But if used subtly, it is the wings as soon as she stepped off stage. The
harder to find such evidence, or see anything understudy (an acting ASM) was handed the
is wrong until it is too late. The player of the coat she was wearing and sent on for the next
character should role play accordingly. But scene in a matter of seconds (and despite the
the Gamemaster might like to suggest they young actress in question doing a great job for
have succeeded at a perception roll and seen a week, they still didn’t give her the part when
something everyone else missed, to maintain the lead turned out to be too ill to return).
the illusion at the table. When someone goes ill during a
production, even if they are covered, the cast
or crew will be spread thin. If they had voiced
Mundane Problems concerns before the show, stage management
might have been able to call more cover in,
The player characters have a lot to manage, but now the show is up and running and you
with ghosts, saboteurs and everything else just have to work with what you have. This
going on. But actually, it can be pretty hard means things can get forgotten or overlooked
to just get through the show, even on a good if the people covering have either forgotten,
day. Some of the following might be problems or just never got told about some of the cues
facilitated by saboteurs, but they can still the ill cast or crew member did. That is to say
happen if the set just isn’t being cooperative. nothing of the fact those covering may have
In fact, when a show is going wrong the never done the track before, or even rehearsed
player characters might suspect a saboteur it.
when there isn’t one. The Gamemaster should Interestingly, theatre does have an oddly
feel free to confront the player characters with powerful healing effect (known as ‘Doctor
as many of the following as often as they like. Theatre’), at least for the duration of the
Always remember, once a show begins it is a performance. Adrenaline is a wonderful thing,
runaway train. The DSM may be steering it as and many people have made it through a
much as possible, and it will usually stay on show only to collapse when the curtain comes
the rails, but no one will stop it until the final down. Other might be on death’s door until
curtain if it can possibly be avoided. they hear the overture. So, it is hard to know
who might make it through, and who should

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just be kept in bed. Couple that with an ill with their console until they press a button
performer or crew (possibly even delirious) and nothing happens (yet the console insists
insisting they are fine, and things can get everything is running smoothly).
very crazy very quickly. Potentially worse is Even if a power outage is obvious (such
someone ‘soldiering through’ and being too ill as a clear ‘air gap’ in the cable run) it may be
to perform their role properly. Actors might tricky to fix during a show. If something gets
miss cues and forget lines, crew will miss cues snagged and unplugged, you can’t get a ladder
and make mistakes, and either might just pass on stage during the performance. Plugging it
out at any time. This is to say nothing of the back in might require careful timing to find
fact that if it’s a virus, in the space of a show the right scene or scene change, and a high
they have probably now given it to the whole level of acrobatic teamwork to get the right
company. bits plugged into the right cables.
It isn’t just electrical equipment that needs
Power a form of power, either. Many scenery systems
A lot of technology requires power of use hydraulics or air pressure to lift a heavy
some form, and without it the machine is piece onto wheels (or take it off the wheel to
just a heavy box. Sometimes a power outage lock it in place). These require checks on the
is obvious, and the lights on the machine or machinery, or charging up an onboard air
desk just fade. Then it’s easy to see you have canister before the show. If you forget and the
a problem. But some technical devices have piece runs out of juice, you will be trying to
relay and network systems making sure all push a dead weight off stage (and this takes a
the machines can talk to each other. If one of painfully long time, even with everyone else
those fails, the operator won’t see a problem helping the crew).

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chances are someone will lose or break the

bloody thing before act two when it’s needed’.
Unless the item is expensive, there is often
a spare, often a rejected version used in
rehearsals. It won’t look the same but it’ll do
the job. The Royal Grand has extensive props
stores, but that means going down to the
sub-levels and rooting around. While you can
often get lucky, the clock is usually ticking as
the next scene requiring the prop is gradually
coming closer as the play goes on.
It’s not only props that get broken.
Costumes can easily be torn or damaged in
the normal run of a play, especially when they
are complex period dresses. Backstage areas
are not as spacious as the halls of the 17th
century nobility. Few nobles also had to move
in the same way many actors in drama-filled
performances do. All this leads to snags, tears
and rips that need repairing (probably while
still being worn) for as long as the actor can
be kept off stage.

Breaks and Tears Jams

Actors do not take care of props. They tend Scenery is often packed very tightly together
to mistreat them as much as they feel their in the flies or on the stage. Pieces that need to
character should (despite the fact they are join or connect can warp or bend after several
acting) and slam them down or throw them scene changes. All this leads to times when
as hard as they can if this is what they think sections of the set either stick, jam or refuse
is called for. In one show I worked on, an to release. Doors are a perennial issue on
actor had to throw a pot into a rubbish bin any stage. Some refuse to open, others refuse
that contained a very expensive small smoke to close, whichever is worse for the scene in
machine (designed to make the pot appear question. The most common is for them to
boiling). The actor could have just dropped slam shut and then gently fall open, often as
the pot in, but instead he slammed it into the an actor is making a speech about how they
bin as hard as he could each night, and then are locked in.
complained when the smoke machine became Scenery being set up in a scene change
unreliable. usually ties or clamps into place, and if it
If the item isn’t important it can be cut refuses to do so, the whole set might not be
for the show, but more often than not it’s a stable. Sometimes someone has set something
vital part of the story. The playwright Anton wrong just a little bit and the error has
Chekov coined the narrative term ‘Chekov’s grown with each new piece added to the
Gun’, stating that if you show the audience a construction. As long as it lasts the scene
gun in act one, make sure it gets fired in act you are usually OK, so long as there are no
two. embarrassing gaps. But slightly worse is trying
There is an addendum to this in that ‘if you to clear the construction in the next scene
put a gun in the hands of an actor in act one, change and discovering something is jammed

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together and won’t release. Anything that Running Adventures

won’t come apart may not fit through the
entrances to get it stowed away, either. After all this detail on what goes on at
These problems don’t just happen on the the Royal Grand and how you can manage
stage. Sections of scenery can get stuck on encounters, you may be wondering what you
each other in the fly system, too. Sometimes a actually do. How do you create adventures,
wide piece is taken out too far and it catches and what sort of adventures can you run? In
on something it shouldn’t. Something else this section we’ll address just that, looking at
might jam, meaning another piece next to it how to run both single-session games and full
won’t have room to be taken out anymore. campaigns.
When it’s the whole back wall or a neon sign,
it can be embarrassing when it isn’t in the One Night Only
right place. A single-session game is designed to be
To fix these problems there is usually only chaotic for the players, but not necessarily
one answer: violence and brutality. You’ll try for the Gamemaster. You will have enough to
giving it a wobble to free it back into position, do keeping track of who is where and what
but you aren’t always that lucky. So climbing is going on to manage anything too complex
out or up to kick it as hard as you can often in terms of story and plot. Save the more
becomes the best option. If you hear wood investigative adventures for more involved
splinter but the damn thing moves, you’re campaigns.
good, and you can come in early tomorrow In a single-session game, the problems
to try and repair it. If it still won’t go, hit it coming up for the player characters should be
harder. It’s not ideal, but the clock is ticking clear and simple, but numerous and spread
on the scene change and just leaving it isn’t an out so they have to work together to deal with
option. them.
The first thing to make sure you have to
Refocusing hand in a single-session game is a collated list
A similar problem can occur for the of everyone’s cues in the show. While each
electrician, in the form of lanterns or speakers player should remember when their character
getting ‘refocused’. If someone isn’t being too has a cue to do, in the chaos they will often
careful (often with large scenery), lights and forget. Do your best to keep track of what is
speakers can get knocked and point in the coming up.
wrong direction. This means that not only To be clear, you don’t need to remind them
are they now not doing their job properly, or help them get to their cues. If they miss
they are also doing something they shouldn’t. them, it’s their fault. But you should be able to
If someone sees the refocus happen and they announce over the chaos, ‘Hey Bob, shouldn’t
can get to it, they can push it back into place your character be doing a follow spot about
with their best guess. They might hang around now?’ Then Bob can panic and check if he
in that position to check how right they are has enough tokens to get in place from where
when it comes on. Of course, this all depends he has ended up. If not, well, he should have
on how accessible the lantern or speaker is, planned ahead.
and when someone notices the problem. While this might sound cold, a reminder for
any player about their cues will help remind
all the players to check their cue sheets in
case they are running late, too. It also offers
the whole group a general time check about
what is happening and where you all are in

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the show and the session. In short, calling However, an early scouting party that gets
out player cues maintains the structure of the sent packing might set the stage for something
game for everyone. much nastier to gradually make its way up.
When the game begins, the Gamemaster Saboteurs are the most common problem.
should start things reasonably slowly, The more foolish ones tend to get caught first
especially if it is their first game. Once you as they are too obvious. The player characters
have turned the pressure up, it is difficult to might get involved after being called by one
turn it down. The players (and Gamemaster) of their colleagues, who has seen someone
may also need a little time to get used to how suspicious either backstage or front of house.
things work. They should all have a chance It will then be the player characters’ job to
to do a basic test and roll some dice to get the track them down and deal with them.
hang of things before anything really kicks The more clever saboteurs know to keep
off. This gives them an opportunity to clarify their heads down. They will only make
any rules questions and get used to what is themselves known if they are forced to do
happening. The last thing you want is to slow something dramatic. Usually the only sign
down a conflict with a conversation about they are there will be a string of bad luck
how the rules work. Not only will it be a more that seems too well organised to just be
complex situation, but it will lose valuable coincidence. However, in a single-session game
time. It’s fine for players to need a helping the saboteurs shouldn’t require too much
hand, and they should absolutely have one detective work to uncover, as time is limited.
where they need it. But let them learn how to Usually their discovery will lead to a chase
walk before you make them run; it’s only fair. through the theatre as they either try to evade
Having said that, if you have played before the player characters or set off a new disaster
and the players start getting complacent, hit for the show.
them hard and early with anything you like! Ghosts are the most complex of all
When the Gamemaster starts sending the enemy NPCs, and just one in a single
problems at the player characters, they don’t session game is probably enough. The player
need to start with saboteurs and monsters. characters will have to find a way to contain
Equipment can fail, people can be late it or reduce its power before it kills any of the
and accidents can happen. To emphasise audience or their colleagues. Whenever they
what happens when they miss a cue, the rush back to deal with cues it may find a way
Gamemaster can have an NPC miss a cue and to power itself up again. For these reasons a
put the player characters in a difficult position. ghost will be tough for the player characters
They might then spend some time between to end once and for all (which is part of the
cues trying to find the missing NPC, either to fun).
see if they are OK or tear a strip off them. Running a single-session game is a lot
When it becomes time to send something easier than it sounds in terms of preparation
more dangerous, you have morlocks, work for the Gamemaster, as you don’t really
saboteurs and ghosts to work with. Morlocks need a deep and detailed background for the
are the simplest problems, as they are a known problems that will face the player characters.
factor in many ways. They come from below This means you can wing it for the most part.
and there is little you can do to negotiate. If the player characters are swamped, give
They are also something the other members them some breathing space; if they are on
of crew watch out for, and can call the player top of things, throw something else at them.
characters if something shows up. Morlocks If they are doing their cues they will always
make more sense if they have taken a while be meeting and connecting to other people at
to be drawn up by the noise of the show. the Royal Grand. Any one of them can pass

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on some news of something they saw to send does anything but fit into a normal nine-to-
the player characters off to deal with another five routine.
problem. Even if the player characters are The Gamemaster should lean in to the
alone, they can run into trouble at any time. weirdness and surreal atmosphere, which is
So the Gamemaster can throw anything at often all the stranger for no one finding it
them whenever they like. strange. Depending on the show, people might
As the player characters took on ‘additional skip past dressed as animals, a clown might be
duties’, they should be ready to face some found rehearsing lines from Shakespeare in a
trouble. Day to day, most shows will actually corridor and an ASM might walk past armed
just have a couple of issues to deal with, or to the teeth with swords and guns.
even none at all. But when playing a single Anything and everything gets repurposed
session-game, the Gamemaster is free to make for use by the backstage crew once it is not
that particular show the worst night of their needed in a show. Furniture from old sets
lives. litters the backstage area—you’ll see valuable
antiques, golden thrones, dentist chairs, art
Campaign Games deco lamps, Russian samovars as tea urns and
In a campaign game, the pace can be a that’s just the crew room.
little more leisurely, but it need not be slow. The only thing to remember backstage
A campaign is a chance to move beyond the is that nothing is as it seems. Brick walls
nightly show and look at life in the surreal might be made of plaster. Doctors and nurses
world of the Royal Grand. Life backstage is might only be actors. Bookshelves might be
perfectly normal to those who live it, but to doorways, and if you move a piece of scenery
outsiders it is often strange. Most theatricals a hidden room might be behind it. Everything
are considered a little odd, and it’s no surprise is a lie to the audience, but out of their sight
given how dedicated they are to a life that the truth is always revealed.

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Unlike a single-session game, a campaign But here they can become more detailed
allows the player characters to explore the characters.
theatre rather than rush through it trying to Saboteurs will still be looking to cause
solve problems. They can get to know the havoc, but can the player characters root them
NPCs and even create a few of their own. out before the show? Will they be able to keep
They can start to investigate its nooks and an eye on the new guy, and if they do will
crannies and see what they can find there. they miss the real saboteur? A clever saboteur
Literally anything might be hidden at the might even become a nemesis. If they can mess
Royal Grand. A stage manager might have up a show and escape, they might return to
collected the Holy Grail to discover the haunt the player characters again. Some may
director didn’t think it was authentic enough even have a supervillain name and leave a
and then shelved in it a props store. An egg calling card to further embarrass the player
someone found for a show got left on a characters when they fail to stop them.
shelf afterwards and has now hatched into a But saboteurs need not just be villains.
dragon. Some mystic symbols drawn on an Player characters can get a chance to talk
old piece of set have turned out to have real to them in a campaign game. They might
power and opened a portal to Hell at the back discover the reasons behind their actions,
of the scenic workshop. Anything is possible which could provoke sympathy. Will they
in a theatre, and the weirder it is, the more even try and turn the saboteur into a loyal
likely it is to be true. employee, and risk their own reputations
As well as exploring the building and vouching for them or hiding their past
working to build their reputation, player misdeeds? They might even discover
characters in a campaign game can still fight their attacks are actually part of a more
the same enemies. Saboteurs, ghosts and coordinated and longer-term plan by a rival
Morlocks are still a feature of a campaign. management.

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Morlocks are much the same in a campaign who they were and how they died. In doing
game as a single-session one. There isn’t a so, they might find a way to put the spirits
lot of back-story to these lumbering beasts. to rest forever. The ghosts might also have
However, the secrets of where they come from unfinished business the player characters can
might easily be part of a long campaign. How help to resolve. This might be comical, such
deep are the player characters willing to go as wanting to perform a speech on stage, or it
to learn those secrets? They might want to might be a need for violent revenge on those
explore or have lost a friend in the depths. who killed them.
They might even be ordered to go and find a
celebrity performer who ventured too far, or
was captured by the Morlocks, or worse. Story Seeds
As they descend into the depths of
the theatre, the environment will change The following adventure and encounter
dramatically. The spiral staircases become ideas are more suited to a campaign game,
stone steps, which become rough carved paths. but some elements might be used in a single-
Sections are missing, requiring characters to session game if the Gamemaster is a little more
climb. Paths fork away into all manner of side experienced. There is no reason not to shift
corridors. Whatever is down there is up to the the action to a different theatre and make the
Gamemaster. player characters the saboteurs, for instance.
While civilisations of underdwellers live A single-session game can also be played
down there, so do strange and terrifying out as part of a campaign. As a break in the
monsters. But there is also beauty here. usual structure, the Gamemaster might run the
Caverns might be full of crystals, the wind show for one session, with players using their
might play a haunting song as it plays across campaign characters (or possibly others if they
the rocks, and underground lakes might hold want to swap around).
strangely coloured waters. Waterways might When using a single-session adventure in
support an underground trade system, and an established campaign, the Gamemaster can
ancient hidden caches of treasures might weave the storylines from the campaign into
turn up, long forgotten by those who never the single-session game as well. The characters
managed to return to them. might be searching for a particular prop,
As well as monsters in the underdeep, there trying to manage a drunken performer or get
may be allies. To those who live here, anything a coffee to the director, as well as doing their
from the surface is strange. The simplest cues and fighting off monsters.
artefact might be traded for something Many of these themes can also be worked
perculiar and arcane. Friends will be helpful into the rehearsal process. In this case the
when horrors come sniffing out new prey. single-session game isn’t playing out for a live
There are even tales of a ‘phantom’ who lives audience, but is a dress rehearsal instead. This
under the theatre but knows all its secret might mean the player characters are not just
passages and roams it at will. They say he doing cues but trying to build parts of the
has a lair in the underdark somewhere, and a show at the same time, hoping they will finish
masked figure in eveningwear has been known before whatever they are building is needed.
to rescue lost travellers. Breaks in the rehearsal might give them time
While ghosts are technically the same in to run out of the theatre for supplies, but
a campaign game as a single-session one, they had better be in contact with someone
the Gamemaster has more time to go into who can tell them when the rehearsal starts
their back-story in a campaign game. The running again.
player characters can properly investigate

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Inside the Theatre • Either by rumour or by finding evidence

The following are plots and themes that can of tampering, the player characters realise
be used for adventures inside the theatre. They a spy from another theatre may be in the
might be woven into a single-session game or building. The spy may not be looking to
as part of an extended campaign. sabotage the show just yet. Instead, they are
looking to sow unrest and seek out weak
• A member of the Royal Grand company is points for saboteurs to take advantage of
considering defecting to another theatre. To later. But who is the spy, and what are they
do so they will have to prove their loyalty planning?
and damage the show at the Royal Grand,
effectively burning their bridges with their • A potentially dangerous rumour is going
old life. The player characters uncover the around backstage—not just that a spy may
person’s plan, or at least suspect it. What be in the building, but that they may report
issue has made the person consider leaving to management. Everyone is paranoid and
the Royal Grand, and is it an issue the trust quickly erodes between departments
player characters can help with? Will the and within them. What secrets might a
player characters try to talk them around or spy take back to the ears of the theatre
just wait to punish them if they betray the management? How many people might
theatre? Might they even consider joining they have informed on, and might they be
the potential defectors if the offer is that worth firing someone for? What might the
good? player characters have done that is against
theatre policy or even plain illegal?

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Most importantly, is there really a spy • The player characters are sent into another
at all, or is it just a rumour started by theatre to try and sabotage their show. It
management to bring trouble to the might be in revenge or an act of aggression
surface? by the Royal Grand management. The
player characters might volunteer or be
• The player characters are new, and so they under threat of getting fired. They will
need to find a space for themselves at the either have to find jobs at the other theatre,
theatre. It might be a place to sleep or just or find a way to sneak in. Once there,
their own space to find some peace and can they convince the others they are
quiet. All the best spots are taken, either in to be trusted, or stay out of sight. Most
the substage or the performer’s dormitory, importantly, how can they sabotage the
so they will need to find a place of their show and get away without getting caught?
own. Unfortunately, there is a reason many
parts of the theatre aren’t claimed by the • The theatre needs a resource, such as
old timers. They may be prone to ghosts, wood or paint for the new show, or even
close to Morlocks or already owned by a person with a valuable skill. This is like
the rats. They will need to either negotiate a props run but this time there may be an
or fight for their space, and it won’t come actual budget. The player characters will
easily. need to get the best price but also see off
the competition. Several other theatres
Outside the Theatre may need the same resource, and so the
In a long-term campaign, the player player characters will need to fight for
characters might leave the theatre for errands what they want, possibly literally as well
and to explore Pavilion. While it might seem as figuratively. Whether they do this by fair
like it sometimes, they are not prisoners at means or foul is up to them.
the theatre and free to come and go. Some of
these plots might suit a single-session game,
by either changing the setting or requiring a
rushed errand between cues.

• Stage management needs a particular prop

located quickly. It might be to replace
something that’s broken or simply because
the director changed their mind at the
last minute. This means setting out into
the city, raiding dumpsters and checking
antiques shops. Obviously there is little or
no budget, so they will have to be inventive.
Following leads might take them all over
the city, and introduce them to a variety
of strange and shady characters along the
way. Whether by theft, negotiation or
earning favours, all that matters is getting
the prop the show needs (and hoping the
director hasn’t changed their mind again).

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• Performers sometimes get lost. Many are about the show and have a long list of
new to the building, and few of them know demands they think will be brilliant. Can
its corridors and substage as well as any of the player characters manage them without
the crew. Someone hasn’t turned up, and losing their jobs or letting them ruin the
the player characters are sent to find them. show?
Did they get locked out of somewhere, start
going down into the underdeep or even • It’s awards night, and this year the
wander off into Pavilion? They might even ceremony is to be held at the Royal Grand.
have been kidnapped by saboteurs. The Everyone is in a good mood as there is a
player characters will need to pick up a trail lot of lucrative overtime to be had and a
and then face whatever danger keeps them festival atmosphere to the proceedings. A
from returning, before the show. few of the less experienced cast and crew
might get too much into the party spirit,
• A leading creative (director, producer, and it is up to the player characters to keep
designer, etc.) or performer has gone an eye on them. The audience is made up
missing, but this time everyone knows of some of the most powerful people in
where they are. They have a drinking the theatre world. The player characters
problem and have slipped into the nearest might be tasked to get some of the celebrity
pub and had far too much to drink. actors into secret meetings with the
They need to be brought back to the theatre managers for future productions.
theatre before anything happens to them. Unfortunately, they may also be busy trying
Unfortunately, they are not so drunk as to to watch for spies and saboteurs and even
be unconscious, but are drunk enough to other theatre managers trying to poach
be very difficult. They have been thinking staff.

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Afterwords theatricals (myself included) have at least a

hint of that stereotype somewhere inside.
There aren’t many jobs outside the I should say that (with the possible
emergency services you can make a role exception of tabletop gamers) theatricals are
playing game about, and I’ve been very lucky among the most welcoming people you will
and privileged to be part of this one. Theatre ever meet. They don’t always accept outsiders
is as strange and exciting as I’ve presented it very easily, but if you are one of them you can
here. While it’s not quite as full of Morlocks, walk into any theatre and usually be treated
there are many who have seen ghosts. While as a friend, even family. They have to be like
few theatres have secret passages, many go this. The work is long and hard and often
down far deeper than you imagine. Theatres very intimate. Treating people with suspicion
are often old and pack their history in tightly. and keeping them at arm’s length just makes
Even the new ones seem to absorb a strange everything that much harder.
sort of power that only happens at a live Sure, there are a few bad apples, you meet
performance, and leaves echoes in the fibre of the odd diva, both onstage and backstage.
the place. But they are the exception and not the rule.
I should probably address the usual writing In thirty years of theatre I’ve met a fair few
trope here and say no one in this book is characters and have a fair few stories I can’t
based on a real person. There are plenty of commit to paper for legal reasons. But if you
caricatures and stereotypes in the business, buy me a drink at a convention I’ll happily
so I did not need to mine very hard. But most name drop and tell you a few tales.

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Appendix One:
The Theatre Library

T heatre crops up quite a lot in film and

television. Not really a surprise when so
many people in those industries learn their
feature a brief look at plays in Shakespeare’s
world. In Hamlet we see a troupe of players
lectured about how to perform a play by a
trade there. The craziness of the business is crazy noble turned producer. In Dream we
also a rich seam to mine for playwrights and follow a troupe of amateurs trying to get
novelists. The following list is not complete, their production together for a command
but a good collection to get you started. performance.
Unfortunately, in my experience most such
stories focus on the actors and performers, Six Characters in Search of an Author, by
so you only ever get half the real story. But Luigi Pirandello (1921)
I have managed to find a few that show the First performed at Teatro Valle, Rome, and
backstage part of theatre as well. the Princess Theatre, Broadway a year later.
This Italian absurdist play has been
translated and performed in both the West
Plays and Musicals End and Broadway and many other places. It
follows a production of a play where six new
We’ll begin with plays set in theatres, for characters appear and insist on being written
obvious reasons. A legion of plays about in.
theatre have been made, many of which have As you might expect, it has a rather
been turned into films and musicals and retold surreal nature, but it explores the connections
again and again. I can’t even hope to list between directors and characters, and family
them all, so this is just a list of some of my relationships.
favourites, or those I found most notable.
While you can just read the script, Present Laughter, by Noel Coward (1939)
theatre is meant to be experienced, and so First performed in a UK tour ending at the
you really should find a way to see the play Theatre Royal Haymarket, London
performed. Many have been made into films, This frequently revived play is one that
and the good ones are often revised for live Coward admitted was based on his life, and
performance. he played the lead role in the original run. The
character is an actor preparing to leave for a
Hamlet & A Midsummer Night’s Dream, by tour, and the play is about how he has to face
William Shakespeare (Late 16th Century) the drama that several characters bring to his
Possibly first performed at the Curtain, door.
Rose or Globe Theatres in London
Shakespeare is brilliant (he just is, deal with
it), so any play of his is worth watching. But
Hamlet and A Midsummer Night’s Dream also

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Kiss Me Kate, by Cole Porter (1948) The seamy side of theatre behind the
First performed at the Shubert Theatre, glamour is also explored in Cabaret, a musical
Philadelphia, and the New Century Theatre, more well known as a 1972 film directed by
Broadway eminent choreographer Bob Fosse and staring
A play within a play story once again, this Liza Minnelli. While it deals more with the
time following a theatre company performing fall of Weimar Berlin and the rise of the Nazis
The Taming of the Shrew. It is a common before the Second World War, it mourns the
story but not one that gets turned into a loss of the beautiful decadence of the era.
musical very often. It contains some very well-
known songs, including ‘Another Opening, Rosencrantz and Guildenstern are Dead, by
Another Show’ (a theatre anthem), ‘Too Darn Tom Stoppard (1966)
Hot’ and ‘Brush up Your Shakespeare’. First performed at the Edinburgh Fringe,
then at the Old Vic, London
Gypsy, by Stephen Sondheim (1959) This often-surreal play follows two of
First performed at The Broadway Theatre, the minor characters in Hamlet who find
Broadway fellowship with the lead actor in the company
A story of the desperation of performance, of players the Prince has brought to the castle.
following the memoirs of Gypsy Rose Lee, It investigates the relationships of minor
one of the most famous burlesque performers characters to the play and asks what they are
of the day. It charts the drive of a family doing when all the main characters are in
travelling the country with a vaudeville act the spotlight. It is funny, strange and always
trying to make ends meet, and dedicating watchable, and a play many others have owed
everything to the act. It is about pushy a debt to.
mothers, the rootless life of a travelling Stoppard also premiered The Real
performer and how you are never truly happy Inspector Hound a couple of years later which
until you find what you are good at. also explores the relationship between critics
and the theatre with a play within a play.

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A Chorus Line, Hamlisch/Kleban (1975)

First performed at the Public Theatre,
Off Broadway and the Shubert Theatre,
Broadway.
If you think a musical is always fun and
fluffy, think again. While this show has plenty
of catchy numbers, it is utterly brutal in its
portrayal of theatre. It follows a group of
seventeen dancers auditioning for a part in
just the chorus line of an upcoming show.
Every single one of them is desperate for the
work, but there are only a few spaces in the
show. We follow them through the audition
process, and also see it from the director
and assistant choreographer’s point of view.
It offers a completely unsugared view of the
realities of the business and how dreams can
be both made and crushed.
A slightly more upbeat version of the
creation of a dance production is 42nd Street,
which premiered on Broadway in 1980 and
has had numerous revivals since. If you like
tap dancing, this one is for you.

A Life in the Theatre, by David Mamet The Dresser, by Ronald Harwood (1980)
(1977) First performed at the Royal Exchange
First performed at the Lucille Lortel Theatre, Manchester
Theatre, Off-Broadway and the Goodman This is the most heartbreakingly accurate
Theatre, Chicago portrayal of life for the theatre company you
This play looks at the lives of two actors, will ever find. However, it also has many
one old and experienced, the other new and beautiful moments of comedy. In the play, a
enthusiastic. As the play continues, we watch touring company is performing a production
the dynamic between them shift and change. I of King Lear, led by ‘Sir’, the ‘actor manager’
must admit to not having seen the play in full, of the troupe. Unfortunately, Sir is having a
but did watch Patrick Stewart portray one of nervous breakdown, but as their livelihoods
the roles at a benefit gala, and he is always rely on the production, the troupe (and
worth watching. especially his dresser) do everything they can
Also by Mamet is Amy’s View, a play to keep him stable to ensure the performance
following the lives of a group of theatre isn’t cancelled. The relationships between
people over sixteen years. They discuss theatre the troupe are beautifully nuanced and the
and what it means, as well as many other long tragicomic collapse of the centre of their world
running arguments. The original run in the masterfully handled.
West End in 1997 starred Judi Dench, Ronald
Pickup and Samantha Bond.

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Noises Off, by Michael Frayn (1982) A game of bluff and deception plays out
First performed at the Lyric Theatre, as the theatre managers try to capture the
Hammersmith Phantom, whose obsession with Christine
This is the grandaddy of all comedies about causes him to commit more violent problems
theatre and is as cleverly constructed as it is for the theatre.
funny. In act one we watch the final rehearsal A lot of Opera House is modelled on
of a production, introducing the characters the amazing Paris Opera House (if you
and performers and the overworked backstage are in Paris, pay it a visit, you will not be
staff. In act two the set is reversed, and we disappointed). So Phantom is one of my main
watch the production from behind the scenes sources, especially as I spent nearly a year
on its disastrous opening night. It’s the working on the follow spots for the show.
standard any theatre farce looks up to. Several films and even a TV miniseries
have been based on the book, dating from
A Chorus of Disapproval, by Alan 1925 (with Lon Chaney as the Phantom) to
Ayckbourn (1984) 1943, 1962 and the early nineties. The stage
First performed at The Stephen Joseph musical was also made into a film in 2004. A
Theatre, Scarborough musical sequel, Love Never Dies, opened at
Ayckbourn was known for his farces in the the Adephi Theatre in London in 2010, but
1980s and also tried a few productions that sadly proved not to be as enduring as the title
pushed the limits of the theatre space, such as suggested.
setting Way Upstream on a boat that floats in
real water on the stage. The Woman in Black, by Stephen
A Chorus of Disapproval follows a young Mallatratt (1987)
man who joins a local amateur dramatics First performed at the Stephen Joseph
company in a production of The Beggar’s Theatre, Scarborough, then the Lyric,
Opera. It is fraught with all the usual Hammersmith
torments, and the relationships between the Still running at the Fortune Theatre in
characters off stage bring new meaning to the London, this is one of the scariest and most
songs of the show. atmospheric performances you will see. It is
a Victorian ghost story about a young man
The Phantom of the Opera, by Andrew visiting a house haunted by a murderous
Lloyd Webber (1986/1910) woman in black. What makes it a useful
First performed at Her Majesty’s Theatre, source for Opera House is the conceit of the
London play. It is set as a rehearsal where an older
This musical is based on the 1910 novel man who had the experience is rehearsing
by Gaston Leroux, but you are more likely to with a young actor he has employed to play
know the musical than the book. It is set at him in the story. Between discussions, the two
the Paris Opera House and follows a young take on characters to rehearse the scenes, the
chorus member at the theatre, Christine Daaé. older man playing people like coach drivers
When she gets an opportunity to play the lead and the like. Each scene draws you in with a
in the show for a night, her voice entrances a simple darkening of the lights and a catalogue
mysterious figure living hidden in the theatre of evocative sound effects (Mr Bunce the
referred to as ‘the Phantom’. He threatens sound operator being an unseen character in
violence on the show and its company if his own right). Not only is it an excellent story
Christine is not given the lead permanently. but a great way to see how evocative scenes
can be made with very simple effects.

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Sunset Boulevard, by Andrew Lloyd Webber could perform with more subtlety. It let them
(1993) do away with rather overblown mimes to
First performed at The Adelphi Theatre, show emotion to the audience. The play is
London also known for its opening prologue, which is
The story of a young screenwriter not only brilliant but sets the tone for the rest
connecting with a faded silent movie star of the play.
living in her past, who sees him as a chance The play had a run at the Royal Court, and
to be a star again. Theatre can be brutal to my own Theatre Royal, Haymarket. But the
performers as they get older or if they are film version in 2004 is pretty definitive, with
passed over for ‘the next big thing’. This is a Johnny Depp as Wilmott, John Malkovich as
recipe for tragedy, as it is harder to give up on King Charles and Samantha Morton as Barry.
dreams when you know how good they felt to Rosamund Pike also has a minor role as
attain. Wilmot’s long-suffering wife.
The musical is based on the film of the same
name (by Billy Wilder in 1950) and follows Acorn Antiques the Musical, by Victoria
similar themes to Whatever Happened to Wood (2005)
Baby Jane (1962) that starred Betty Davis and First performed at the Theatre Royal
Joan Crawford, as well as The Killing of Sister Haymarket
George (1968, also based on a play). Sunset It’s not often you get to be the hottest
Boulevard is also known for the famous quote ticket in the West End, but it’s good when
‘I’m still big, it’s the pictures that got small’. you are. This musical is based on an ongoing
sketch that ran in the Victoria Wood comedy
The Libertine, by Stephen Jeffreys (1994) series for most of the 1980s. Each sketch
First performed by Out of Joint at the was another ‘episode’ in a dreadful and
University of Warwick Arts Centre, then at the cheap TV soap opera set in an antiques shop.
Royal Court Theatre, London. The musical version is set long after the
This play is mainly about the licentious ‘cancellation’ of this TV soap and is effectively
Second Earl of Rochester, John Wilmot, and two musicals in one. In act one the cast are
his life in Restoration England. It mostly reunited for a stage version, expecting to do a
follows his relationship with the King, who production much as they used to on television.
loves him like an annoying little brother But the director wants to make an artistic and
who keeps acting up to get his attention. searing indictment of modern life instead. In
The theatre aspect appears in the shape the second act, one of the cast has won the
of Elizabeth Barry, a minor actress being lottery and uses the money to put on the show
lambasted for trying to portray a modern they were expecting. This all meant a lot of
realism in her acting rather than the accepted scenery and so much weight in the fly system
actions and mimes. Wilmott, who is as they had to reinforce the roof of the building.
obsessed with theatre as he is with sex, sees For our purposes, act one is the one to
what she is trying to do and realises it is watch. Here we see the quiet battles during the
potentially the future of the craft. He becomes rehearsal process between actors and directors
her patron, although Barry refuses to let him trying to push the show in the direction they
take credit for moulding her. want. It also shows what happens to a show
This play addresses the nature of when the team are all pulling in different
relationships and how the nobility and patrons directions (spoiler alert, it doesn’t turn out
influence theatre. It’s also a look at a changing well).
time in theatre. As lights got brighter, actors

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The Play That Goes The play is a

Wrong, by Henry biography of Samuel
Lewis, Jonathan Sayer Foot and his journey
& Henry Shields (2012) from becoming an actor
First performed at the to owning a theatre,
Old Red Lion Theatre and his friendship with
and Trafalgar Studios in several other leading
London theatricals of the time,
This play about including David Garrick.
a disastrous theatre It shows 18th century
production probably theatre life in all its
owes a debt to Noises comedy and tragedy,
Off, but has spawned from the actors to the
several other shows in a stage managers. Even
similar vein. It concerns in the modern world,
a show put on by the little has really changed,
newly-wealthy Cornley except we don’t perform
Polytechnic Drama amputations on stage.
Society of The Murder I should also
at Haversham Hall. As recommend the work
the drama society is not of the Farndale Avenue
well-prepared or skilled, the show is beset Housing Estate Townswomen’s Guild
with disaster upon disaster from the start. Dramatic Society, who have crafted several
It’s a good example of the sorts of problems worthy productions since their debut at the
that can mount up in a show, even without Edinburgh Fringe Festival in 1976.
saboteurs. It is also worth a watch as despite
seeming just silly, this sort of production
is one of the most difficult to perform. It Television
requires expert timing from cast and crew and
a precision you would not expect from what
you watch. The Muppet Show (1976, 5 seasons)
While a long list follows this, if you want
Mr Foot’s Other Leg, by Ian Kelly (2015) a truly detailed and realistic view of theatre,
First performed at the Hampstead Theatre, stop right here. You think Shakespeare is
London and Theatre Royal Haymarket hard, try organising a variety show. All the
One of my favourite productions at my characters are here, from the talented diva
theatre, and a show where all the cast were (Miss Piggy) to the overstressed stage manager
amazing. It was doubly interesting as it was (Kermit), the experimental theatre nerd
a play about the Haymarket theatre itself (Gonzo) and the nice but awful comedian
and how it got its royal charter. Watching the (Fozzie). Few theatre shows go to all the
history of the theatre unfold in the theatre levels of production as this one does. Even the
itself was an amazing experience. Sadly, the musicians get featured.
actual building isn’t the same, as the old The show has spawned a wealth of films
Haymarket theatre that dated from 1720 was and following series (more television-based,
demolished and rebuilt a few feet south in though). If you like theatrical animals you can
1820, but I digress. also check out Sing! (2006), about a talent
show set up to save a struggling theatre.

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Carnivale (2003, 2 seasons) rant with real authority, and I’m probably
This strange tale of magic set in the being very unfair, but I can’t stand the ‘let’s
depression of the 1930s follows a travelling put on a show’ musical. They always focus
carnival trying to make a living across on who will be a star, and anyone who can’t
America. It is strange and brilliant with a host perform is assigned a backstage role almost as
of excellent characters. If you want to good if it’s a punishment. For the record, none of us
picture of life for a group of travelling players, backstage (unless we are also actors) has any
this is the one to watch. desire to perform, and much prefer the job we
are doing, thank you very much.
Slings and Arrows (2003, 3 Seasons)
This Canadian series follows an acting Studio Sixty on the Sunset Strip (2007, 1
company putting on productions of Hamlet, season)
Macbeth and King Lear (one each season). It is criminal this series by Aaron Sorkin
The characters are a great mix of the insane, only lasted one season. I suspect it fell victim
enthusiastic and jaded, with a tangled web of to ‘why isn’t this The West Wing’. It follows a
relationships behind them. It also addresses studio producing a weekly comedy television
the eternal problem of trying to make theatre show, based mainly on Saturday Night Live. It
that is both commercial and artistically has a great collection of characters, and while
credible. Everything about this series is this may be television and not theatre, the
excellent, and several scenes encapsulate the same attitudes and conflicts apply.
entirety of theatre and the experience of being If you need more television insanity, 30
part of it perfectly. Rock (2006, 7 seasons), Tina Fey’s comedy of
life at a broadcast TV show in a similar vein,
Extras (2005, 2 seasons and special) is also well worth a watch.
You might not like Ricky Gervais, but this
is worth a watch even if you didn’t like The Theatreland (2009, Documentary)
Office (watch After Life as well, just because For most of a year we had a film crew
it is incredible). Extras follows two characters following us all around my workplace looking
(Ricky Gervais and Ashley Jensen) working at life backstage. We were doing Waiting
in a variety of productions. They meet all for Godot (with Patrick Stewart and Ian
manner of characters, and many famous McKellan) at the time and later Breakfast at
actors play themselves in each episode. The Tiffany’s (with Anna Friel). As usual, the team
various struggles of a performer trying to focused mainly on the performers, but did
move forward in their career are realistic and look at some of the life backstage. You’ll see a
often funny. glimpse of me here and there.

High School Musical (2006, numerous Smash! (2013, 2 seasons)

sequels) & Glee (2009, 6 seasons) A more glamorous and showbiz version of
First off, I’ve never seen these, and probably Slings and Arrows, and I suspect not as good.
never will. I can’t avoid adding them as they This follows a small theatre company trying to
were exceptionally popular and show drama bring a musical into Broadway, with a focus
kids trying to put on a show against adversity. on its two potential leads. Lots of backstage
I tried watching Glee when a friend insisted it gossip and relationships, but once more all
was worth watching; I managed 10 minutes about the actors. Will no one do a series about
before I couldn’t stand it anymore. So I can’t just the techies? Which leads us to...

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Roadies (2020, 1 season) the process. It looks at the effects lockdown is

This series follows a rock band, but from having, and the relationships between actors
the point of view of the production manager and their director. Several star cameos turn up,
and tour director. While no roadie ever held most notably Judi Dench, who proves once
hands in a circle for team sharing (there is again she is a national treasure.
too much work to do to waste time), it is
refreshing to see the performers take the back
seat for a change. It’s also a good look at life Film
backstage and the family it builds, even if it
makes it look like the show rather builds itself
and musicians are gods everyone worships. To Be or Not to Be, 1942, Dir Ernst
Lubitsch
Staged (2020, 2 seasons) In occupied Poland, a group of actors
2020 sucked for so many reasons, but it did become involved in the resistance by accident.
give us this work of genius. When lockdown As a wartime comedy it’s not as potentially
stops a production of Six Characters in Search horrific as that might sound, and it’s very
of an Author, the director decides to try and funny. The actors all have the common trait
rehearse over the net using Zoom. His two of not really considering the danger as long
leads are David Tennant and Michael Sheen as they are getting to perform. Mel Brooks
(playing themselves), and the series follows remade the film in 1983 and made a complete
their Zoom calls and the ups and downs of mess of it. Watch the original.

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The Producers, 1967, Dir Mel Brooks knows his secret and manipulates everyone
Now more famous as a musical, this is in the company with the power he holds. It’s
one of Mel Brooks’s classic films and shows a complex and slightly surreal look at the
him almost at his best. Since Silent Movie, power dynamic and self-governing world of a
Blazing Saddles and High Anxiety it’s all gone company.
downhill, but this is excellent. In this story,
an agent and a writer realise that if a show Fame, 1980, Dir Alan Parker
flops, they will actually make more money as You’ll notice I don’t include the popular
investors won’t expect a share. So they set out 1980s series this film spawned, and for good
to make the worst musical of all time. They reason. The series was all about ‘I’m going to
hire an insane Nazi to complete his musical be a star’ which, as I’ve mentioned, makes me
magnum opus propaganda show Springtime spit nails. The movie is very bleak. Set in the
for Hitler. Then they set out to find the worst (real) New York School for the Performing
company of actors to perform it. It is so awful Arts, it follows the young performers learning
and in such offensively bad taste they feel a their craft and dealing with the heartbreak
flop is assured. Of course, everyone loves it. they each potentially face trying to claw
their way into the business. It strips away
Theatre of Blood, 1973, Dir Douglas the glamour (which is a myth) and offers a
Hickox realistic portrayal of the hard work needed to
This film stars Vincent Price as horror follow a dream. There is a 2009 remake but
actor Edward Kendal Sheridan Lionheart, I’m not sure it’s necessary.
a somewhat ham actor who believes no one
understands his genius. Tired of critics not Shakespeare in Love, 1998, Dir John
marvelling at his greatness, he hatches a plot Madden
for bloody revenge. He murders his way While this dramatisation of the first
through each of them in the same manner as performance of Romeo and Juliet makes little
a famous theatrical killing (such as the death attempt to be accurate, it is also brilliant. It
of Julius Caesar). However his worst critic shows how the same attitudes, desperation
proves much harder to dispatch. The film and chaos inherent in all productions has
was adapted as a stage play in 2005 at the remained the same for centuries. The idea that
National Theatre with Jim Broadbent in the you basically just keep fighting and hope for
lead. a miracle rings true for any production. Tom
If you enjoy your theatre with a little Stoppard was one of the writers, and the hand
horror, you may also enjoy the segment ‘The behind Rosencrantz and Guildenstern is very
Cloak’ from the anthology film The House evident.
that Dripped Blood. In this segment an actor
(played by Jon Pertwee) discovers he has Shadow of the Vampire, 2000, Dir E Elias
strange powers and cravings when he dons his Merhige
vampire costume in a stage production. Turning to film again, this dark tale looks
at the obsession behind trying to capture the
The Stunt Man, 1980, Dir Richard Rush perfect performance. It is a fictional account
A criminal on the run finds himself of the making of the film Nosferatu in 1922.
adopted by a film crew as a stunt man almost The twist is that the director has actually
by accident. In the strange and slightly hired a real vampire to play the role and
disconnected world of the film company, promised him his lead actress as a reward for
he finds a place to hide. However, it seems compliance.
there is a price to be paid as the director

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the profession is only part of the tale. We also

follow the male actor she replaces, famed for
playing female roles and at the height of his
career. As he finds himself unable to play male
roles, he watches a woman who was once
his employee taking the parts he once was
lauded for, to much acclaim. While this could
be a tragedy, both actors eventually help each
other overcome the problems they are both
facing, which is actually closer to the truth of
the profession. There is also a stage play of the
same name that I can’t find any references to,
so I’m going with the film version.

The Prestige, 2006, Dir Christopher Nolan

While this film is about stage magicians, it
could easily be about actors. It looks at the
lengths to which the lead characters will go to
create a new act, and what they are prepared
to do (both to themselves and others) for the
appreciation of the audience (‘the prestige’
of the title). It is chilling, has a touch of real
magic dressed as science and occasionally
drifts into horror.
John Malkovich’s performance is excellent
as the director, as is the rest of the cast in a Black Swan, 2010, Dir Darren Aronofsky
film where the vampire isn’t the only monster. In this very dark film about the world of
ballet, Natalie Portman delivers an incredible
Moulin Rouge, 2001, Dir Baz Lurman lead performance. She plays a talented
Moulin Rouge is such a passionate and ballerina who earns the role of the Black
colourful musical that it is a great shame it Swan in the company’s next production of
hasn’t been adapted for the stage. It concerns Swan Lake. Unfortunately, she is not mentally
a group of artists who convince a renowned strong enough to cope with the extreme
courtesan to help them stage a play at the pressure being put on her and begins to lose
Moulin Rouge in 1899 Paris. During the her mind. It is hard to tell what is real and
production the courtesan falls in love with the what is not in this film, as much of it is from
writer, even though she is coveted by a Duke Portman’s fracturing point of view. The film
who is her most persistent client. Jealousy and also gives an honest portrayal of how many
young love clash among a variety of stylish modern backstage areas are anything but
adaptations of many modern songs. glamorous and often resemble soulless car
parks.
Stage Beauty, 2004, Dir Richard Eyre
This film offers two sides of the same story, Birdman, 2014, Dir Alejandro Inarritu
and one familiar to many actors. It charts I could go on for many pages about this
the rise of a dresser in the 17th century who strange but very well-observed surreal vision
becomes the first female actor of the age. But of life backstage. It follows a lead actor
her fight to be accepted as an actor and rise in famous for playing a superhero, rehearsing a

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new play. He is trying to be taken seriously Books

and shake off the typecasting that has made
him wealthy, as he tries to come to terms
with the fact the best years of his career may The Good Companions, J B Priestly (1929)
be behind him. The look and feel of the film This novel follows the fortunes of a concert
is very close to the theatre I know, except for party touring England. The characters are
when one of the cast decides to screw up one essentially trying to escape their lives in many
of the previews. ways, and so the tour is a little doomed from
As a side note, no actor, anywhere, ever, the start. It illustrates the power of theatre to
is allowed to keep a prop firearm in their allow you to step outside the rest of society,
dressing room. However, before the actor and how everyone still takes their troubles
takes a gun onstage, the stage manager (played with them when they do.
by Merit Weather, who gets a name check for
playing a backstage person brilliantly) tries to The Swish of the Curtain - Pamela Brown
hand him something. I think she is handing (1941)
him the actual prop gun and eventually Adapted several times for television, this
figures, ‘If he won’t take it, he can deal with series of books follows an amateur children’s
not having it on stage’. My other favourite company. All the usual tropes are there, but
moment is the actress who shows concern the series puts more focus on loving the idea
for one of the company seemingly having of performance than being famous or making
a nervous breakdown, but remains more a career.
concerned about whether a talent scout in is
the audience.

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The Art of Coarse Acting, by Michael theatre magic with witch magic is an explosive
Green (1964) formula, as ghosts, murder and all the usual
While it is a little dated now, this remains problems of theatre create chaos for the
a brilliant look at how to simply survive in production.
theatre. It covers a multitude of jobs and sins,
such as ideally being killed in act one so you Hamlet (Cartoon), by Harry Venning
can spend the rest of the show in the pub. (1990)
The Stage newspaper has been running
Bluff Your Way in Theatre, by Fidelis since 1980 and still delivers theatrically
Morgan (1986) relevant news on a weekly basis. Most people
One of a series of ‘bluffer’s guides’ that only buy it for the jobs section, but it is always
aims to pick out the common knowledge of a worth a read. One of its main attractions is
career so you can slide in without doing the the regular strip cartoon Hamlet. It follows a
work. It pokes fun at every aspect of theatre, jobbing pig actor and his animal friends trying
especially the pretension that allows you to to get enough work to buy a round in the pub.
get away with anything if you look confident The cartoonist (Harry Venning) offers many
enough. brutally well-observed shots at theatre life,
and collections of the strips are available. You
I, an Actor, by Nicolas Craig/Nigel Planer will not be disappointed.
(1988)
Possibly owing a debt to the art of course Mr Foot’s Other Leg, by Ian Kelly (2012)
acting, Nigel Planer takes on the persona This book offers the history of Samuel
of ‘Nicolas Craig’, an experienced jobbing Foot that couldn’t fit into the play of the same
actor who shares his wisdom. The tone is name. It is an incredible story of torment,
beautifully pretentious and arrogant to all the tragedy and hidden sexuality. But it also
right extremes. The book spawned a short TV charts the support of friends and an ambition
series where Nicolas analyses a series of scenes to make great theatre. Like all good history
of archive footage of real actors, musing about books, this truth is more dramatic and full of
how they might be figuring out their shopping twists than many stage productions.
list.
Q2Q (webcomic), by Stephen Yonkins (2014)
Drachenfels - Kim Newman (1989) This web cartoon (now in two Kickstarted
The world of Warhammer is pretty dark, collections) is written and drawn by a working
so even theatre can be deadly. But one has to sound technician (but it’s very good so I won’t
question the sanity of a playwright who wants hold that against him). He takes a look at all
to put on a play in the castle of a long dead aspects of backstage life and often nails it.
necromancer. With a vampire on his cast and The title refers to doing a technical rehearsal
a tendency for necromancers not to stay dead, where you omit any long sections of dialogue
the production is quickly off to a shaky start. and just skip from technical cue to technical
cue. They sometimes work, but more often
Maskerade - Terry Pratchett (1995) than not they just confuse everyone trying to
Prachett’s Discworld novels poke fun at pick up from the right place and so you may
the absurdity of many aspects of life, and in as well have just run the scene. Many directors
Maskerade it is theatre’s turn. It takes The still mistakenly believe such a process will
Phantom of the Opera as its base and turns shave hours off a technical rehearsal.
many of the tropes on their head. Mixing

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Games Ghost Writer (Triple Ace Games)

I should also add a quick plug for my friend
This isn’t the only theatre storytelling Walt Ciechanowski’s Gothic horror adventure
or role-playing game. While the following set in a theatre. A new play by Shakespeare
focus on the show from an actor’s point of has been discovered, but it was hidden for a
view (doesn’t everything!), they offer great reason. I nagged him a lot while we playtested,
inspirations for further theatrical adventures so it’s only fair I give it a mention!
in Opera House (and are worth playing in
their own right). Theatre and Crime
As a sidenote, I should add that in asking
D20 Shakespeare (LPJ Design) for items for this list, several ‘actors who
Proof that Shakespeare’s stories fit any investigate crime’ turned up. As they are more
medium, they have been converted into D&D concerned with crime than theatre, I’ve not
adventures. Sadly, only four were produced detailed them here. But they are worth listing,
for the 3rd edition of Dungeons and Dragons so you may also want to take a look at the
under the Open Game Licence. They are following:
Henry V, Macbeth, Othello and Romeo
and Juliet. They are still available on PDF, • Dan Leno and the Limehouse Golem -
although they might need some conversion to Peter Ackroyd (Novel)
the more recent editions. • The Charles Paris Mysteries (Radio
plays)
The Play’s the Thing (Magpie Games) • Ashenden - W Somerset Maughan
In this game your characters are part of a (Novel)
Shakespearian company putting on a show. • Vintage Murder - Ngaio Marsh (Novel)
They start with one of his plays, but it can go • Full Dark House - Christopher Fowler
off the rails at any moment. As the show goes (Novel)
on, the players can decide to ‘make the play • Too, Too Solid Flesh - Nick O’Donohoe
better’ with a few changes. Once something (Cyberpunk Novel)
is in the play, it is there for good, as the show • Carter Beats the Devil - Glen David
must go on. Gold (Novel)
• The Somambulist - Jonathan Barnes
By the Author of Lady Windermere’s Fan (Novel)
(Ed Turner) • The Understudy - David Nicholls
This game is similar to a single-evening (Novel)
session, as it concerns the players creating a • The Reckoning (Film, 2002)
play together as it is being performed. Their
characters are all actors and they will need
to work together to figure out what they are
doing as they go. Amidst the improvisational
insanity, they must also do their best to keep
the audience’s attention or all is lost.

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Appendix Two:
Theatre Magic

T hroughout time, directors have been

asking the impossible and expecting
theatre technicians to somehow figure out
Gas lighting eventually took over, and then
electrical light. But even in modern lighting,
many ancient effects are still popular. Simple
how to do it, with little or no budget. In effects made by putting a gobo in a light (a
many cases the technicians turned to stage metal cut out slide that allows the light to
magicians and learned a few of their secrets. project the cut-out image) are still used today
These systems for creating effects have been in a number of ways. However, just the ability
largely phased out in the modern theatre with to dim and colour a light can have a dramatic
the advent of projectors and sound effects. effect. Deep blue evokes nighttimes; warm
However, the techniques of the old masters colours make a place welcoming and happy.
of backstage are still remembered, and Dim the lights and you focus the audience’s
often useful. Some even remain in a few old attention on what you have lit, and create
theatres. intimacy by closing down the space. Brighten
them and you make the stage look even bigger.
While we have all manner of gadgets, many
Modern Lighting lighting designers still effectively use the same
tricks and effects that their forebears used
As it is my area, I have to put in a word with candles.
about the powerful effect of lighting in theatre. Lighting is still evolving, and people keep
Lighting and acting have advanced hand in finding new ways to create effects. A lighting
hand. The brighter the stage, the better actors trainer I once knew who worked with moving
could be seen, and the more subtle their lights told me a story of a dinner party
performance could be. encounter. When mentioning what he did, the
The first theatre lights were simply candles man next to him said he used to do lighting,
with reflectors behind them. The bill for too. He then starting talking about putting
candles was a theatre’s greatest expense in coloured oils on overhead projectors many
many cases. Other, more dangerous forms years ago. My friend thought he was a weird
of light were developed. ‘Limelight’ was as amateur theatre enthusiast until he realised
dangerous as it was popular. It was created by this man used to work for rock bands in the
putting a flame to a lump of calcium oxide, 1960s. My friend’s company now worked to
which caused a bright white light. However, a try and create a more effective means of doing
flame and an explosive substance meant that what the dinner party guest used to. He was
many follow spot operators didn’t have very not talking to a strange old man but one of
long careers. the fathers of his industry.

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Sightlines and Perspective handles on the bottom (short side) that is

hung up backstage. When thunder is required,
While they can be more of a problem a stage hand grabs the handles and shakes
to be overcome than theatre magic, used the sheet as hard as they can. It can be very
cleverly, sightlines can play interesting tricks physical if they want a lot of thunder.
with perception. Simply put, a sightline is The howl of wind is achieved with a slatted
the line of sight an audience member has drum in a frame that can be turned like a
over the stage set. They are measured in no tombola. A piece of heavy canvas is draped
more complex way than sitting in one of the over the drum and fastened on one side. As
seats and seeing what you can see. If you can the drum turns, the slats move under the
see areas of backstage you shouldn’t, such canvas to make a whooshing wind sound.
as through a gap in the scenery or a badly The faster it is turned, the more aggressive
masked entrance, you need to fix that. This the wind. This too can be very physical, so
goes for looking up as well, and layering no one likes a storm to go on too long or too
borders to mask the lighting and flying pieces vigorously.
is another important part of checking the A more exciting but expensive thunder
audience sightlines. effect is the ‘thunder run’. This is a small
As well as hiding what needs to be hidden, trough that runs at an angle along the sides
an understanding of sightlines can be used and back of the auditorium. When a rumble of
to create false perspective and depth in all thunder is required, a cannonball is dropped
manner of strange ways. Some sets look into the top of the run and allowed to roll
like they are bigger than the stage, and even along the trough around the auditorium.
backstage they still only seem to take up half This brings the storm into the audience in an
of it. Some sections of the set only there for effective way. But someone has to bring all
show might also use perspective to trick the the cannonballs back up to the top of the run
eye into seeing whole rooms that are only the afterwards.
size of a cupboard when you get up close.
Entrances might also be hidden by leaving
gaps the audience can’t see. Many truly odd Smoke, Haze and Dry Ice
effects (like that of an Ames room, which
looks distorted because of an optical illusion) Smoke, haze and dry ice are three very
can be achieved by building apparently different effects that are often confused by
straight lines at clever angles. people (many of whom are directors). Dry
ice was the first to appear and creates a thick
fog that rolls along the floor of the stage. It
Creating Storms is achieved by taking frozen blocks of carbon
dioxide and putting them in boiling water
I blame Shakespeare. Most of his plays have to vaporise. The effect is instantaneous and
a storm, and for many years theatre has been impressive, but handling subzero carbon
trying to recreate them. Until recorded sound, dioxide is not fun. The Phantom of the Opera
these effects were made by the backstage staff used this effect until only a few years ago, and
operating a variety of pieces of equipment (for it is the epitome of the horror movie style.
want of a better term). If you can see clouds of thick white mist
The most widely known is the floating in the air, you are looking at smoke.
thundersheet. This is a thin sheet of metal, A smoke machine takes a special liquid and
usually about 2 feet wide and 5 feet long with sprays it over a heated element, where it

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vaporises into smoke that the machine fires Machines are available to do this now
out. Smoke creates a great fog effect, but it is (thank god) but they still need filling up and
also great in rock concerts. It allows you to the snow doesn’t sweep itself. So make sure
see the beams of the lights, which is a great you use this effect just before the interval.
effect if they are moving. Unfortunately, If you want streamers and confetti, you
smoke has a few problems. Too much and generally use an explosive cannon for that. But
you can’t see the performers. You also have beware, you will be finding pieces of confetti
to keep blasting it at intervals as it dissipates for many years after the production is over.
quite quickly. Performers also have a tendency
to moan they can’t breathe in it, even though
the system is formulated not to cause any Pepper’s Ghost
breathing difficulties (I’ve had my face in one
of these machines and not had a problem). I’m giving the final word to possibly the
While obviously some performers may have greatest effect ever created, which must
a genuine issue, they can’t all have one. So have amazed audiences at the time. It is a
usually what happens is the levels are set at a system of lights and glass that was used
technical rehearsal, and run that way for the to create a ghostly projection of an actor
preview period without anyone mentioning on the stage, and formed the basis of the
a thing. Then as soon as the director and modern teleprompter. It was mainly used for
lighting designer have gone, the actors insist productions of Hamlet where the leading
the smoke on stage is utterly unworkable. character meets the apparition of his father.
If you can see the beams of light but it The actor playing the ghost is placed under
doesn’t look smoky on stage (except maybe a the stage beneath an open trap door. Above
little misty), you are looking at haze. A haze the trap door, on stage, is suspended a sheet
machine works in the same way as a smoke of glass at an angle like a periscope. When
machine but uses an oil-based rather than the ghost is due to appear, the trap door is
water-based liquid. This liquid is transparent opened and a powerful light shone at the
and forms tiny droplets that hang in the air actor under the stage. This light reflects in the
rather than smoke particles. This means it glass on stage, creating a ghostly projection
lasts longer, doesn’t obscure the stage and has that can move as the actor moves (as long as
the same effect. Unfortunately, being oil-based it doesn’t pass the limits of the glass). As the
it is quite nasty stuff. Any equipment near it audience can’t see the glass, the ghost appears
tends to get coated in a thin layer of oil. Its out of nowhere and is able to interact with the
nasty, but it does the job. actors on stage, their voice coming through
the trap door. It takes a bit of rehearsal but
when it works well it’s very impressive. These
Snow days projection systems can do the same job,
but plenty of techs would love to get the
This one is quite easy but a royal pain. Take opportunity to try this out.
a long piece of cloth and tie it along its length
across two fly bars. Then put several cuts in
it and fill it with fake snow. When you want
snow to fall, just lift and drop one of the fly
bars a little and this will open the cuts and let
the snow gently fall.

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Index

Front of House 20, 25, 28, 29, 30, 31, 32, 37, 56, 58, 70, 76,
A 91, 103, 119, 216, 219
Musicians 17, 21, 23, 29, 90, 100
Animated Props and Cursed Items 176–180 Performance Staff 18, 28, 90
Attributes 22, 26, 27, 37, 122, 219 Stage Crew 18, 21, 24, 51, 96, 108, 115, 127, 128, 131, 134,
Auditions 125, 126 155
Fly Crew 18, 20, 115
Riggers 20
Stage Management 19, 25, 27, 28, 29, 31, 32, 37, 47, 58, 75,
B 81, 82, 85, 88, 100, 116, 120, 179, 219
Assistant Stage Manager 19, 116, 160
Backstage Relationships 137 Company Stage Manager 20, 118
Botch 69, 70, 82 Deputy Stage Manager 19, 117, 159
Stage Manager 19, 20, 70, 82, 116, 117, 118, 159, 160
Technical Crew 18, 19, 24, 34, 39, 56, 127, 128
AV 19
C FX 19, 97
LX 17, 19, 24, 31, 62, 97, 98, 99, 115, 120, 160, 213
Campaign Play 147 Pyrotechnics 19, 115, 158
Character Creation 22–37
Attributes 26 Conflict 70, 74–78
Character Creation Summary 22 Damage 77
Finishing Touches 33–37 Ranged Attacks 76
Ritual 32 Running Away 76
Skill Descriptions 28–32 Creating NPCs 154–157
Skills 27 NPC Levels 154
Starting Skills by Department 28 Cues 47, 87, 92, 93, 94, 96, 97, 98, 99, 100, 101, 102, 103,
Traits 32 104, 105, 108, 109, 110, 111, 117, 130, 131, 134, 140,
160, 165, 180, 181, 184, 187, 189
Chases 82–85

Company & Crew

Costume Department 20, 24, 88 D
Wardrobe 20, 25, 29, 31, 45, 46, 48, 59, 60, 62, 88, 93,
102, 111, 113, 114, 118, 119, 125, 129, 142, 160 Departmental Hierarchy 113
Wigs 20, 25, 31, 39, 59, 60, 62, 89, 102, 111, 114, 119, Difficulty Level 68
127, 130, 142, 160

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E N
Ego 72, 73, 157, 158, 159, 160, 161, 162, 165, 167, 219 NPCs
Ego Levels 73 Allies, Colleagues and Superiors 157–162
Experience and Character Advancement 121–123 Generic Characters 164
Attribute Advancement 122 Ghosts 168–173
Skill Advancement 121 Morlocks 173–174
Explosives 79, 80, 158, 219 Principal Performers 162–164
Rats 175–176
Saboteurs 166–167
The Theatre Cats 165
F
Falling, Fire and Drowning 78-79 O
Drowning 78, 79
Falling 78, 79, 122 Outside the Royal Grand 138, 140
Fire 78, 79, 158 Antiques Row 141
Fear and Horror 80–82 Pavilion 138
Fear 80, 81, 168, 169 The Old Nell 140
Horror 80, 81, 170, 174, 179

G P
Gamemaster 7, 12, 14, 23, 25, 27, 28, 31, 33, 39, 43, 44, 58, Pavilion 138, 139, 141, 144, 147, 189, 190, 213
67, 68, 69, 70, 71, 72, 74, 75, 76, 78, 81, 83, 84, 85, 87, Props 28, 46, 63, 64, 176, 219
96, 102, 103, 104, 105, 106, 107, 108, 109, 110, 113,
121, 122, 142, 143, 144, 147, 149, 152, 153, 154, 155,
Putting on a Show 123
Auditions and Rehearsals 125
156, 157, 164, 166, 172, 173, 174, 176, 178, 179, 180,
Events 134
183, 184, 185, 187, 216
Going Dark 136
Glamour 22, 33, 69, 70, 72, 74, 219
Production Week 127
Settling In 133
The Get Out 135
H The Run 132

Healing 74
R
L Random Disasters 216–217
Rehearsals 125, 126, 134
Lighting Technology 40 Resources 146–147
Ritual 22, 32, 219
Rolls 26, 27, 28, 30, 31, 40, 42, 46, 65, 67, 68, 69, 70, 71, 72,
76, 77, 78, 79, 80, 82, 83, 84, 85, 94, 95, 99, 100, 102,
M 106, 108, 110, 122, 144, 145, 146, 147, 151, 153, 154,
155, 164, 171, 174, 179, 180, 184, 206, 216
Moving Lights 41 Critical Success 70
Mundane Problems 180–183 Draws and the Edge 71
Open-Ended Rolls 70

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Opposed Rolls 70
Trying Again 71
Skills 22, 27, 28, 29, 37
Actor 28
Royal Grand Opera House 7, 11, 12, 13, Archivist 28
Craft 29
14, 39, 45, 52, 138, 168 Crew 29
Backstage 56, 58, 137, 182
Crime 29
Backstage Front of House 56
Dancer 30
Boxes 54
Flyman 30
Box Office 57
Front of House 30
Dormitory 60
Music 30
Dressing Rooms 58
Scrounging 31
Front of House 56
Security 30
Gallery 55, 56, 57
Stage Management 31
General Layout 44
Style 31
Grand Circle 55, 56
Technical 32
Nooks and Crannies 47
What the Skills Cover at a Glance 29
Royal Circle 54, 55, 56, 57, 133
Sneaking, Hiding and Scampering About 85
Stage Door 51, 161
Sound Technology 42
Stalls 52
Stage Directions 45
Substage 61–65
Story Seeds 187–190
Technical Spaces 55
The Cloth Store 49
The Fly Floor 49
The Flying System 50
The Scene Dock and Paint Store 48 T
Wardrobe and Wigs 59
Running Adventures 183–187 Ten Simple Rules 149–152
Theatre Magic 205–207
Tour Management 144–145
Trait 32, 33, 122, 123, 155, 157, 158, 159, 160, 161, 162, 163,
S 164, 165, 167, 219
Travelling Companies 141–144
Show Structure 93-111
Building a Plot 96
Challenges and Problems 110
Defining Cues 99
Escaping Live Cues 108
Missing Cues 108
Opening the House 91
Running the Show 92, 104
Scene Length 95
Starting the Show 92
Time and Tickets 106
Using Music 105

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Dedication

This book is dedicated to everyone who has • The Queens Theatre, London
taught me about theatre, and the buildings • The Tower Theatre Company
I’ve been lucky enough to get the chance to • Kensington Drama Club
learn in (with bonus thanks to the Regent’s • The Bridewell Theatre
Park Open Air Theatre where I saw a lot of • The Rosemary Branch Theatre
Shakespeare but never actually worked). So, • The Minnack Theatre, Cornwall
many heartfelt thanks to: • Phantom of the Opera (Her Majesty’s
Theatre)
• Plume School, Maldon • The Vaudeville Theatre, London
• All Saints Drama Guild, Maldon • The Lyric Theatre, London
• Little Baddow Drama Club • Grassroots Theatre Company
• Guildford School of Acting and Dance • The Theatre Royal, Haymarket
• The Mercury Theatre, Colchester
• The Yvonne Arnaud Theatre …and lastly, I’d like to make a special
• The Party Department mention of Juliet Richards (my best ex-theatre
• The Towngate Theatre, Basildon friend who keeps me sane by driving me
• Bocadillo Theatre Company crazy), Alastair Baker (who got me started in
• The Cliffs Pavilion, Southend-on-sea theatre lighting and now runs Bressingham
• Holland Park Theatre Steam Museum), Jo Oliver (who often went
• The Millfield Theatre for a snog between shows on matinee days)
• The Maldon Panto Society my favourite actors Fiona, Helen, Mike and
• Miss Saigon (Theatre Royal Drury Lane) Duncan and my theatrical gaming group of
• Starlight Express (Apollo Victoria) Ellie, Jim, James, Emma L, Emma J, Joey,
• Westminster College Cormac and Debs. Finally, a shout out to
• Light and Sound Design (Fourth Phase) all my work colleagues at the Haymarket
• The Beck Theatre, Hayes (especially the LX team obviously!) and for
• The Millennium Dome the games of X-Wing, D&D and Alien we’ve
• David Hersey Associates (DHA) played at times we probably shouldn’t.
• Vari-Lite Production Services
• Legoland, Denmark & Windsor
• Barefeat Theatre Company
• The Aldwych Theatre, London

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 “If we shadows have offended,
Think but this, and all is mended,
That you have but slumbered here
While these visions did appear.
And this weak and idle theme,
No more yielding but a dream,
Gentles, do not reprehend:
If you pardon, we will mend:
And, as I am an honest Puck,
If we have unearned luck
Now to ‘scape the serpent’s tongue,
We will make amends ere long;
Else the Puck a liar call;
So, good night unto you all.
Give me your hands, if we be friends,
And Robin shall restore amends.”

Puck - A Midsummer Night’s Dream, Act

V, Scene 1

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 Random Disasters
The Gamemaster can cast all sorts of woe and despair on their struggling
player characters. These tables offer some helpful mundane ideas if you are
running out of torment in the shape of ghosts and cursed props.
Either roll or pick something from the list if they are having an easy time.
While some problems will affect one department more than another, the
Gamemaster should endeavour to ensure it becomes everybody’s problem.

Where does the problem start?

1 Front of House 4 Technical
2 Scenery 5 Costume
3 Performers 6 The Building

Front of House Scenery

One of the patrons is belligerently and A large piece of scenery jams in the
1
violently drunk 1 flys and refuses to be brought in. Can
A seat in the auditorium is broken and you free it?
2
needs fixing right now A chair on stage looks dangerously
A step has broken on some stairs 2 fragile by the end of a scene. Can you
3 which will cause patrons to fall if not find a replacement before someone sits
fixed or roped off on it?
A patron is angry and threatening A door on stage keeps coming open.
4 violence, the duty manager needs some 3 Someone needs to hold it closed, but
back up muscle let the performers through at the right
times.
One of the patrons has fallen badly ill.
5 A prop is missing. Has the performer
Are they infectious? 4
taken it early or is it lost?
One of the bars is out of booze.
6 Someone needs to get more asap The handle to move a piece of scenery
before the crowd turns nasty. is missing and it won’t unlock and
5 move without it. Can you find the
handle or find a way to move the
scenery at the right time.
A large piece of flying scenery refuses
6 to be taken out. Can you make it look
like part of the next scene or find a
way to get it off stage?

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A performer ‘dries’ (forgets their lines) There is a smell of electrical burning
1
1 can someone get close enough to coming from somewhere, but where?
prompt them? A lantern has been knocked and is
A performer is missing and they 2 vital in the next scene, can you get to
2 should be on stage. Are they dead, it to adjust it?
kidnapped or just lost? Something important decides to reset
A performer has lost their lucky charm for no good reason, in a quiet scene.
3
3 and refuses to go on stage without it. Can you stop it before it makes a
Can someone find the damn thing? noise?
A performer is badly drunk, but insists A lamp in an awkward place has
4 4
they are fine to go on. blown, can you get to it to replace it?
A performer is having a crisis of A smoke machine is refusing the stop
5 confidence and ‘can’t go on’. Can you 5 pumping out smoke. Can you find it,
help repair their ego enough to get stop it or at least get it away from the
them on stage? stage?
One of the performers’ lines were A strange noise is coming from the
messed up by another performer and 6 speaker system, quiet at the moment
6 when the culprit comes off stage they but getting louder. Is it a ghost or a
are going to punch them, or scratch technical issue?
their eyes out. Can you stop the
altercation before it starts?

Costume The Building

A costume has come undone and is An important door that should open
1
1 about to start coming off on stage refuses to do so.
but the performer hasn’t appeared to Water is dripping in from somewhere,
notice. 2 and is potentially pooling somewhere
Someone’s costume is missing. Did the dangerous.
2
dresser or the performer misplace it? A door or hatch somewhere is banging
Part of someone’s costume has fallen 3 in a draft and can be heard in the
3 off on stage, can it be removed auditorium, but where is it?
without the audience seeing. 4 The toilets on one level are blocked.
A costume is badly torn, it needs to be A major fuse blows and all power is
4 repaired before the performer goes on 5 out. Luckily everything has a battery
again. backup, but they only last so long...
A performer’s wig is falling off and The stage door keeper badly needs
5
needs reseating before it does so. the toilet and asks you to cover. They
6
A performer is wearing the wrong swear they will be back in time for
6 costume, can you get the right one and your next cue...
get them off stage for a quick change.

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S H OW PL A NNER

Show Title: Type:

Q Time/Scene Task

Waiting for Clearance

7:30
Scene 1:
Time
Scene 2:
Time
Scene 3:
Time
Scene 4:
Time
Scene 5:
Time
Scene 6:
Interval Start (9:00)
Interval (15 Mins)
Interval End
Scene 1:
Time
Scene 2:
Time
Scene 3:
Time
Scene 4:
Time
Scene 5:
Time
Scene 6:
10:30
End of Show

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Name: Department:
Traits: Glamour:
Ritual:

ATTRIBUTES

Skill Level Guidelines

Archivist Academic lore, Occult, Alchemy
Actor Impersonation, Charm, Disguise, Memory, Performance
Craft Making items (Wardrobe- Sewing, Carpenters - Woodwork,
Crew SM - Props)
Heavy Lifting, Wood and building repairs, Stealth
Crime Lockpicking, Safecracking, Black Market, Sneaking
Dancer Acrobatics, Climbing, Running, Athletics, Dancing,
Performance
Flyman Rope Work, Lifting, Observation, Theatre Navigation
Front of House Convince, Empathy, Bureaucracy, Theatre Navigation,
Connoisseur
Music Music theory, Singing, Empathy, Performance
Security Brawling, Swordfighting, Firearms, Explosives, Intimidation
Stage Management Observation, Stealth, Leadership, Empathy,
Medicine, Bureaucracy
Style Looking Good, Hair Styling, Make Up, Clothing Repairs
Technical Electronics, Computers, Engineering

EGO LEVELS

Megalomaniac +2 / -3 Social Coping No Mod

Diva +1 / -2 Social Upset -1/-2
Arrogant -1 Social Lost -2/-3
Inspired +1 Drained -3/-4
Enthusiastic No Mod Broken No Actions

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 The music begins,
the curtain rises,
and your troubles have
only just begun.

Welcome to the Royal Grand

Opera House, where glamour
is for the weak, and breaking
your leg will be the least
of your problems.

Opera House is a standalone tabletop

roleplaying game that allows you to take
part in theatrical adventures as cast or crew.
It offers campaign play and options for a
real-time single night session.
The book also functions as a sourcebook
for theatre, detailing how performances are
created
and run from auditions to the final night.

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