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Post by Ymbert Montgomery on Apr 23, 2020 15:16:41 GMT
Artists look to have it best of these three individual careers at the moment, in terms of skill checks, as they can work just one week each month for a roll. Another advantage is they can build up a portfolio and exhibit them together, whereas a playwright has to spend three further weeks on each play which is produced. The more I think about that one, the more I think a roll for every two week's work is fairest. At the moment, it's better for rolls to work once a month than it is all month, which seems silly. It is worth noting that one disadvantage artists face is the limit on how many artworks can be commissioned per year by each PC. In fact, I think the limit of 2 should apply to artists exhibiting their own work. The art rules presume that they'll be doing works for other people, even as gifts. (That stops an artist exhibiting 12 works at the same time. Or at least they can, but will only get the SP for the best 2). For immersion reasons, I think the rehearsal SPs should be added to the SPs for the performance, along with the performance roll. [/div][/quote]I think that actor/playwrights are probably going to be the most common by far as a career combination. I'm not sure that denying the additional skill check is a good idea; it just pushes actors into becoming agents.
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Post by gaston on Apr 23, 2020 16:32:20 GMT
A quick comb through the Theatre Royal and Actor rules, with error checking and suggestions: ------------------- 16.4
For clarification I'd suggest that
"Each Flop submitted adds -1 to subsequent acceptance attempts. "
be changed to
"Each Flop submitted adds -1 to the writer's subsequent acceptance attempts. "
------
Although writers' fees have been reduced from 70 to 50, paying on acceptance (rather than on performance) means that writers can churn out plays which never have a hope of being produced (thanks to pressure on theatre slots) but nevertheless get paid 50 livres (which the commissioning acting company will never recoup) for each play. I'd suggest that 16.6 be replaced as follows:
----------------
Section 16.7 should be replaced as below:
16.7 As well as PC penned plays, PCs may attend one NPC production by each company each year as follows: The King's Men will stage their open show in January. the Duke's Men in May and the Archduke's Men in September. These NPC written productions will be 'bumped' if the company decides to stage a PC written show in the slot instead.
---------------------- Section 16.8 should begin with the following
Otherwise, actors are again restricted to appearing in a maximum of 1 NPC production each year (rather than 3). Also, subsequent rules refer to a company's ' next available slot at the Theatre Royal' which makes no sense without the above. -------------------------
16.9 seems irrelevant noe, as the same ground is covered in 16.6 and 16.10.
---------------- 16.10 has some omissions. Suggest it is replace as below:
---------------------
16.11
"must also host a party at his club or house"
should be changed to
"must also arrange a party as above."
------------------
16.14
Still not happy with audience members losing a SP if the production is a flop - they can't all hire boxes and why is a poor show their fault? As mentioned previously, this little nerf only creeped in with the Time of Honour Theatre rules, but ToH had 60+ PCs, so the expectation was that bums on seats would provide a considerable number of production pluses to offset this. This obviously isn't the case with Liminal yet...
I do quite like the Spanish Ambassador's stipulation that only those attending in a box get invited to the first night party though. Maybe this should be the case for all Theatre parties ?
------------------ That's it for the Theatre rules. For actors...
Suggested Addition to 35.24
(Where private companies are concerned, however, this still depends upon the decision of the owner(s) ).
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Post by Ymbert Montgomery on Apr 23, 2020 17:28:45 GMT
A quick comb through the Theatre Royal and Actor rules, with error checking and suggestions: ------------------- 16.4 For clarification I'd suggest that "Each Flop submitted adds -1 to subsequent acceptance attempts. " be changed to "Each Flop submitted adds -1 to the writer's subsequent acceptance attempts. " These say the same thing ------ I agree that paid on performance is better. ---------------- Section 16.7 should be replaced as below: 16.7 As well as PC penned plays, PCs may attend one NPC production by each company each year as follows: The King's Men will stage their open show in January. the Duke's Men in May and the Archduke's Men in September. These NPC written productions will be 'bumped' if the company decides to stage a PC written show in the slot instead. ---------------------- Section 16.8 should begin with the following For vague reasons I can't quite put into words, having NPC productions that are all sold out feels wrong to me. I think it might be something to do with the fact it feels like it implies that non PC productions are superior and more popular. I'm also not sure we need more than one NPC production; my assumption is that the big events are going to be PC penned plays. If we do I think a) probably not in campaign season (PCs can submit for then as normal) and b) I'd rather have them as proper events like the races. But as I said, not sure this is needed. We currently have two PC playwrights active. Between them, an extra play a season is more than doable. That would also remove the necessity of bumping, which I find implausible. Why is the Theatre bumping a play written by a known author in favour of a new arrival? Isn't the Crown Prince going to be annoyed if you bump a play he's patronised? If theatre is so popular why only one in Paris currently? Removing bumping opens up more player slots automatically and makes them more special. ------------------------- ---------------------[/quote] Looks good, although there's the question of whether that request can go in until agreed? (That's a wider issue that probaly needs discussion at some point. I see it as the embarassment of being associated with a play that will go down in history as a failure, which is how I see flops! It's worth noting you don't need a box now. You need to attend the first night in the first week (costing 10L instead of 5) and that's a bonus SP. So the nerf has been offset by a cheap buff. It will be for most NPC hosted parties. The only reason I didn't put in in was to give players more flexibility and just in case NPC actions have been affected by RP etc. ------------------ Looks sensible.
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Post by gaston on Apr 23, 2020 20:04:12 GMT
Well, they don't actually. "Each Flop submitted adds -1 to subsequent acceptance attempts. " could refer to _all_ subsequent acceptance attempts by _all_ writers, rather than just those of the writer of the flop. Hence the suggestion that it should be definitively clarified... The whole point of this was to ensure the actors who were members of theatre companies always had at least one production per season to take part in and weren't totally at the mercy of the whims of playwrights. Also, as I've pointed out, the fact that the companies each have slots is mentioned later on, so we _need_ slots to be determined somehow so that this makes sense. If you're not happy with NPCs staging productions which no PCs are acting in and no PCs can go to see, fine, let's just say that the company having the slot has no play to put on in it instead, and that the Theatre Royal remains closed that month unless some PC hires it for another production. So what do Dancers do if no PC is writing ballets? What do singers do if no PC is writing operas...? The Theatre Scheduling suggestions were compiled so that no actor, dancer or opera singer had to sit twiddling their thumbs because PC writers were ignoring their areas of expertise. See above. If no PC involvement (either on the acting or the writing side) means that no production take place at all, then this ceases to be an issue. And how many of them are writing operas and ballets to keep singers and dancers busy? Surely you see my point here ? Isn't this just semantics? Effectively the Company ( not the theatre) is staging a play by a PC rather than grabbing one by an NPC solely to give PC actor(s) something to do. The Crown Prince isn't going to be put out because he wasn't going to be required to patronise a play in the first place. There's only one theatre in Paris at the moment because the Theatre Royal has been fighting tooth and nail to keep its monopoly (but thanks to the Queen's intervention the legislation supporting this has recently been overturned ). How? Favouring NPC written productions over PC written ones is closing slots for players, not opening them. OK, let's replace the offending suggestion which mentions bumping with this instead Section 16.8 should now begin with the following instead : Same end result without resorting to denying PCs admittance to plays having no PC involvement - now such plays just don't take place at all. The word bumping can also be removed from the last paragraph of the suggested replacement Section 16.6, which can now read as follows: The only other place the word 'bumping' appears is in the suggested amendment to Section 16.7, but this section can now be dropped completely. All this section is now doing is specifically taking a theatre slot which could otherwise be used by PCs - which really defeats the objective of the Theatre Scheduling ideas in the first place.
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Post by Ymbert Montgomery on Apr 24, 2020 7:54:35 GMT
I've suddenly realised a potential confusion here. Just to check, you get that currently any PC penned plays get scheduled in any of the 9 months where there aren't NPC productions, regardless of company?
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Post by gaston on Apr 24, 2020 8:20:47 GMT
I've suddenly realised a potential confusion here. Just to check, you get that currently any PC penned plays get scheduled in any of the 9 months where there aren't NPC productions, regardless of company? Well, no... Why close off months to PC penned plays in the first place? Surely the idea is that a) If a PC Penned play is accepted by a company then it is (added to the queue to be) produced in that company's next Theatre Royal slot. b) Writers who wish to 'jump the queue' with a play the optioning company seems unlikely produce can book a monthly theatre slot themselves (Theatre Royal, Private or Cock Pit) outside the optioning company's usual Theatre Royal Slots which the company will then use to stage the writer's neglected play. (This company will continue to produce their next scheduled play in their next scheduled Theatre Royal Slot). c) Writers / Patrons who wish to stage a play which no Players' Company has optioned may hire a theatre slot as in b) above; hire a players' company to put on the show; and produce the show themselves (absorbing all profits/losses themselves). d) Actors, Singers and Dancers in companies which have no PC penned piece to put on in their next scheduled Theatre Royal slot will instead take part in an NPC penned production patronised as per the relevant list (in section 16.8). I don't really see the point of nailing NPC productions to the Calendar whether or not PC writers could use the slot or PC actors will take part in the production.
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Post by Yves Eau on Apr 24, 2020 8:35:05 GMT
I am not at all sure I understand that. I think in Gaston's suggested rules, " their next available slot … above" referred to the allocation of months to the companies; they had four each. What does it mean now? Are you saying it will be performed in " the next available slot", that is, the next month which is not reserved for an NPC-written play as explained in 16.7? So, if my play is accepted in March by the Duke's Men, they will produce it in July; the other companies would perform in June: - The company cannot start rehearsals in March to perform in April, as the actors need notice (not strictly necessary unless there are PC actors in the company, but I think it better to apply a rule consistently regardless);
- The theatre is reserved for the Duke's Men to perform an NPC-penned play in May;
- The King's Players or Archduke's Men would rehearse in May and perform in June;
- The Duke's Men would be busy performing in May, so would rehearse in June and perform in July.
Is that right? I have no problem with that approach, nor with Gaston's allocate-and-bump solution, but I do not think the rule is clear. I checked to see if rehearsing the next play is allowed to overlap with performances. It seems not.
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Post by gaston on Apr 24, 2020 9:30:09 GMT
Correct, which is why we need to include the Theatre Schedule which started all this.
Did you mean the Archduke's Men? If accepted in March by the Duke's Men they could perform it in May (provided there was nothing better waiting to be produced). Presuming that it's the original scheduling we are looking at...
I haven't a clue what Sam has in mind now, frankly. The schedule was drawn up so that actors (and singers, and dancers) would have something to do whether PC writers were providing suitable material or not. This seems to have been thrown out now? What we have instead are three immovable NPC productions per year which will take up space in the schedule whether there is any PC involvement or not?
Looks like a chronic case of tail-wagging-doggery to me...
The King's Men should have the Theatre Royal in April, according to my schedule ? I would say that a play becomes eligible for the next next slot pencilled in for the company which accepts it as soon as acceptance is announced.
According to my schedule yes (but I'm really not keen on forcing NPC productions on Paris come hell or highwater).
it would be the Archduke's Men according to the original schedule
Rehearse in July and perform in August according to the original schedule.
You tell me - see above. Given Sam's recent comment on PC penned plays getting scheduled in any of the 9 months where there aren't NPC productions the whole thing is incomprehensible to me now...
With this one I can definitely say that Sam did agree to rehearsing the next play being allowed to overlap with performances and that it should be included in the rules.
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Post by gaston on Apr 24, 2020 9:47:34 GMT
I've suddenly realised a potential confusion here. Just to check, you get that currently any PC penned plays get scheduled in any of the 9 months where there aren't NPC productions, regardless of company? If we go with this, what happens when three writers get plays accepted by three different companies in the same month? And what happens to new writers who arrive to find that the schedules are filled for the next three years ? And what happens to singers and dancers if no-one is writing operas and ballets? Are they going to be totally subservient to the whims of PC writers? The original rules I proposed catered for all the above eventualities. What you seem to have turned them into doesn't appear to cover any of them...?
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Post by Ymbert Montgomery on Apr 24, 2020 12:10:37 GMT
I checked to see if rehearsing the next play is allowed to overlap with performances. It seems not. That I just forgot to put in, so we can consider it live. I'm starting to think I'm not understanding your suggestion properly? (In which case it definitely needs thrashing out; I don't want rules I don't understand in the rulebook for obvious reasons!) When it comes to actors, rather than playwrights, unless they're moonlighting it looks to me like your suggestion closes off more months to them? To take the King's Players as an example, they'd not be able to perform in February, May, August, November. March, June, September, December? Whereas my suggestion just closes them off in May and September? Would it fix your concerns if we allowed those NPC slots to include PC penned plays? (Not sure how much PC actor/playwrights will go for this though; the Patrons are likely to be higher SL in those months!) A roll off seems the obvious answer there. I don't think that's likely? It strikes me as something to tackle if it happens. I'm not sure that either set of rules supports dancers as a separate career. Ballet is too rare (and should be). It's very much an addenum to the actor career. Same with singers, although they can obviously work with the Musician rules.
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Post by gaston on Apr 24, 2020 13:10:27 GMT
The suggested rule addition was
It should be placed in Section 35.23 immediately after "Actors are paid 15 Livres for each week they spend in rehearsal or performance. "
If the other companies had plays to stage in those months, no they wouldn't be able to perform at the Theatre Royal. If the other companies had nothing to stage in those months, however, and a writer hired the Theatre Royal so that they could stage one of his plays as an 'extra', or an independent producer hired the Theatre Royal or some other theatre and hired the King's Men to perform a play of his choice then yes, they would be able to perform. By the same rule, if the King's Men had nothing to stage in one of their designated slots then the Theatre Royal could be hired by other companies, writers or producers to stage their plays instead.
Well, if there are no PC actors in the relevant company and PC writers are ready, willing and able put on plays in those months, yes, I think the PCs should be given priority.
Could I make a suggestion? Should I do a rewrite of the whole of the '6.0 The Theatre Royal' rules section, incorporating the ideas and addressing the concerns detailed above, and publish them here so that people can see the rule set in total and see how the various bits fit together?
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Post by Ymbert Montgomery on Apr 24, 2020 13:11:47 GMT
Could I make a suggestion? Should I do a rewrite of the whole of the '6.0 The Theatre Royal' rules section, incorporating the ideas and addressing the concerns detailed above, and publish them here so that people can see the rule set in total and see how the various bits fit together? I think that'd be helpful if you have time; one of the issues with trying to pull rules together from several posts!
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Post by Yves Eau on Apr 24, 2020 13:38:08 GMT
We need some mechanism to decide which company takes the next slot, if more than one has a script. - The theatre could give priority to companies which have not performed recently. A company with no PC scripts would perform only once each year, leaving more slots for better-supplied rivals. This may work well for playwrights who churn out bawdy numbers for the Archduke's Men, but could lead PC actors in the other companies with little to do. I don't have a problem with this so long as we have PC playwrights, as the actors can encourage them to produce works for their companies - I feel such interdependence is important for the game. This could be extended by generating NPC scripts on a schedule (as new rules) or at random (chance per month, perhaps increasing with time).
- A schedule allocating months to companies, and using NPC playwrights when no PC script is available. This ensures a fair share of theatre time for each company, and reduces the reliance of actors upon playwrights. It reduces the number of opportunities for a company which receives more scripts than the others - not good for anyone at the moment, as both PC actors are in the same company. (Do we have a third, now?)
- Rolling for each slot. The director could be influenced by those who stand to benefit from a particular performance. Perhaps modify the roll based on quality of script. Companies without a PC script could generate an NPC work, rolling with an appropriate ability (perhaps 4/5/6 for the tree companies). Being squeezed out by more influential or able rivals is part of the game.
I like the last idea, but it does introduce more luck, which will probably not be to everyone's taste.
I am sure there are many other possibilities. Speak now if you have a great idea.
We also need to decide how each company selects a script for its next performance. - Companies perform the best script they have available. A lesser playwright could be squeezed out by a prolific master.
- Perform scripts in the order they were accepted. This would discourage a playwright from submitting poor works. Illogical for the companies, but could be explained as contractual obligations.
- Competing playwrights propose a script (most likely the best they have had accepted, but it is up to them. Roll-off. Modifiers and inflence.
I am likely to write more plays than my company need, in the hope I pen an occasional masterpiece which has more chance of critical acclaim when performed. If payment is largely delayed until performance, as suggested above, I may not even submit lesser works. I definitely will not if they will be performed in order.
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Post by gaston on Apr 24, 2020 17:26:50 GMT
Finished I'll give it final proof reading then get it up. I've ditched the idea of having Players Companies staging productions which were neither written by PCs or have PCs acting in them. I think we're going to have enough productions featuring PCs in one way or another without them. I've also introduced the idea of having the Director of the Theatre Royal maintaining a rolling 'Theatre News' section in La Voix and having a Theatre thread in the Applications forum when people can announce play submissions to Player Companies and attempts to hire theatres (attempts being adjudicated on a first come first served basis). I've removed the term 'bumping' and removed the possibility of Companies staging plays that no PCs can go to. If they have no PC members and no PC penned plays to put on, they put on nothing at all and the free theatre slot can be hired by PCs. (This may mean that there is no need for any PC owned private theatres - we'll see in due course). I think it should be fairly self-explanatory but will be happy to answer questions. Companies don't take slots. They automatically take up the option on the slots the Theatre Royal reserves for them if they have PC penned productions to put on or PC actors as members, or don't if they haven't. Any slots for which they have priority but don't take up the option on can be taken up by PCs who may a) give to companies which have accepted plays of theirs which they'd like to see produced (which the companies will use outside their own allotted slots) or b) use to produce a play using a hired company. A company with no PC scripts, but PC actors, will stage up to four productions each year by NPC playwrights. This should result in PC playwrights specifically writing for companies which have actors but no scripts. This is effectively what the rules allow for. Done, but also made provision for writers to 'jump the queue' in month's outside the company's own schedule.
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Post by gaston on Apr 24, 2020 18:25:49 GMT
6.0 The Theatre Royal
16.1 The staging of plays, operas and ballets consists of two separate parts: the writing of the work and the performance of it. It takes two weeks (which need not be consecutive) to write a play, opera or ballet, after which the writer makes a skill check against his Administration (plays), Music (operas) or Dancing (ballet) skill. To write a play a character must have Admin 5+, against which a skill check is made. To write an Opera a character must have Admin 5+ and Music (against which the check is made) of 5+. To write a Ballet a character must have Music 5+ and Dancing (against which the check is made) of 5+.
16.2 Those not having _both_ the requisite skills can colloborate with those who have the skill which is lacking. In this case, each colloborator will only have to spend 1 week on the project, but all SPs and cash accruing from the venture will be divided equally between them. A Triumphant Success will count for both, however, in terms of requirements for increasing their rank as Men of the Arts.
16.3 There are three Companies of Players currently operating in Paris: The King's Players, the Duc of Brittany's Men, and the Archduke's Men.
a) The King's Players are patronised by the King. They are the most skilled and highly regarded company, specialising in opera and ballet, but their ranks contain many Huguenot sympathisers. They may be privately hired to stage a production (see below) for a fee of 600 Crowns, but will not countenance such commissions from the Cardinal, Austrian, Spanish or Savoyard Ambassadors.
b) The Duc of Brittany's Men tend to stage productions with a more orthodox Catholic message, consider opera somewhat frivolous and will not countenance any works which could be considered bawdy. They may be privately hired to stage a production (see below) for a fee of 500 Crowns, but will not countenance such commissions from the English, Dutch, Swedish, Brandenburg, Portuguese or Neapolitan Ambassadors.
c) Bawdiness and populist productions are the stock in trade of the Archduke's Men, however, who are patronised by Archduke Leopold. They may be privately hired to stage a production (see below) for a fee of 400 Crowns, and have never been known to refuse a commission.
16.4 There is much rivalry between the Duc's Men and the King's Players, and a writer whose work has been staged by one of these companies, who then subsequently goes on to have a work staged by the other, will never be considered thereafter by the company he is seen to have 'deserted'
Writers may submit their works to as many Companies of Players in whichever order they wish in a single month as a premonthly action. The King's Men will accept a work on 6+ on 1D6, the Duc's Men on 5+, and the Archduke's Men on 4+.
The King's Men and Duc's Men will not look at any production worse than an Average Job.
The Archduke's Men will, but they won't stage anything worse than an Average Job at the Theatre Royale, they'll stage them at the Cock Pit (a low dive, see below) in their next free month instead.
Each work submitted by a writer which results in a 'Flop' adds -1 to the writer's subsequent acceptance attempts.
The following DMs also apply:
+2 If Ballet when offered to King's Players +1 If Opera (unless offered to Duc's Men) -1 if described as bawdy when offered to King's Players (the Duc's men will not consider bawdy productions at all) +2 if described as bawdy when offered to the Archduke's Men +1 if the writer has written 4 or more successful performance works previously. +1 if the writer has appeared (as an actor) in a previous company production which achieved a result of 'Triumph' or better
Any +/- SPs from the Skill Table when the Skill Check for writing the work are also applied as DM. (The King, Duc and Archduke can also be influenced to modify the die roll by favours in the normal fashion , if so wished).
For example, a Neophyte playwright offers his first bawdy play to all companies in turn. His roll on the Skill Table shows it is Very Well Done (+1 SP). The roll for the King's Players is 5, +1 for the Skill Check, - 1 because it is bawdy, so they reject it. The Duc's men will not touch it because it is bawdy. The roll for the Archduke's Men is 2, +1 for the skill check, +2 because it is bawdy = 5, so the Archduke's Men snap it up. The Playwright now receives 2 SPs plus the 1SP from the Skill Check.
16.5 Writers whose work is rejected by all the companies it is first offered to may spend an extra week revising it, then resubmit it. Resubmissions are subject to a blanket -1 on the acceptance roll. Works may only be resubmitted once. If they are rejected again, the playwright must wait at least one year before attempting to resubmit them again.
16.6 If a work is accepted by a Company of Players, the writer(s) will be paid a 10 livres retainer for the work immediately and 40 livres (plus 10% of the profits from the production - if any) from the revenues generated by its production. The Company will themselves pay the basic costs for the staging of the work, provide the services of a professional producer, and hire the Theatre Royal as below (as well as take the majority of the profits). It is up to the writer and/or his patron to provide any lavish props (though they get a further 10% of the profits for each 100Cr thus spent) and any beautiful mistresses to embellish the production. The writer (and his Patron) still get the SPs (or lose them) depending upon the success of the production, however, and the writer(s) still has to attend the two weeks of rehearsals (so as to be on hand to do corrections and amendments). The writer and/or his Patron must also arrange for a First Night Party to be held at a club or private residence in the first week of the performance. (NB this may be arranged such that it is hosted by a third party).
Theatre companies will stage the plays they have optioned in their alloted Theatre Royal slots (see below) with the following priority:
1) Plays gaining a Triumphant Success (+2 SP) result at the writing stage 2) Plays gaining a Very Well Done (+1 SP) result at the writing stage 3) Plays gaining an As Expected result at the writing stage 4) Plays gaining an Average Job result at the writing stage
In each of the categories 1, 2, 3 & 4 the play which was optioned first will be performed first.
If a writer has had a play optioned by a company, but this seems unlikely ever to be produced, he and/or his patron may hire a monthly slot at the Theatre Royal (when one is left free by one of the other companies), at a privately owned theatre, or at the Cock Pit (successfully book on 2+, costs 50 livres per month) in which to stage it. (If a writer fails to successfully book a theatre he may make further attempts in subsequent months). The theatre is paid for by the writer/patron up front, the optioning company stages the desired play as above, then pays the writer/patron back from the gross production revenues.
16.7 In addition to the 'Limelight' section by Gerard Bushell and Baroness Genevieve DuPoint, featuring reviews of the most recent productions, each Month the Director of the Theatre Royal (currently Chevalier Pierre Dimont) will publish a rolling theatre schedule in the Voix de Paris. This will detail forthcoming productions at the Theatre Royal, The Cock Pit and any private theatres which may appear along the following lines
What the above means is that
May: The Duke's Men has PC named Laurence Olivier in the company but, since they have no PC penned productions to perform, they are staging an NPC penned play sponsored by the Spanish Ambassador instead. No plays are being staged at the Cock Pit, but it is too late to hire it since the rehearsal period has already passed. June: The Archduke's Men, including PCs Yves Eau and Claud d'Applaud, are staging a play penned by Yves Eau (his first). No plays are being staged at the Cock Pit and this is available for hire if any PCs are interested. July: The King's Men have no PC penned productions to perform and would have staged an NPC penned ballet if they had had any members interested in taking part (or, perhaps, if they had any members at all?). As it is, the Theatre Royal is available for hire in July if any PCs are interested, as is the Cock Pit.
Each month there will be Theatre Bookings & Play Submissions thread opened up in the Applications forum, where PCs can attempt to book theatres in months in which they are free. (Booking attempts will be adjudicated in order of submission until one is successful. Those failing to book a theatre may try again the next month if any are still free). Writers can also lodge details of which works they are trying get accepted by whom, and it would be useful if the owners of any private theatres posted details of any bookings they have accepted).
16.8 Production slots at the Theatre Royal are scheduled for three months ahead (in the same way as the Court Calendar) and pencilled in for the three Established Companies as follows:
King's Men: January, April, July, October
Duke's Men: February, May, August, November
Archduke's Men: March, June, September, December
If a company has no PC actors wishing to take part in their next production and no PC penned plays waiting to be produced when their next scheduled production slot appears in the the three months window (see 16.7), then the slot becomes available for hire by PCs (on a first come, first served basis). If there are no takers, then nothing will be staged at the Theatre Royal that month.
If the company has a PC penned play waiting to be performed, then they will firm up and advertise details of this when their next slot appears in the three month window and this is the piece that will be performed that month.
If the company has no PC penned play waiting to be performed, but does have actors wishing to take part in their next production, then an NPC penned production will be staged as below.
For example, the January Voix de Paris arrives showing that the Duc's Men will be staging a show in February, the Archduke's Men will be staging a show in March, but the King's Men have no PC penned play and no actors wishing to take part in the Opera they were planning to stage in April. The April slot at the Theatre Royal becomes open for hire by PCs - but if no-one hires it, no April production will take place. If the King's Men do have a PC penned show waiting to be produced, however, then this is what they will perform in April. If they have no PC penned show waiting, but do have PC actors wishing to take part in their next show, then in April their players will appear in an NPC penned production staged by the company as detailed by die rolls below:
KING'S MEN
Type of Production: 1-2 Play; 3-4 Opera; 5-6 Ballet
Writer's Patron:
1 Ambassador Portugal : Count Pedro da Vishamon, SL 13 Rose & Crown 2 Ambassador Brandenberg: Count Paul von Trink, SL 13 Rose & Crown 3 Ambassador Sweden: Marquis Bjorn Abbaborg, SL15 Bothwells 4 Ambassador England: The Duke of Buckingham, SL18 Fleur de Lys 5 Queen (SL 28) Fleur de Lys 6 Royalty, throw again: 1-3 Princess Louisa (SL 25); 4-5 Queen (SL 28); 6 King (SL 30) Fleur de Lys
DUC'S MEN
Type of Production: 1-4 Play; 5 Opera; 6 Ballet
Writer's Patron:
1 Ambassador Naples: Vicomte Gian Cornetto, SL12 Rose & Crown 2 Ambassador Savoy: Count Luccio Vaporetto, SL 13 Rose & Crown 3 Ambassador Austria: Duke Gunter von Moer, SL15 Bothewell's 4 Ambassador Spain: Duke Rodrigo Torquemada, SL15 Bothwell's 5 Duke of Brittany (SL 22) Fleur de Lys 6 Royalty, throw again: 1-2 Grand Duke Max (SL 21); 3-4 Cardinal Richelieu (SL 25); 5-6 Prince Gaston (SL 26) Fleur de Lys
ARCHDUKE'S MEN
Type of Production: 1-5 Play; 6 Throw Again: 1-4 Opera; 5-6 Ballet
Writer's Patron:
1 Ambassador Naples: Vicomte Gian Cornetto, SL12 Rose & Crown 2 Ambassador Holland: Baron Jan van Plezier, SL 13 Rose & Crown 3 Ambassador Brandenberg: Count Paul von Trink, SL 13 Rose & Crown 4 Ambassador Sweden: Marquis Bjorn Abbaborg, SL15 Bothwells 5 Archduke Leopold (SL 22) Fleur de Lys 6 Royalty, throw again. 1-2 Grand Duke Max (SL 21), 3-5 Archduke Leopold (SL 22); 6 Prince Gaston (SL 26) Fleur de Lys
16.9 Actors taking part in any Productions must spend the two weeks before the performances in rehearsal as usual and take part in the whole month of the show. Actors can rehearse their next production (in the last two weeks of the month) whilst appearing in their current one. (Rehearsals and performances occur at different times of the day). If they are rehearsing for the same company that is staging their current production, however, they don't get paid for the rehearsal weeks. Where NPC penned productions are concerned they may attend the First Night Party at the Club of the writer's patron and toady him. Other PCs may attend NPC penned productions in which PC actors are taking part, but may only attend the First Night party if no more than 6 SLs lower than the party's host.
NPC Productions are all taken to have professional producers.
Productions of the King's Men are taken to include two beautiful actresses in the cast, Productions of the Duke's Men 1, and Productions of the Archduke's Men Zero. Mistresses may take part in productions lacking beautiful actresses at the request of their beau as usual.
The amount spent on lavish props depends upon the club of the Patron: Rose & Crown 100; Bothwell's 200; Fleur de Lys 300.
Where the Patron is spending less than 300 on lavish props, the actor(s) may make up the shortfall, gaining 10% of the profits for each 100 spent as usual.
16.10 Characters may themselves stage a production at the Theatre Royal by hiring the Theatre Royal (costs 100 livres), a private theatre (costs variable) or the Cock Pit (cost 50 livres) and a Company to stage it (at the appropriate price above) - even if their work has been previously rejected by that company. The SPs for _writing_ such a self-staged piece are gained in the month that the Theatre is booked. A 2 week rehearsal must be held the month before it is scheduled to open. Only one play may actually be performed in any one theatre in any one month. The Theatre Royal may be booked on 4+ on 1d6 if the Director of the the Theatre Royal (DoTR) is an NPC. A PC Director decides as he wishes. The Cock Pit may be booked on + on 1D6. Private threatres may be booked as the owners see fit.
A character can start attempting to reserve a theatre once he has a finished piece to stage but, in the case of the Theatre Royal, only up to 3 months in advance. The writer(s) of the production must post to the press describing in brief or at length a description of theplay/opera/ballet (including in the description whether or not the piece will be bawdy). The the writer(s) and or Patron(s) of the work will again be responsible for providing any beautiful mistresses, lavish props and arranging the First Night Party.
16.11 A mistress will take part in a play if asked to do so by her regular lover at the start of rehearsals (and she is not available to be courted for the duration of the run of the play, except by the play's producer). The work runs for the whole of the month following the rehearsals with the writer(s) being required to attend the first week of performances. The writer(s) (or Patron) must also arrange a party at a club or house after the opening night. All those attending the play are entitled to go to the party unless specifically barred by the manager. (This is one of those rare times when a character can be in two locations in one week. At the play and the party.) The regular lovers of mistresses taking part in the show may also attend the First Night Party and are deemed to have satisfied FC by doing so.
Members of the Royal Family will attend the play on a roll of 7 (d6) if the play is not a bawdy production. A +1 is added to the die roll if the King's Players are staging the production and further pluses may apply depending on the Playwright and Actors.
16.12 The writer may invite any PC actor (including himself) to take part in a production. A producer may invite any number of PC actors. PC actors who are members of Player Companies may moonlight for other productions, provided that they don't absent themselves from one of their own company's productions to do so. Should this occur, then they are dismissed from their company and may never rejoin it. This also applies to King's Men moonlighting with the Duke's Men and vice versa.
16.12 Other characters may hire yobs to boo and hiss the production at the cost of 50 crowns. For each character hiring yobs 2d6 are rolled and a 12 indicates a riot occurs doing 100-600 crowns worth of damage (to be paid by the writer and/or PC Producer). If the Royal Family is present the writer (and PC producer) automatically loses one SL. Ordained Clergy may also preach a sermon denouncing the play. This sermon must be summarized in the press.
16.13 Any character that hires yobs, has a 1 in 6 chance of getting turned in by the scum he hires. This is cause for a duel and if any damage was done to the theatre, then the damage must be paid for by the person that hires the yobs. If the Royal Family was present, then the PC's that hired the yobs automatically lose one SL if turned in.
16.14 The success of the play is determined in the post monthly phase by rolling 2d6 with the following modifiers:
+1 if a professional producer is retained (cost 50 crowns) +1 if the show is advertised as bawdy +1 for each 100 crowns spent on lavish props (max +3) +1 for every 4 player characters attending the show during the month (max +3) +1 for every beautiful mistress in the show (max +2) +1 if Staged by the King's Players +2 if the Queen or Crown Prince attend +3 if the King attends (Competent Practitioners and above get further bonuses) +/- Any SPs from the Skill Table when the Skill Check for writing the work was rolled -1 If Staged by the Archduke's Men (or Privately owned company) -1 If this is the first work the writer(s) have had staged -1 for each character hiring yobs (max -2) -1 for each ordained clergyman publicly preaching against the show (max -2) -4 if there is disease in Paris
Modified Roll Outcome Sp for Audience
8 or Less Total Flop -1 9 - 10 Nothing Special 0 11-13 Average 1 14-17 Successful 2 18+ Triumph 3 19+ and SCR 1* Timeless Classic 4
* Refers to Skill Result at Writing Stage
SPs for audience are in addition to any other earned during attendance (i.e. parties, boxes)
The writer(s) and his patron(s) get SP equal to the modified dice roll minus 9.
Gross Ticket sales are the modified dice roll x 100. However, costs need to be paid before any profits are doled out!
Theatre Hire - 100 Theatre Company Running Costs 300 Writer(s) Fee 50 Producer's Fee 50 Theatre Company Fee (King's Men 300, Duke's Men 200, Archduke's Men 100, Private Company - Varies. Theatre company fees are only levied when companies are hired privately. If a Theatre Company or NPC Patron is producing a play, they will cover this cost from production profits - if any) Props Expenses Zero to 300
Anything left after the above is taken out represents the production profit and is divided by the writer(s), props buyer(s), Players Company and / or PC Producer (s) according to their share percentage.
10% Goes to the Writer(s) 10% Goes to each character (or NPC) that spent 100 livres on lavish props (could all have been paid for by the same character) The remainder (between 60% and 90% depending upon how much was spent on props) goes to the Producer(s) of the play. If the play had been optioned by one of the Companies of Players (whether or not the writer initially secured the theatre) then the Producer's share will go into the company's coffers. Otherwise the Producer's share will go to the character(s) who hired the theatre, hired the Company of Players to perform the play and would be liable for any losses which might arise.
16.15 A box at the theatre costs 40 crowns and seats 6 people. The purchaser of the box gains +1 SP. The writer (and his or her NPC Patron/Producer(s) if any) is given a free box (but gains no SP) for the first week. If the writer has a PC Patron, the Patron is also given a free box for the opening night. A seat costs 5 crowns. These costs are doubled on opening night but an extra SP is gained by all attendees. Attending the theatre is a weekly action.
16.16 Any PC may attend one theatre party (generally the first night party but not necessarily) with any conditions the host desires. Those hosting theatre parties need not have any connection with the production, but must hire and use a box in the week of the party they host.
16.17 The productions run for one month.
16.18 Every 4 "Successful" or "Triumph" productions written and / or produced by a character entitles him to a title attempt, and each "Timeless Classic" results in an immediate title attempt (limit of 1 per season).
16.19 If a production is Triumph (or better), the King will engage the company to stage a performance of the piece as part of the proceedings for the next Royal Ball on 6+ (on 1 die) : DMs +1 if performed by King's Players, +1 if King or other member of Royal Family attended initial performance, +1 if an opera, +2 if a ballet, +/- SPs gained at writing stage, -3 if Bawdy. If such a commission is forthcoming, the writer gets a further fee of 50Cr, and he (and his patron if any) get a further 5SPs and a Royal invitation to the Ball in question.
16.20 Characters may, if they wish, recruit their own Company of Players. Such a company may bear the name of their Patron/Owner and it will be he or she who chooses which plays/operas/ballets the Company is to stage. It is also possible for up to four ladies and gentlemen to run a company of players as a joint venture, each being equally responsible for the maintenance of the company and sharing any SPs generated by the company amongst each other equally also. Newly formed companies will be of the same quality as the Archduke's Men and enjoy the same DMs. When the Company has staged four productions which have achieved a result of 'Triumph' or better, they will be considered to be an established company of the same quality as the Duc's Men and enjoy the same DM's. A further 6 results of 'Triumph' or better will result in the company being considered of the same quality as the King's Players, and these will be the DMs they enjoy thereafter.
16.21 A licence from the Director of the Theatre Royal is required before a new company can operate. This costs 100 Cr and will be issued on a 4+ on one die if the Director is an NPC (can be influenced). PC Directors of the Theatre Royal can issue licences as they see fit, for any amount of at least 100Cr they wish - anything above 100Cr going to the Director personally.
16.22 Maintenance of a Company of Players costs 300 Cr per month. The Owner(s) of the Company receive [4 + (SP gain/loss from Skill Check of last piece company performed) - (1 SP per month of inactivity since the company last performed)] SPs per month in view of their Patronage. In the months when the company performs, the Owner(s) of the Company is treated in the same way as the Patron of the writer where SPs accruing from the performance is concerned. The Owner(s) of a Company may hire the company out (at what ever it is decided to charge per performance) as they see fit but receive only half the SPs of the writer for productions performed while the company is on hire.
16.23 Companies may be 'sold' by one sole owner to another for whatever price is agreed between them. Part owners can sell their shares in the same way. In the month following the death of the sole owner of a company, gentlemen may bid for the right to take the company over (monies going to the Director of the Theatre Royal). If no bids are received, the company is disbanded.
16.24 Low quality productions may be staged at the Cock Pit. This only costs 50L to hire, can be successfully hired on 2+ and has a -1 modifer to the results table.
16.25 PCs may start their own private theatre. This has the same purchase price, running cost and SPs as a small mansion but costs an extra 250L to convert before it can begin operations as a theatre. Any PC theatre will be reliant on privately staged productions.
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