MARCH SADNESS - A Symphony of Sorrow

[pumpkinhollow]

SYMPHONY OF SORROW

If the Audience Would Please Take Their Seats

You find yourself at the theatre.

You may be asking how you got here, why you are here, when did you arrive. But none of that matters, does it? Nothing matters. Whether you are shocked at yourself for thinking so or whether you have known that nothing matters for years on end does not matter either. Whatever meaning there was to be had in any of this escapes you now. Who you were and what you wanted, what you valued and stood for, it all seems now like such a hazy dream. Out of reach.

There is a ticket in your hand. It tells you where to go. You follow it dutifully. Ticket stubs are exchanged for playbills. A schedule of performances. Whatever. You numbly proceed to where you belong. Performers and stage crew to their places, orchestra to the pit, workers to their positions. All with the knowledge that there can be only pain.

A four-armed conductor in moth-eaten robes raises his baton, and there is music.

You deserve this.

You deserve this.

You deserve this.

Observer’s Overture

First Movement in E Minor

adagio, con dolore
PP

Lights down on the chorus, who sits in the stands. They are playing the role of the audience. Ad lib spoken word between chorus members seated near one another. Soft music begins to swell eerily.

Lights up on the stage. A performance begins, apparently in media res, where the chorus is meant to observe.

vacillante, improvvisato
cresc. P

The performers on stage play out their acts, appearing fearful. The chorus ad libs quiet uncertainty from the stands. Some of them will look down at their playbill and find their own name on the schedule of acts to come. There is a brief description on the page of the act that is scheduled for them. It is clear by the state of the ones already on stage that this isn’t something they have a choice in.

Chorus members attempt to rise from their seats, but cannot. Not yet. Foreshadowing to a later movement. For now, they must endure the overture.

Opera Infernale

Second Movement in Various Keys
( A medley of vignettes, performed in various styles)

chorale concerto a tutti, con affetto

F

Various chorus members rise between songs and make their way to the green room, where they are costumed. They have some time to talk with other incoming acts. They will find themselves and their loved ones being prepared for their acts.

segue

Those who performed before stop in the green room again. They look drained. A fate which awaits the incoming acts.

segue

On the stage, each act is a musical recreation of trauma. A worst fear, a most painful moment, an act of cruelty, a time of hardship. The styles will vary accordingly. If the other players in a given tale are present, they will receive their role without question. If a cast member has no fellow performers from their own world present, an understudy will be chosen to play any other roles from those that they are close to. Everyone is off book. Vocal quality is adjusted to match the conductor’s standards. Staff ensures there are no interruptions. The show must go on.

CODA: Für Nimona
A Coda in A Minor

There is a stranger in the green room, unmoving. Pale glowing eyes peer out from an ungulate-shaped void perched atop a high end suit. Antlers leer overhead. He is waiting for someone. Staff take no notice of him.

Ensemble's Lament

Third Movement in G Minor

bocca chiusa
PPP

There are other places to be besides the stage. Other roles to play.

pesante

Behind the stage, the stage crew toil under Baritone, the stage manager and the Viscount of Suffering. There is a pipe organ built into the man’s chest, and the bell of a horn where his heart ought to be. It shows. He is as cruel as he is miserable. He runs a tight ship.

declamando, letando

There are others in the pit, if they have the musical skill for it. And while this part of the performance is managed by a kinder sort, the Contessa of False Comforts is not so named for no reason.

The opera is long. There are no intermissions. The orchestra plays until their lungs ache and their fingers bleed, while Sonata assures them that it will all be over soon. Surely she cannot be lying. Surely there must be an end…

freddo, pietoso

Just outside the auditorium, there is work for the chorus serving food and drinks, taking ticket stubs for the endless stream of audience members, cleaning messes, or all other manner of soulless work. Perhaps these ensemble members simply did not interest the Conductor. Or it could be that they were made more miserable elsewhere.

Reprise - Observer’s Overture

Fourth Movement in E Major

impetuoso
FF It would seem that once a chorus member’s concerto is complete, they are free to move about the premises. At least until they are scheduled in a supporting role for another soloist. This means a chance to explore--- or escape.

presto repente, bellicoso
cresc.

Those attempting to escape will be met with resistance, however. Guarding the doors are shades, creations of the Conductor who can wear the faces of those held dear by those that look upon them. Escape, more likely, will come from within.

Members of the chorus who attempt to do battle with the Conductor, however, will find themselves up against something far more dangerous. Figures of glass, in all different shapes. Some abstract and solid, some hollow and human-like, and everywhere in between. Perhaps some chorus members will find one to be familiar.

The Hero will need an ensemble of her own to make it through and strike at the Conductor. Perhaps a resistance can be formed in a hidden location near the green room.

Homeward Aria

Fifth and Final Movement in C Major

tiempo di fanfara, vittorioso
F

When a dagger of Aster is driven into the heart of Prince Efrain of Sorrow’s Song, at last, the illusion fades. The members of the chorus relinquish their roles and find themselves on the summit of Crane’s Ridge.

It will be an arduous journey home, but it can be done with the solace that there is one less Demon Prince to trouble Pumpkin Hollow. Music in a joyful major key swells, then decrescendos.

enfatico, mancando poco a poco

| CONTENT WARNINGS: altered states of consciousness, entrapment, grief, depression, mood control, loss of bodily autonomy |

Comments

[redlightgreenlight]

“He told me, back at the Casino.”

So very long ago.

[lordoftheozarks]

"What did you pay for that information?"

[redlightgreenlight]

“He gave it freely along with several details regarding the barrier.”

He doesn’t have to believe her, but it is the truth.

[lordoftheozarks]

They've moved past their previous animosities enough that he trusts her to be forthcoming. He can see no reason why she'd be lying. Besides, didn't Aster make a similar offer to him? Erik can't help but admire that antlered asshole's style, even as he plots to murder him.

"This was while he was attempting to woo you, I presume?" These words don't carry Erik's usual bite. The feeling beneath is a mixture of wary concern for her (and Max's) safety, and frustration.

[redlightgreenlight]

“I wouldn’t exactly say he’s stopped doing that, he just hasn’t pushed the deal yet.”

She knows it’s only a matter of time before she has to decide for sure. Certainly Aster knows she has no intention of marrying him, but that doesn’t mean a deal is entirely off the table, not when she’s once again very nearly helpless to protect herself from the demons.

[lordoftheozarks]

"You cannot put him off forever." Yes, he knows he is stating the obvious but this time it feels necessary. "So I very much hope you plan to tell him no. I realize that makes me a hypocrite, but he did not go out of his way to taunt Max before I said yes to him."

[redlightgreenlight]

"I know."

She tips her head, watching him, considering his words.

"I'm not going to marry him, Erik. I have far too much pride to be second to someone like him."

She's second to no one.

[lordoftheozarks]

"You are right, you would be second to him. At least in his eyes." He does not have to say that he is relieved she intended to say no, but with her he doesn't have to.

"What will you do if he doesn't take no for an answer?"

[redlightgreenlight]

"Much as I hate to admit it, Aster isn't stupid. He's not going to invite my ire when he knows I wouldn't hesitate to turn my power against him, not when he has nothing to bargain with. Besides, it's hard to control someone who isn't interested in being controlled, and he saw what happened to the last man who tried to control me."

She laughs, but it's not a pleasant one.

"He was turned on by it, but I don't think he wants me eating his heart out of turn."

[lordoftheozarks]

"He wouldn't have gotten this far if he were a true fool." But Erik remains hopeful that his pride will bring a big fall.

"No, of course he doesn't. He wants you eating the hearts of his enemies for him, instead. But I wouldn't say he has nothing to bargain with. Why do you think he really showed up to your birthday party?"

[redlightgreenlight]

“You think he would use my friends against me?”

It’s not that she hasn’t considered it, but she genuinely believes Aster wouldn’t go that far. He might underestimate her, but not enough to risk it.

“Every single person at that party would rather die than allow themselves to be used and, if I had to, I would kill them to get them away from Aster.”

She just has to make sure Aster falls before the barrier does.

[lordoftheozarks]

"A master manipulator doesn't need to kill his target to cause catastrophe, Valdis, you know that. He just needs to whisper the right concern in the right ear." And Erik wouldn't expect anything less from that vile viper.

"We aren't going to let him win. But..." he sighs, sounding genuinely weary, "that doesn't relieve me of the fear that there will be casualties."

[redlightgreenlight]

"Those who matter won't believe him, and if they do, they will still be willing to listen to me and judge for themselves."

Her irritation is very nearly tangible.

"There are always casualties, the point is to keep them to a minimum."

[lordoftheozarks]

"Spoken like a true general." Perhaps this is why she's better suited to such tasks than he. Even now, he still counts casualties as failure. He always has.

"You're right. I should have more faith in your companions. You are, after all, an excellent judge of character."

[redlightgreenlight]

Her irritation sharpens further. No one has called her a general since she'd joked around with Nobunaga on the Eterna, but even before then she had never been one. A warrior queen, yes, but never a general, not really, not by title. It softens quickly as he continues and she's glad she had enough restraint to not cut him off.

"I simply choose to surround myself with people I can trust, the opinions of anyone else don't matter."

[lordoftheozarks]

"I'm jealous. I can't help caring," he answers, truthfully. "I do hope that serves you well with whatever torture they're about to trot you into on stage."

[redlightgreenlight]

The temperature in the room drops, and the shadows darken, her eyes taking on that dangerous scarlet hue.

"I think you should leave now."

[lordoftheozarks]

"All right," he answers with a bow of his head.

He starts for the door, but pauses once he's opened it, "If you would rather I not watch, you can say so and I will abide by it."

[redlightgreenlight]

Despite her surprise at his offer, her gaze doesn't shift, nor does her demeanor. She takes a breath. To ask him to not watch would be a sign of weakness, something she is not willing to show.

"Do what you wish, it would change nothing either way."

[lordoftheozarks]

He locks eyes with her, frowning with frustration, but it feels different than before. He's not angry at her, but for her.

"It would give you one choice you could make for yourself."

[redlightgreenlight]

"A choice that could be taken away at the whims of a demon, I won't have you promise something that could hurt you by resisting."

The demon could force Erik to watch, if only to cause more pain and sorrow.

"Max would be more upset than he already is."

Because it's certainly only Max's feelings she wants to spare/

[lordoftheozarks]

"If that's really how you feel," he says tiredly.

"Anything to spare Max, of course." There's an ironic twist in his voice that carries into his core, too. Of course. Why would she believe he was doing this for any other reason?

"Good luck out there."

He steps out of the door and closes it sharply behind him.

[redlightgreenlight]

The tone of his voice seems off as he leaves, but she doesn't care to dwell on what he is feeling when she's so on edge. She hopes he doesn't watch, the fewer to experience whatever chapter of her life that will be on display the better.

wrap!

[lordoftheozarks]

He's already decided by the time the door closes that he will not be viewing the performance. She didn't really need to say it aloud for him to know--she doesn't want him to watch. So he won't.