Tag Archives: character background

Character Sketches: The Alchemist 1 by Sarah de Buck

Character Sketches: The Alchemist 1 by Sarah de Buck

We’re going to pause a second from the stream of consciousness creative writing spree. I mostly needed to create stories for the 4 (maybe 5) characters who are in the Cabaret and give the setting some life, so i set myself the task of sitting down everyday and writing on the Town of Lost Hallow. I did not post everything i wrote, as the full story of the Sheriff and Miss Hannah is best served in the Cabaret itself, but all this other stuff has served to create a much more real place in my head and set out lots of other details to work with should i need.

There are 4 characters in the Cabaret. It’s possible to throw in a 5th. There’s Miss Hannah, Han-Mi, The Sheriff, and an unnamed other male. I asked Sarah de Buck to go ahead and make some character concept art on this 4th male and i would come up with the character story based on looking at her drawings. Which seems a fun idea.

So she has sent me art. And i present it to you. Cause it’s kind of totally awesome and utterly fun.

gothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shaperagothic western steampunk cabaret character concept art sarah de buck paul shapera

Leave a comment

Posted by on May 7, 2016 in Uncategorized


Tags: , , , , ,

DRH Character Background 3: Jacqueline O’Brien

Jacqueline O’Brien is the sister of John O’Brien and the aunt of Constance.

She and her brother were raised in a blue collar working class home, but Jackie turned out polar opposite from her brother. She was wild, artistic, free thinking and free spirited and a social butterfly who grew into a attraction point for various artistic and esoteric cliques across New Albion.

In junior high Jackie’s first sexual awakenings were all with other girls, but for the most part those girls all graduated to boys soon after. Jackie assumed this was going to happen to her and in early high school tried dating boys whose company she honestly enjoyed and found interesting. However she could just not muster up any sexual attraction to them, not like she had for girls, and midway through high school finally gave up and accepted her lesbianism.

Jackie blossomed in college although not necessarily as a conscientious student. She had a range of interests and studied feverishly the fringe subjects she was interested in and barely touched or showed up at the required (or “mainstream”) ones. Socially she exploded. The Voodoopunks were in full swing in that time and a vooodoo subculture based around crazy, fringe religious beliefs, wild drug fueled parties where rituals were performed to call forth and be possessed by the dead was practically made for her. She was a major player in the Voodoounk scene.

Jackie’s social nature was a hunger for diverse and wildly entertaining viewpoints. In fact Jackie was fast gaining the reputation as the one who knew everyone. If there was one person who had their hands in every colorful group you could think of, from painters to musicians, radical scholars to circus performers to Voodoopunks, it was Jackie.

Her parties would be legendary, but this is still to come. First came Dorothy.

Jackie met Dorothy in her mid 20s. They were both voodoopunks, both interested in art and when Jackie ran into Dorothy yet again at a lodge meeting for gothic Rosicrucians she knew she was smitten. The two of them fell in love quickly and utterly. Jackie did sometimes wish their courtship had been slower so every little agonizing detail of the emotional and physical seduction could have been enjoyed even more fully, but the fact is they were made for each other and they both knew it, so they fell in love fast and hard.

For the next decade they not only shined as a couple, but were a bright light in the New Albion fringe scene. Dorothy came from an immensely wealthy family and had inherited a large, lavish house. They would throw the most amazing parties with the absolute most interesting people. Their parties were where different spheres of art, culture and esotericism would collide, meet and trade ideas.

They were both extremely active in the voodoopunks, both in the rituals and in the anarchic political arm. Jackie was always a bit more involved than Dorothy, who to be honest didn’t care about the political end at all, but who was none the less enthralled by the scene and the rituals.

When the riots came, when the crackdown came, when the purges came, it was Dorothy they came for.

Jackie’s loss of Dorothy will be explored in greater detail in Act 3 of the Dieselpunk Opera so we won’t dwell on it here, but it should be stated that after Dorothy’s arrest and execution Jackie gained a dark side. To be clear, she was still, as always, an amazingly generous person, open and eager for new and intriguing ideas and people, but there was a dark tinge to her now. Her heart had been broken. Her dislike for the establishment turned to cold, dark hatred and anyone associated with it she could felt only disdain for at best if not full out vile hatred.

Times were now different. Everyone of interest kept their heads down as New Albion shifted into a very different type of social landscape. The Voodoopunks went underground, literally. An entire Background should probably be written about the Voodoopunks so we won’t get into them here, but Jacqueline remained highly involved. Now that the group was hunted, those left became more militant and hard core, and this suited Jacqueline just fine. When the revolution began many Voodoopunks became active as rebels, Jackie amongst them.

She inherited Dorothy’s house and fortune. Dorothy had left everything to Jackie in an utterly airtight will, so Jackie maintained the house and used her wealth and position as the person who knew everyone to keep various groups funded, running, and in touch with each other. While some Voodopunks lived in the tunnels underneath New Albion and other rebels formed bands or took over streets and neighborhoods or instigated acts of revolutionary violence, Jackie led a double life. She continued to live in the wealthiest district of New Albion and maintain a superficial appearance in regular society. She was vastly more valuable with a hand in all worlds and as a source of much needed money then if she had run off to live underground.

She and her brother John were never close. Not as children and as adults they barely spoke, not out of spite but out of simple disinterest. However when John’s wife was killed by the rebel bomb he showed up at his sister’s mansion with Constance. He proceeded to fall apart and disappeared mysteriously soon after.

Jackie then found herself with a very troubled teenage girl to raise.

Jackie was not really cut out to raise an angry, troubled teenage girl like a parent, but she was cut out to be a source of love and comfort. She did not provide discipline nor did she constrict Constance’s movements which might have been wise as Constance was out of control, but she did provide Constance with a source of unconditional love and was there for her at key times and circumstances, always without judgement. I could give some really touching examples, but this is done a little in Act 2 so i don’t want to ruin it.

Eventually Constance goes her own way (and changes her name to Inanna, for reasons not appropriate to discuss here) and Jackie’s involvement with the Voodoopunks and the rebels begins to reach an interesting fruition.

1 Comment

Posted by on February 20, 2013 in Uncategorized


Tags: ,

DRH Character Background 2: Constance O’Brien

It may well be asked how Constance found her most unusual vocation. Hoping to not reveal anything that would serve as spoilers to the second Act, we shall attempt to answer this never the less.

Constance comes from a blue collar background. Her father John O’Brien was hard working and her mother was a dutiful housewife and mother as befitted their social and economic rung. As a child, what Constance wanted to be most of all was an actress. She wanted to be part of the New Albion theater scene and perform plays in the great theaters throughout the city. As she grew however, she became very disillusioned with the theatrical possibilities under the current government. There was so much censorship of the arts that the types of plays and roles available were endlessly cliche and unimaginative. She longed for the days of the old style of theater, the Decadent Theater as it was referred to now.

Constance was a precocious youngster and still technically a child when the civil war broke out. She and her other school friends learned that if you wanted to get around in war time, you needed to be quick and savvy. At any given time there were barricades, police blockades, street fighting, and forbidden neighborhoods and streets to contend with, not to mention the areas of actual full on warfare  Kids looking for adventure, mischief or simply to get around unhindered had to be especially fast and sly and these traits Constance learned and excelled at.

Once, while roaming through an area with some friends they had been warned not to go through, Constance came upon a girl who clearly seemed to be danger from three men whose body language suggested very, very bad things which were then only on the periphery of Constance’s understanding. While her friends fled Constance used rocks to divert and hurt the men. The terrified girl ended up saved. The girl was named Isis, from a neighborhood and social sphere far outside of the Constance’s familiarity, but was deeply grateful to say the least.

Naturally Constance loved her parents very much although as she approached adolescence she found them more and more uptight and boring. Her Aunt Jaqueline was the opposite: exciting, exotic, with wild ideas and endless flair but Constance saw very little of her. Until the bomb.

Constance’s mother was killed one day by a rebel bomb. It was a great blow to Constance and seemed to break her father, who she had always seen as a rock of strength and dependability. Her father soon became quite withdrawn.

He and Constance moved in with Aunt Jacqueline, which was a comfort and further shaped her teenage years. Aunt Jacqueline’s free spirited manner and off the cuff insights and ideas were thrilling to the girl.

Then her father disappeared.

Constance’s last memory of her Daddy is late at night, when he came into her room after being out drinking and sat at her bedside and rambled to her. Although more or less incoherent, it seemed final, like he knew he was going to die, and sure enough soon afterwards he disappeared and was eventually declared dead.

Now that she was living with her Aunt Jacqueline, Constance began high school in a new district. The high school was in a rather upper class neighborhood and Constance, a blue collar girl, would have found herself lost if not for two things:

1. On her first day of school, bewildered and with the taunts and scrutiny of some of some of the more shark like students zeroing in on her as a  tasty target for ridicule, low and behold Constance experienced what she could only attribute to karma or practically divine serendipity. Isis, the girl she had saved some time before was a student there and enormously high on the social ladder. Like a fairy godsister, Isis swooped in to protect and eventually befriend Constance, teaching her the ins and outs of etiquette in this new world. They became best friends.

2. Constance had always loved acting and was able to step from the role of daring, wild, street wise working class girl, to a new identity as savvy, sly, quick witted and graceful upper class girl born for high society with the instincts of a talented actress. Isis and Constance even changed her last name to something more suitable: Constance Inanna.

The last crucial piece of her teenage years that directly affects how she came to be the woman we meet as Act 2 begins is due to the influence of Aunt Jacqueline’s circle of friends and acquaintances  From these Constance learned a wide range of very unique and interesting things her other school peers would never in a million years be exposed to.

Thus,  by the time Constance graduated high school and entered society she was able to step into the world of New Albion’s high class soirees.

Every weekend, going back to as long as anyone can remember, there is an upper class soiree. It may seem unusual that such a thing may continue unimpeaded even into city wide civil war, but the fact is the soirees had long ago adopted an importance far more crucial to the city’s operations then might appear on the surface. It is at the soirees that the most important business deals are sealed, the most crucial networking accomplished, the myriad of interpersonal subtleties that eventually effect all aspects of commerce happen. It is here that the fashion decisions that will sway the industry are born and die, new directions in art and music gain sponsorship and restaurants and their chefs’ careers are made and lost. They have always been vastly more then a weekly Saturday night party.

Nowadays of course they can occur in strange places and with greater elements of danger. Bombs and sudden fighting are not predictable and cannot always be avoided, even for the wealthy and favored. They do the best they can.

As to Constance’s profession: without revealing it, it must be stressed, no one does exactly what she does. She is the first to ever adopt this particular career in the history of New Albion. And she did not adopt it so much as…

Towards the very end of high school, Isis’ parents’ marriage crumbled. It finally slid to the thing that most high society women fear, sometimes more than death: divorce.

In current high society, to say that divorce laws favor the husband is a wild understatement. To say that the upper class wife only has rights as long as she is indeed a wife and upon becoming single has virtually none other than the law still protects her from murder and assault is vastly more accurate.

A high society woman whose husband decides to divorce her is utterly at his mercy. She has no rights to money, children, social standing, home, or livelihood. Women have watched as other women they have known their entire lives are divorced and suddenly lose everything, are cast aside penniless, with no security blanket, no protected visitation rights, and sometimes no skills to earn income in other economic strata  It is a harshly sobering lesson to witness and many of New Albion’s most elite women will develop instantaneous chills and perspiration at the very mention of the “d” word.

Constance watched as this occurred to Isis’ mother, a women who had practically raised her for the last 4 years, as Aunt Jacqueline would often disappear with her strange crowd for reasons never quite revealed, although there was at times almost a religious air about the whole thing.

The afternoon Isis’ mother sobbed on Constance’s shoulder, betrayed and thrown aside without mercy or a second thought, reduced from a woman Constance thought of as a powerful surrogate mother to a fragile person sad, scared and defeated, well, this made an impression.

And that is how Constance found her vocation in life.

Leave a comment

Posted by on October 24, 2012 in Uncategorized


Tags: , ,

DRH Character Background 1: John O’Brien

John O’Brien is a blue collar working man, pretty patriotic as is general among his friends and social sphere, and works hard to provide for his wife and daughter. Or did.  Before the rebel bomb that killed his beloved wife.

John has a sister Jacqueline and daughter Constance who we shall deal with in later backgrounds. Some of Jacqueline’s background overlaps with her brother John’s of course.

Their parents back in the day were both Voodoopunks, a popular and rather wild subculture of their parents’ generation which combined raucous parties with voodoo religion and not only had its own music and style but combined religious aspects with a sort of political anarchy. However, it crashed, burnt, was outlawed and thus disappeared (supposedly) after the riots that destroyed part of the city and led to the police crackdown that changed New Albion into a more martial police state.

It was John and Jacqueline’s dad who was the raucous Voodoopunk. Their mother was interested in it more in the way a conservatively raised youth will be immensely attracted to a forbidden, thrilling subculture and lover within it, but who is always destined to grow out of it and back into a more calm and secure place in society.

She fell madly in love with John’s father who was a true hellion in his youth. However the riots and resulting government crackdown brought an end to their wild days and it was their mother who was well suited to building them a place in society to hunker down, raise children and keep their heads low and out of trouble. Their father followed suit as best he could and there is no question he was devoted to his family.

Their parents’ deaths when John and Jacqueline were hitting their adolescences was tragic, but for more details on that, Jacqueline is really the one to ask, so we’ll wait until it is her turn to share her background to address this.

John was not only the older sibling but the one who took after his mother, and so took on the responsibility of caring for his much artsier sister. He would have described her as annoyingly flaky and they were not particularly close until their parents’ death which forced them to bond to a greater degree.

John got them through their adolescence and made sure Jacqueline finished school. As they grew into adults her wilder and wilder thoughts, ideas and free spiritedness irritated him more and more. As the one who had to go to work each day and bang out the money for them to live and for her to go to school, he obviously cherished a strong work ethic and practicality and saw Jacqueline and her friends’ yammerings and circular philosophies as the navel gazing idiocy of pampered younglings who don’t know what it’s like to have to step up and fend for themselves.

It’s a classic dichotomy and was fueled by John’s deep missing of his mother and Jacqlueline’s utter failure to replace her and fill the hole. John was very lonely and he simply couldn’t relate to Jacqueline, which made him sad. However his drive to take care of them did not allow for sadness and depression, so it would be channeled into anger and the drive to keep going.

It would also be channeled into drink. John was a hardy drinker, as were the mates he worked with. It was part of their working culture and how they as men learned to deal with their sadness and other emotions which might otherwise bring them down.

By the time John and Jacqueline had grown and drifted apart John was lonely in a way his mates and bar culture couldn’t fill. Thus when Vivian entered his life he was ready to be a devoted family man, as he had always been anyway.

John and Vivian loved each other. Vivian was a bit looser and artisier, a little like Jacqueline, but just enough to complete him and not enough to annoy his world view. John and Vivian loved each other truly and deeply and they loved their daughter Constance.

Like most good men of his social sphere he was disgusted by the rebels causing trouble all over New Albion and upsetting law and order, putting good honest citizens in danger for their idiotic attempts at whatever crazy coup they were attempting.

Vivian is killed one day by a rebel bomb and John utterly falls apart.

His grief is unmanageable. His rage unbearable. He shows up at his sister’s place with Constance and they move in. Jacqueline helps with Constance who is in her early teens. John’s drinking soars and he stays out longer and longer.

Soon John gets The Offer and his life changes. As the scene opens in The Dieselpunk Radio Hour Act 1, Song 3, it is a few years after The Offer.


Posted by on October 22, 2012 in Uncategorized


Tags: ,

Character Background 4: Byron McAlistair

We have now reached the 3rd generation of McAlistairs, Byron the son of Edgar and Fay. Who is he?

He is a politician, aspiring to be Mayor of New Camden. His platform is heavy on the need to keep government small and out of everyones’ affairs, and a strong accent on fear that the government will soon become an invasive force, a police state which will rule it’s citizens with an iron fist. He also stresses a return to more traditional society and believes the city’s moral compass is disintegrating fast as exemplified by the youth and their embrace of the religion of Voudon for their new subculture. His campaign is very dynamic and energetic and in fact he’s more than a bit of a rabble rouser.

This political stance does not come out of nowhere. Since his father Edgar ended up with his mother Fay through a rather nasty act of coercion, their marriage was a truly awful one and Fay despised Edgar. Their son Byron picked up on this and he too resents his father deeply. Government, that is to say authority, represents his father, and after seeing his mother’s misery he does feel deeply that authority is coercive, invasive and should be kept severely in line, if not done away with as much as possible while still keeping order. He does not consciously know that his politics are mostly him railing against his father, but he wouldn’t be unduly shocked should he have the revelation.

He is not an anarchist, mostly because after his father Edgar died while he was in his teens, he was left with his mother Fay, who he loved and whose gentleness kept him from rebelling to the point where he dismissed the notion of societal order. Had his father lived this would likely have happened.

It should be noted here, that although this will never be used in the opera, Edgar died rich, immensely powerful and absolutely alone and miserable. His family life was cold and devoid of any love. His warmth of companionship came through high class prostitutes. He tried affairs, but due to his immense wealth, they often turned ugly, with the women attempting to blackmail and bleed money from him and thus his safest option was a few favorite professionals. He died of slow poisoning. Fay lived to see him become miserable and finally killed him slowly and in an untraceable manner.

It is after Fay dies that Byron, in his grief, turns to politics to try to fix the awful world and deal with his anger over her death and a lifetime of resentment toward his father. This all comes out in his political stance, which is impassioned and makes him very noticeable and quite popular amongst a certain segment of New Albion.

Byron is gay and it should be noted that this fact does not come into conflict with his political convictions. However he has no lovers and perhaps few if any real friends. What he does have is Jasper the Doll. Jasper the Doll, who was first brought back by Annabelle and then again by Edgar (since he was in fact Fay’s father) is still in the family, passed down to Byron. In fact Byron bonded with Jasper while still a child and now in adulthood continues to keep Jasper with him at all times. This type of behavior is not uncommon in New Albion these days. Many citizens take a certain special Doll, that is a dear departed loved one, with them wherever they go.

A question could be raised as to whether Byron is attached to the Doll obsessively  because he is stuck in the comfortable child-like relationship he had with Jasper which was similar to a child and his teddy bear, or whether Byron is in fact someway in love with Jasper and therefore unintersted in pursuing real world sexual and romantic relations. This is unclear, perhaps even unlikely, but what is clear is that Byron desperately wishes Jasper could communicate more openly and intimately with him. Despite his attachment to the Doll, they never the less have a huge distance between them because of Jasper’s lack of communication.

While he is pleading with Jasper on a one to one personal level, these kids are getting together and enacting these huge, garrish, blasphemic Voodoo rituals, channeling and venerating the dead, and it anger Byron outrageously. All this feeds into his political passion and positions and makes him all the more charismatic.

Naturally, in Byron’s love for Jasper is wrapped up his misplaced love for his father. Unable to love his father out of resentment, he kept his father emotionally distant, which was easy since Edgar spent more and more time away from his family and terrible home life. Thus Jasper’s emotional distance resembled his father, but Jasper was passive and harmless, unable to inflict any sort of pain and torment on the world. Or Byron. Jasper’s hyper passivity is the perfect antithesis to his father’s central act of cruelty.

Jasper, the Doll, is meanwhile learning how to use his ability to transmit radio to work out a way to communicate with the living, so that he can acheive his ultimate objective of being dead again and released from his miserable existence living in the mannequin body.

Leave a comment

Posted by on February 19, 2011 in Uncategorized


Tags: , , , , ,

Character Background 3: Jasper, The Dead Guy

As we prepare to begin composition of the 3rd Act (in about 2 weeks) it’s becoming time to address the one character in the entire Opera who is in all 4 Acts, present in all 4 generations the show encompasses. Jasper. Who, ironically, died before the opera even begins.

At the moment i’m leaning towards 3 of the 4 generations being in love with him (Annabel, Byron and Priscilla). In any case, who is he?

Jasper comes from a family with a very respected name who was once extremely well off, but who has, within the past few generations, watched their fortune ebb away. The family name is still worth something, but there is not much behind it anymore.

Because of this, Jasper has been raised with a great deal of pressure to rescue the family name and fortune and restore the once proud line to the status they deserve. Unfortunately, Jasper really doesn’t care about all of this. He is quite content to settle down on the family’s country estate far outside of New Camden and pursue his passion for horticulture. He is interested in creating small scale food forests on limited land which can produce massive amounts and varieties of food which a family or individual can live off of indefinitely.

This is all well and good, but his family still wants their fortune back, while he argues that he can feed them and future generations and  money need not be so great of an issue. These discussions never go well, and despite his convictions, he has been raised from birth to shoulder the family expectations, and so cannot just walk away. His mother uses a potent blend of guilt and pity which Jasper, although aware of and despises, is unable to emotionally resist.

His marriage was carefully arranged while he was still in his early teens, something that he resents.  He met Annabell shortly before the wedding and was quite taken with her, although he only saw her one night. He forgot her soon afterwards.

The marriage is an unhappy one. He sees his wife as vain and shallow. She is actually quite industrious and focused, however she too is from a family with good name but waining fortune and has fully bought into the need to make as much money as possible over the course of her life in order to restore the two families’ greatness. She has less than no interest in Jasper’s interests and is disgusted with him for his reluctuance to go out and make his fortune.

He finds himself able to spend less and less time on his life’s passion, and is pushed into being a stockbroker. Interestingly enough, he has a sharp mind for it, the same logic that makes him a brilliant horticulturalist also makes him capable for being a successful stockbroker, but instead, he is complete failure at it. This is because he subconsciously sabotages himself. His resentment for his mother and wife comes out in his deliberate attempts to fail at the money making business.

The only good aspect of his otherwise miserable life is the birth of his daughter, Fay, who he loves deeply. Alas, while she is still a young child he is involved in the accident that kills him.

He is naturally somewhat surprised and not particularly pleased when he finds himself brought back from the dead by Annabel, and far less so when he is brought back later by Edgar, but the notion of seeing his daughter again calms him somewhat. Thus he remains trapped once again in the mortal coil.


Posted by on February 9, 2011 in Uncategorized


Tags: , , , , ,

Character Background 2: Edgar McAlistair

As we move into the 2nd Act, we arrive at the 2nd generation of McAlistairs, Annabel’s son, Edgar.

Who is he?

At the outset of the 2nd Act he is young, early to mid 20 something, no older than 25.

He is Annabel’s son. After the events of Act 1 she eventually married. Her husband was an intelligent and caring man, not very interesting or charismatic, but he could keep up generally with most of her conversation, was kind in all the small ways that make home life pleasant, and was meak enough and able to get lost in his own bookish interests that he didn’t mind Annabel’s absences when she would lock herself in her lab for days on end.

Edgar loved his father, but his father’s meakishness and boring demeanor prohibited him from being a notable role model for the boy. Edgar was always  much more enamored with his mother, who was loving and doting when it occured to her to be, and so unusual, unpredictable and interesting that he all but worshipped her.

The additional quality that cemented his adoration was the fact that while she was a loving mother, she was distractable, moody, and capable of wandering off to work out a theory or locking herself in her lab for days on end. She was not always available, either mentally or physically. This made her almost like a drug to Edgar, for he never knew when she would disconnect again.

This might have had consequences in Edgar’s teenage years, but sadly, Annabel did not make it that far. She died when he was 11 and he was raised from there on solely by his father. The loss was unbearable to Edgar. His sadness and longing and rage were almost impossible for a 12 year old to deal with.

He hit adolescence immediately afterwards.  While young men typically like to “play the field” and wrack up romantic and sexual experience, Edgar was instead very focused, loyal, and rigidly monogamous. He has abandonment issues with women, and becomes very attached to a woman,  or in his young life, girls. Girls of adolescence naturally are not so focused and like to play the field themselves, and Edgar could be very attractive at first since he has a certain intensity, but his over attachment quickly turned them off.

However, once into his early 20s, this ceased to be an issue with the right woman, and Edgar found her. Fay is an exceptionally bright young woman, well schooled, looking for a professorship in the liberal arts, and interested in security and settling down. Edgar’s attractiveness, intelligence and unswerving loyalty were the right combination for her and they fell in love and remained together for several years, with eventual marriage being a given assumption.

Unfortunately… Edgar is bright and has a little bit of family money, nothing lavish but a modest amount to get by with, but he is absolutely unfocused, with no idea what do with himself. He has an ability for practical and tactical brilliance, but he cannot become interested in a task or career for any length of time. Since he has enough money to get by he can afford to quit whichever career he has recently lost interest in and go back to moping around the house.

This eventually drives Fay crazy. It is a major contention in their relationship.

Edgar is capable of moping around the house for weeks at a time before finally going back out to try his hand at some other pursuit, which he always eventually gives up on, only to plant himself back home and begin the moping process again. As much as Fay loves him, over time this becomes a cancer in her heart towards him.

When Fay eventually meets Sillof (note: see, i told you i’d use his name!), a young, dapper, bright and incredibly industrious man of business, who is building his own series of stores successfully from the ground up with his own vigor and positive focus, he is irresistible to Fay. Fay is the perfect compliment to Sillof, artistic where he is practical, soothing, clever and of course poetic, for Sillof  is not poetic at all, and finds it to be the most wonderful quality he can imagine, one he himself cannot possess. They are drawn together, and despite her love for Edgar, she cannot resist Sillof and leaves Edgar heartbroken and abandoned again.

And thus we begin the 2nd song of Act 2 (the first song of each Act is always a Narrator song, a tango, which brings us up to speed on how the city of New Camden has changed in the passing generation).


Posted by on January 27, 2011 in Uncategorized


Tags: , , , , , , ,

Character Background 1: Annabel McAlistair

Annabel McAlistair:

As the 3rd song opens, we are in Annabel’s private lab, where she is about to attempt to animate a mannequin construct. Who is she?

Annabel definitely has the neurotic (mad) scientist thing going on. But this is of course matched by an intense loneliness and feeling of helplessness in social interactions.

Annabel was raised by parents obsessed with an Ayn Randish philosophy that prized achievement over everything, most notably the development of social relationships. Annabel was discouraged from wasting her time on social bonding, particularly on rabble who had not yet made a name for themselves. The idea was that she could develop social bonds later in life, after she had risen to the top of her field in science, and thus would have access to the other great achievers of the world, whose company were the only ones worth having to begin with.

While this has certainly produced in Annabel deep obsession with her work, it has also produced deep and profound loneliness. She has made up for her lack of well developed relationships through a rich inner fantasy life. She has carried on romantic relationships for months on end through sheer mental fantasy. She is not disassociative, and is not out of touch with reality. She knows she is fantasizing. It is her only way of fulfilling herself emotionally.

In addition, her feelings of self worth are inherently tied to her level of achievement. Until she achieves some sort of notability, she remains worthless. While she does not necessarily agree with her parents’ philosophies, she is a product of them nonetheless.

Annabel was awkward and exceedingly bookish throughout college, with few friends and no romantic relationships of any depth, aside from a few drunken hook ups which did little to alleviate her uncomfortability with social bonding. She was deeply in love from a distance with a boy named Jasper who was scarcely aware of her, and after 2 years of this, through pure chance, she did spend an exquisite evening with him that ended in a wonderfully romantic kiss. He was already betrothed to another in an arranged marriage by his parents and quite upset about this and some of his and Annabel’s conversation had revolved around his frustration with this.

It was almost immediately afterwards that Annabel was expelled from school. She had been in conflict with several of her professors over the possibilty of some theory, and had set about to prove them wrong. However, in order to do this she had stolen corpses. Caught, she was expelled.

Her parents were perfectly pleased, believing that any individual of any great potential must inevitably conflict and be shunned by a mediocre world. This, they were confident, would drive the Acheiver ever onward, to greater glory.

They died within a year of Annabel’s expulsion.

They left her a sizable property where her lab is located and a tidy sum of money. Annabel’s never ending experiments are all she has and she has worked alone down in her lab for several years since all this has occurred. It is hard to achieve success or recognition through such a hermetic lifestyle however, and since her basic sense of self worth relies on this eventually happening, she is troubled instead of ultimately content.

She does go outside the house every Sunday in order to experience the world as best she can, and much of what she sees becomes fodder for her fantasy life.

She has kept tabs on Jasper, is convinced that his marriage was a nightmare (and in actuality, it was very bad) and when she reads of his death is shocked and heartbroken, as he has always been her one true love and has played a key role as her imaginary husband in many of her daydreams.

She is a genuis, though. Really, truly a genuis, and she has been experimenting with life and death. She believes she can bring him back from the dead and put him in the body of a mannequin construct. She steals one of his possesions (for the DNA ultimately). She sees this as the possibility of a whole new life for him and her. He can live again, away from his horrible marriage and family and with someone who will love and adore him and who can keep her company.

The song is sung by Annabel in her lab as she is nearing the moment when she will attempt the final step of the process. She is in a manic state, largely due to the normal hyper state she enters when she is immersed in her work, and additionally due to her emotions.

Leave a comment

Posted by on January 21, 2011 in Uncategorized


Tags: , , , , ,