Silberton Arts Festival Programme

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The Silberton Arts Festival is an annual event held in Sanctuary over early summer. The programme for the 807 WK Festival follows.

Calendar of major events

8th - Opening Night
Operetta; Street of Red Lanterns
Also Gladitorial Parade
9th - Street Festival; the Bazaar
The Freak Show is short of Freaks.
Acrobats, Mimes, Stilt walkers, Jugglers, Strolling Minstrels
10th - Concert; the Stadium
Also Gladiatorial bouts at the Stadium.
General Artistic performances.
Closing night of the Operetta.
11th - Nouveau Art Happenings
(including Anarchist Puppeteers)
Improv theatre everywhere.
12th - Cabaret; Street of Red Lanterns
Dancing & Burlesque until Dawn.
13th - Art Competition
In memory of Jharn Alden (100 Guinea Prize)
A quiet day of recovery.
Also Gladiatorial tournament to find the Champion of Sanctuary
Quiet recitals, thoughtful plays.
14th - Closing Night
Mardi Gras; Governor’s Way.
Grand Ball; Palace.

Operetta - The Lonely Goatherd


Opening Night reviews were almost unanimously favourable:

  • "A New Star is Born" shrieked the Sanctuary Sun
  • "The young man in lederhosen was simply to die for" - Lady Esaria
  • "The Stars of the Show were indubitably the wicked Baron, the Temptress Maid, and the Juggling Goat" - The Truth
  • "The counter-culture motifs and proletariat leanings demonstrated by the cast in rehersal had been ruthlessly suppressed by the bourgeois director and his elitist cronies" - The Ilsig Courier.
  • "I'm going again tomorrow" - Lady Samlane


  • Baron Adicus Kappenstadt – Andre Crumhorn
  • Baroness Gretchen – Valera*
  • Her Companion Brita – Dolly
  • Her Maid Ostara – Evenita Joia Caprice
  • Lord Helmut, a Chateau owner – Renolf
  • His Niece Suesse – Joia Tamzen* (an ingenue)
  • Goat-herd Theo – Dzis Gerrard

* not a professional actor

Choirs of female and male servants, villagers, etc., including:

  • Greta, a milkmaid played by Caprice Shelley
  • a goat played by Bobo the juggling dog
  • three village lasses played by Milly, Candy, and another girl
  • local guards played by the chorus passing Gladiators

Last Minute Changes

With Dolly having her throat torn out 2 hours before curtain up, and the competant understudies already having taken out other leading actors, the part of Brita the Ladies Companion had to be axed. Instead, the parts of Ostara and the milkmaid Greta (now a named part) were increased. Helmut has failed to to find true love with a social equal - now in his twilight years it takes Ostara to show him that true love is the key to happiness (of course, she was faking), and after that he finds Greta. She only sings a few lines + one of the final duets.

After-Last-Minute Changes

In Act Two, Scene Two, instead of some of the chorus playing local guards, two gladiators walked on, to the cast's astonishment & the crowd's rapturous approval. As they were brutally stabbed backstage after the scene, it's unlikely this stunt will be repeated for subsequent shows.

Act One

Baron Adicus of Aladar and his wife Gretchen are staying in a chateau in Syborite during the Baronies War. There are implications they fled to a neutral country for their health.

Scene One

A richly appointed study.

Baron Adicus and his host, Lord Helmut are chatting about the hunting here in Syborite. Lord Helmut is in awe of Adicus ’s reputation as a hunter. The metaphors and similes get plainer and plainer until it’s clear they are talking about hunting bits of skirt. As they chat and sing, various maid servants, including Ostara, come and go, getting leered at and fondled, and seemed resigned to it. Helmut effectively offers his niece Suesse to Adicus in return for learning some of his techniques. Suesse entered, to be displayed and leered at, but is naïve, and is touched the important lord is taking an interest.

Scene Two

A fine lady’s boudoir.

Baroness Gretchen, and her companion Brita, are singing about the infidelity and wickedness of men. Partway through, the maid Ostara enters, reporting on what the men are doing. They decide to do something, and musically start to come up with a plan, when Suesse enters, walking on air, at the lord taking an interest – she asks Gretchen how she can please Gretchen’s husband – the answers from the others go over her head. She sings a simple song of happiness, while the others plot as a chorus to her aria.

Scene Three

A formal garden outside the Chateau, at dusk.

Maid Ostara is disguised as a gardener, up a ladder, trimming away ivy from under her window. She complains that “creepy-crawlies keep climbing up the ivy and bothering me in bed”. Brita is keeping lookout for her. Ostara goes quiet and Brita feigns interest in the garden as Helmut enters. He practises the lines given to him by Adicus earlier, but Brita is too cunning for him, making him trip himself up, or asking him to explain some of his more doubtful analogies: “Your face is like as elegant and graceful as the moon above” – “you think I’m pale, distant and cold? Covered with pox craters and hidden behind moody clouds?” He shows signs of being genuine and nice in-between his practised pick-up lines, and she encourages him, finally rewarding him with a kiss, causing him to rush off in excitement.

Act Two

Scene One

A village common.

Alpenhornist: High on a hill lived a lonely goatherd. Lay-ee ode lay-ee ode lay-hee hoo. Broad was the chest of the handsome goatherd: Lay-ee ode lay-ee ode-loo.

The yodelling is drowned out by wolf-whistles by the female chorus, as a Goat-herd enters, with a small goat.

The muscular, handsome and bare-chested Theo enters the village, where he is overwhelmed by the crowd of milk maids and goodwives ogling him and inviting him in for supper. He is established as an innocent, as he points out repeatedly that he already has some bread and cheese. “Man cannot live on bread alone” from the chorus, leaning out of their windows in a professional manner. He eventually gets directions to the chateau to sell his beloved goat. The women of the village convince him he needs smarter clothes to visit the chateau, and offer to lend him some finery.

Scene Two

A fine lady’s boudoir.

Theo is in the ladies’ chamber, disguised as a girl. Gretchen, Brita, Ostara, & Suesse are with him, plus his goat, and some female servants – 8 or 9 people all up. Theo is still confused by the flirting and banter, and seeks protection from Suesse, who is the only one not chatting him up – she seems equally bashful, and they have some significant moments of understanding. Adicus & Helmut storm in with some male servants, having been tipped off by a shoe and paranoia, and declare the women are hiding a man. There is much running around in confusion & singing of denials. During this time, Theo passes behind a clothes-changing stand, and doesn’t come out. The women are finally marshalled in a line, and the Baron goes along it, tearing their dresses open, each time sure that the next woman must be a man in disguise. Helmut joins the women in protest. Theo, now in servant’s livery, sneaks around and joins the other footmen, who quietly congratulate him. Eventually, only the Baroness is left fully clothed. The men are thrown out of the room, and off stage. From off stage, there is singing “At least it wasn’t a complete waste of time – now I’ve seen her charms, I’ll show her mine”.

Scene Three

Walking around the Chateau towards the stables.

Suesse, Theo, and goat walk together, Theo is carrying a shepherds crook. Suesse expresses her joy that Theo escaped the Baron's wrath and sold his goat. Theo is glad to have sold his goat and sad to see it go. Suesse asks of the price, Theo replies he has sold his goat and lost his heart. Before Suesse can explore his meaning a cow chased by a milkmaid disrupts their conversation. Theo stops the cow with his crook. The milkmaid - What a fine man, and so good with his staff.. Theo - What a fair maid you look like you could use a good staff. Suesse is shocked and exits with tears in her eyes, the maid looks hopeful, Theo looks confused, gives the maid his shepherds crook, and exits after Suesse. Maid sings as she slowly exits - "The Staff of my dreams" - he gave me his staff - what a fine staff - but not the staff I dreamed - the staff of my dreams...

Suesse returns to the stage with tears in her eyes, Theo runs in after her glistening with sweat. Theo - what hurt, what woe, tell me what troubles you so; Suesse - how could you ask, how could you not know... Interrupted by the arrival of Ostara who has been lurking just out of sight. Ostara bears a message summoning Suesse to her uncle. Suesse exits stage trying to dry her eyes, Ostara takes Theo's arm (Suesse can be heard off stage bursting into tears again) assuring him that she will look after his transaction as they exit to a chorus of "what a fine man, what a fine staff, the staff of her dreams".

Act Three

Scene One

Split Stage: A richly appointed study / A fine lady’s boudoir

In the study Helmut is seeking advice from the Baron, his niece thinks she loves a goatherd when she should be falling for the Baron and he is in love with Brita but has not the words to win her heart.

In the boudoir Suesse sobs of her love and Theo's betrayal. Brita tries to quiz Suesse between sobs about her uncle. Baroness Gretchen comforts Suesse while asking about Theo's assets.

The Baron gives Helmut some poor advice for winning Brita, and assures Helmut that he will fathom the depths of Suesse.

The Baroness assures Suesse that she will test Theo to see if his assets - and intentions - are worthy, and get even with the Baron. Brita misinterprets answers about Theo to be about Helmut, and resolves to make him hers.

Scene Two

A Rose covered pergola in the gardens overlooking a stream.

Baron Adicus, disguised as Theo, meets Baroness Gretchen, disguised as Suesse, and tries to seduce her. She easily sees through his disguise, and thinks he recognises her too, so goes along with it. After an aria/duet (with asides from both revealing their thoughts), she breaks character, declaring her undying love and apologising for doubting his fidelity. He swiftly covers his surprise and agrees.

Scene Three

A formal garden outside the Chateau.

Three duets between Adicus /Gretchen, Helmut/Brita, and Ostara /Theo, each declaring themselves very happy with their partners, full of love and trust. Cheesy lines like “I’ve got a man, he’s strong and brave//I’ve won a lass, I’ll be her slave”.

Firstly, Adicus /Gretchen enter, with Ostara . Ostara is dismissed, and the two sing a couple of stanzas. Meanwhile, Helmut/Brita enter, forcing Ostara back onto stage, and then sing the next two stanzas as Ostara leaves in a third direction. She retreats back onstage again, as Suesse/Theo enter and sing another two stanzas, then all the couples leave in a little procession, leaving Ostara all alone, during a mournful musical bridge. Then she cheerily sings: “I’ve got a man, or two, or three//I’ve got a man, but he ain’t got me.” And skips off after them.

-- FIN --


This piece is a collaboration between the artists. If you want to add something to the silly plot, please do. Don't worry, the PCs have plans to get themselves bigger roles.

Some scenes for the middle, please hack and edit as appropriate.

btw Should it be Ostara/Theo and Suesse left single in the last Scene or Suesse/Theo with Ostara singing the last word?

  • I'm confused - Kelsie
  • Ostara should get the best part as that's the part Caprice is going to steal
  • the goatherd should die
    • NB: If the goatherd dies, then Gerard gets the best part - dying arias rock! and his sympathy vote from the audience will be huge. He'll just come back as a ghost anyway - it's that sort of cheesy operetta. Maybe need to rethink your evil scheme.
      • Ostara can be in love with the goatherd who dies, then the dying bit is a duet and then she gets the last word
  • or not, I'm still confused, I leave it to the genius of the writers
    • The way how I interpret her, Ostara can't fall in love - she's the liberated women for the empowered female audience to identify with. She manipulates the powerful and corrupt men with her body & wit, using them rather than be used. Everyone else seeks (and gets) true love. She doesn't value it, in the same way that the men don't, and doesn't have a woman to confuse her into thinking that she wants it. I'm sure my co-writer feels differently. Stephen?
      • I thought it was because we didn't have enough budget for another male lead. And we can't kill off any of the female leads because the gladiators will riot. Or is this the part where I should shut-up, nod and smile.. Anyway this goatherd infatuation will never last, Suesse will return to Ostara in due time, or have I just given away the twist at the end of the sequel?

Street Festival

There are no details yet. Probably wildly chaotic, with every man and his dog, from when someone starts performing for breakfast until the last unconscious body is hauled out of an alley the next morning.

Gladiatorial Concert

  • Cappen Varra
  • Diabolus + Gerald on clarinet
  • The Gladiators

3pm til dusk.

Critical Reviews
  1. To say that men pay a shilling to watch 22 thugs hit each other is to merely say that a lute is so much wood and catgut, or that the Lonely Goatherd is only paper and ink. For a shilling, the Sanctuary United BGH offers Conflict and Art.

Nouveau Art

Strike Anywhere

Mixing krrf, clowning, theatre, and modern dance, the Strike Anywhere Performance Ensemble probes the political landscape in its latest offering, Pocket Full of Change. Appropriating concepts from mime and popular music, Strike Anywhere's performers act as different instruments. The company improvises on the pieces every night making each performance unique. From the ill-effects of apathy and patriotism, to political manipulation and the rush to war, the ensemble raises an unflinching set of questions as it riffs with humour and insight on topics such as civil liberties, aristocracy, and healthcare in today's society.

Bards for Babes

A group of famous actors, dancers and minstrels are making themselves available to their adoring public. They include Andre, Aidin, Bertran, Snegelringe, and possibly a guest appearance by Cappen Varra. A Ladies Night out. At selected private establishments 5th, 7th, 9th, 11, 13th.

Yockadot Poetics

Immediated. Theatricality of the word. A variety of exciting events and goings-on. Redefining drama. A tent with several poles, performed text as installation. The recontextualized poem. Commedia Erudite. Radicality that actually reaches, inspires, ignites. Drastic practices, and comic relief. Flarfeneugen. A festive festival. A party. An event. Banging a gong.


There always has to be some guy with white facepaint and a beret. However, these mimes are good - or at least skilled & funny. Re-enactments of classic funny moments, including the False Plague riots, the Week of the Rat, the Rankene invasion, and the fire of '78. b.y.o rotten fruit.


The Street of Red Lanterns throws open it's doors, as various dance & variety shows are performed. Debauchery by all and sundry.

Gladiatorial Champion of Sanctuary

A gladiatorial knockout tournament open to all comers. Starts at noon. Ends when one person is left standing. There's a winner-takes-all 200 guinea purse. Princess Meredithis of Ranke has been declared patron of the Tournament. Current seedings are:

  1. Chenaya Vigeles, indomitable Princess of the Blood.
  2. Tempus, feared Hellhound & Immortal Warrior of Berith.
  3. Baroness Sabrina, exotic adventuress - Highly Commended at the Lunar Games.
  4. Dayrne the Giant, thrice All-Rankene Champion.

Other entrants include:

  • Razkuli the Hellhound
  • His Excellency Stilcho, Sanctuary's Ambassador to Hell.
  • Dendur (Kate's man)
  • Gestus & Dismas (friends of Gerald)
  • Justin & Spike of Tycho
  • Leyn
  • Ouijen
  • Harlston
  • Shephard
  • Kama
  • Gayle
  • Yuri
  • ...(sign up)

Final Results


Art Competition In Memory of Jharn Alden

Artists of renown are invited to enter a piece or pieces of their work that best capture the artistic soul of Jharn Alden, the festival's patron. Those who did not have the fortune to know her well may view various sketches and listen to reminisces by some of her friends and colleagues. Performance pieces such as music, dance, song and mummery are excluded - only physical exhibits are accepted. Entering Artists include:

  • Lalo's - Lament for the Fallen
A portrait of Jharn Alden, in oil on canvas. Her face is pale and almost luminous; and her keen wit and sharp mind are clearly recognisable under the layers of decadence, corruption, and self-deception. In the deeply shadowed background, many small figures appear to be either frolicking or suffering inconceivable torments, depending on the viewer's perspective.
  • Sabastian - Jharn Alden – the Brightest Star
A lifelike statue of Jharn, the Muse of Sanctuary. Her incomparable beauty and astute intellect is so well captured many viewers find themselves in awe of the statue - some begin weeping believe they are in her presence, awaiting for her to speak.
  • Areedoj - The Ice Princess
6th Meadow: Carved completely from Ice, this full-size translucent statue of a beautiful elven lady in a ballgown seems to be caught in mid dance-step, elegantly poised in expressive flight. Further layers of textures and colours can be vaguely seen beneath the ice.
10th Meadow: Some of the ice has melted - the outer layers of the ballgown have gone, transforming it into a society gown. The face is more defined and alert, with the slight babyfat gone. The figure now appears frozen in the midst of an animated yet thoughtful conversation. Further layers yet to be revealed impart subtle colouring and complexity.
13th Meadow (evening): More ice has melted. The remaining ice is now completely transparent, apart from thin blue lines tracing the major veins and arteries. The dress is little more than a modesty rag; the face is all cheek-bones and angles; the tendons and svelte muscles stand proud of the near-fleshless limbs; the piercing blue eyes are now distended in pain, and pleading for release.
The corpse of a beautiful elven lady, slender and elegant; her face wistful with unfulfilled dreams, yet her inner peace shining through. Her beautiful white feathered wings have been cut off, and lay crumpled at her feet. Her hands cradle her disembowelled intestines, except for one dangling loop that nearly touches her immaculate pinion feathers. Her bloodied wing stubs jutt above her shoulders, and she looks skywards at what might have been.
PANEL #1 - Jharn Alden as a young elven woman growing up in the cesspit of the empire, she is surrounded by family members and shown to be a joyful young lass full of bright promise and joy. The dim background to this panel shows shackles and beings in pain.
PANEL #2 - Lady Jharn Alden as a young woman in an artistic salon, married to a handsome gentleman in the background (they have matching rings and he has a hand on her shoulder in a possessive manner) who to some viewers seems to have a rather long tongue and be sitting on a lily pad. She is a bright light in a city of darkness, surrounded by other bright lights. The dim background here is a sea of coins and the faint outlines of ships with dark sails.
PANEL #3 - A deep black layered panel with a shining silver star blazing across the heavens with a backdrop of smaller intense stars that just don't have the vehemence and passion of the star that was Jharn.
Viewers of the triptych should see the growth of Jharn (a woman of beauty, intellect and promise) in a harsh city, built on the degredation and misery of others (Slavery and Death) and her final moment as a blaze of glory across the heavens
  • Lady Emily Witford - My Cat Cuddles (withdrawn)
Lady Witford has entered another of her famous expressive portraits of the love of her life, the tortoise-shell tomcat Cuddles (674-681WK). The original Cuddles may still be seen glowering down from the hall dado rail as you enter her mansion, although he is a little moth-eaten nowadays. He is said to repel undead. When announcing the withdrawal of her entry, Lady Emily said "One normally refuses to be moved by the pressures imposed by reporters and similar low-lifes, but death threats against one's person are simply beyond the pale."
An oil portait of Jharn Alden, showing her commanding presence, as she sits in her salon making one of her famous double-edged witticisms to the famous wits and intellects of the town. The picture is framed by a series of minatures showing a number of the better-known artists that Jharn and Serena Alden have freed and patronised.
This six foot long yellow metallic falcate container ticks steadily and loudly.
Entries have closed
Any PC who wishes may enter - please enter a description of the artwork - information on Jharn will have been disseminated 6 months in advance for those in artistic circles. Other descriptions will be entered when the GM has time.
All entries must be in by 7th Meadow, and will be exhibited until 13 Meadow. The winner will be awarded 100 guineas. Other pieces of extraordinary merit may receive additional prizes up to 50 guineas. All prize-winning pieces will remain the property of The Sanctuary Art Council®.

Due to the violence inflicted on one Judge, the continued disappearance of another, and the unavailability of a third, as well as rumours of a bidding war between the artists, the entire judging panel has been replaced with a Royal Commission, consisting of:

  • Prince Kadakithis of Sanctuary, Governor
  • King Ronan of Eltrandor, Revered Majesty, and head of the anti-Western Kingdom alliance
  • Queen Alexandra of Glissom, Honoured Guest and old friend of the Prince
  • Princess Meredithis of Ranke, Heir to the Duchy, niece of the Prince
  • Prince Jamie of Norden, a long-time Sanctuary denizen, and drinking companion of everyone
Critical Reviews
  1. The drawing is on the level of that of an untaught child of seven or eight years old, the sense of colour that of a tea-tray painter, the method that of a schoolboy who wipes his fingers on a slate after spitting on them… These are not works of art at all, unless throwing a handful of mud against a wall may be called one. They are the works of idleness and impotent stupidity, a pornographic show.
  2. It is said that Art is meant to disturb. Methinks the artists themselves have comtemplated over-long on Art before composing these pieces. Too many of these works are reflections on the nature of Art and Critique, and too few relections on the life of the Subject. She was a friendly, kind, simple elven lady, and is rendered too cruelly by those that she raised up in this world. Shame upon the ungrateful, and may she eternally rest, rather than learn of the low regard in which she is held by the half-wit ingrates calling themselves artists. From all the above criticism, I expressly exclude the female artists, who once again prove themselves the gentle and refined sex.

Mardi Gras

There are no details yet. Likely to be a cross between amateur Caberet, the Street Festival, and a party at Gremory's. Fully masked. High casualty count expected.

Governor's Ball

There are no details yet. Invitations only. Politics and Machinations.