Théatre de la Cathédrale -The recent history.

[DM Tarokka]

In the dawn of the year 768 BC, and a new season is expected at the Dementlieuse Théatre de la Cathèdrale. It is expected, with curiosity, after the flamboyant previous season. Rumours hide what is really in the innermost souls of the attendants of the theatre itself, that is: fear and horror. But the fear and horror caused by any representation have just the goal of producing the catharsis, the emotional cleansing. An year has passed, an year of tragedy...

767. It all started with the announcement that the family Jalabert had purchased the rights to use the establishment. The landowners of Chateaufaux had decided to invest in the theatre business, because of the desire of the eldest son, the heir of the Jalabert's wealth, monsieur Pierre Jalabert, the young. In the investment he was not alone. Baroneasa Luciana Armont from Levkarest joined him, not just as a partner in business, but as his wife. The rumours surrounding the Borcan lady have been always, since the beginning, very mysterious and conflicting. The real art was born just in Dementlieu, the most upset claimed; originality comes in mysterious ways, the most open-minded stated. Even the Councillor Jean-Pierre Theraux murmured something on the topic, which went by just with the closest people: he was perfectly aware any word come from his lips, in good or bad, would have just added interest, and he was just interested in seeing how the new management would have behaved, and what would have produced.

In early spring Baroneasa Armont hired some artists, linking them rigidly through indentures, that is the Borcan contracts. It is still rumour that some of the artists who signed contracts were eventually chased by thugs hired by Armont. The illusionist Taniel and the eclectic Venetia were hired, too. "Matilda in Dirt" was never performed, whereas Venetia La Belle-Feé managed to have two shows on stage. During one of them, the scandal. Following in full the philosophy of Armont, "Art must be amusing and art must shock the consciences and the minds", a display of a vampire killed was performed during a representation. Members of the Church of Ezra were involved in this. Despite there is still debate if the vampire was a real one or not, the Church has never released any official statement. The effect wanted was sorted, either way.

The first turning point for the Théatre de la Cathédrale came when the young halfling Absalom Nightlyre applied for the job of artist. Several shows followed, plays, displays of paintings and sculptures, fashion clothes. During this period tragedy hit the theatre for the first time, when Pierre Jalabert was found killed. Most blames went to his Borcan Wife, of course, but nothing could be proved. Despite the efforts of Jalabert family to get again the control of the theatre, Armont had a signed will which granted her total control of the establishment and of the estate on the bay shore. Armont seemed unstoppable and she had started an expansion also in Barovia, trying to have some contract with the Broken Bell theatre of Vallaki...

... yet...

The appearance at Armont's side of the creepy bodyguard of Sefeasa Ivana Boritsi, for security matters she always claimed, made the overall situation simply escalate. More murders happened. The play "Our Guardian in the Mists" went on stage while Luciana Armont was held captive in the Gendarmerie. She was found guilty, but she escaped. Rumours, the only real source of most of this story, suggest she found shelter in Lechberg, at Sef Ivan Dilisnya's estate. The Jalaberts, profiting of this, got again the total control of the Theatre and of their estate, which had needed a full restoration, after a fire which almost made it wholly collapse. The new owner of the theatre, Mademoiselle Anaïs Jalabert, gave more and more power and resources to Nightlyre, with the hope to have her family's name cleansed again. Catharsis. The successful "The Price" was put on stage by Nightlyre's company, and eventually the "White Day" celebrations, and more art displays and a great gala, and the First Meistersinger Contest in collaboration with the University of Dementlieu -despite the rumoured failed marriage of Anaïs Jalabert and professor Ernst Cornell could have revamped some nasty gossip. And Nightlyre married and involved others, even young and promosing and pouty Linette Jalabert, and planned new projects, as the adaptation of the Borcan opera work "The Silent Child" by Cezar Vercezzo. Something Borcan, again.

The menaces by Armont had not stopped. And Nightlyre was found dead. Mystery. A new tragedy and a new turning point.

Year 768 of Barovian Calendar. The story of the Théatre de la Cathédrale flips a page, for new tragedies, and a new possible catharsis.

[Dread]

Rumor quickly spreads of Linette Jalabert having taken on a greater role in the Théatre de la Cathédrale's day-to-day operations. Having matured considerably following her first marriage with Baptiste Moliére (which proved to be ill-fated, indeed), she has since become the heir apparent to the Jalabert family's legacy. Whether she will be able to hold on to that legacy is a whole different matter, entirely...

When she is not spending her time with her new husband, Visconte Leandre de Vauqelin, she is working tirelessly to breathe life into her family's theatre. She has found herself partially distracted, however, by the worsening condition of her older sister, Anaïs. She is said to be more or less bedridden, and Linette makes trips to and from the Jalabert Estate outside of Port-a-Lucine to check on her sister's health. Nevertheless, she remains doggedly determined to make the theater the best she can, partly due to the biting remarks issued by Ricardo Diosa, the owner of the Grand Opera National, with whom she has entered a fierce rivalry with.

Meanwhile, rumors spread of noises originating from the Theatre's walls, and from underneath its tiled floors. Some say that it is the phantasm of Absalom Nightlyre, while others point their fingers at the eccentric behavior of Dr. Wymmer Drukker, the theatre's manager, and his most recent 'invention'. Still others say that it's a second ghost -- the ghost of Valeria Levski, an Invidian painter who served as the troupe's set designer until she committed suicide. Rumor of sabotage is afoot - could a repeat of what happened with the Grand Opera National, happen within the Theatre?

Linette is quick to dismiss this kind of talk, when she hears it... and urges those speculating on the noises to instead focus on the future. What does that future hold, though, and why do most get a feeling of dread in the pit of their stomach when they think about it?