Did anyone create a five-hander version of the script?
To make a five-hander (though I'm not writing this right now) requires an additional role. Here are a few that could expand the total number of rolls (): Larazod's or even Dentris' sibling, Tybain's cohort/squire, or Ilsandra's slave/friend/'sibling'/cohort. I use "he" and "his" as generic pronouns - no specific genders are noted on purpose.
Larazod's sibling would need to be younger (so Dentris still owes his loyalty to Larazod), and would create a "harsher" Larazod that demands the truth regardless of how many 'innocent' (i.e. "younger") get hurt. This role could also be used by "the playwright" to show that none, not even the young, are truly innocent, thus justifying Larazod's stance. "Bonus points: (in all the wrong ways) in that it makes for a much more controversial (and truly awful in its implications, if cast as too young) third act (the "Trial by Pleasure"), helping to push this directly into the "ban forever" category. Probably looks up to Larazod, and maybe Dentris' sibling (if used; this makes Dentris all the more bitter); may or may not wish to seduce Tybain.
Dentris' sibling would simply be loyal to his brother; likely a schemer of some sort. He could have many bitter words against Larazod and Dentris throughout (perhaps only having been caught with them because he was visiting), but slowly coming over to Larazod's side as time goes on. Could be equally dour or bitter (like Dentris) or could be charming. Would likely take Tybain's squire (if used) under his wing and teach him the tricks of the trade.
Tybain's squire could either be a second pall-o-dine (unlikely - it's redundant and doesn't foster much valid character interaction while taking the focus off of Tybain) or a secretly conniving (or not so secretly conniving) character who despises his master's foolishness, but is compelled to obey for some reason, or who somehow has loyalty nonetheless. If Tybain is unaware of his squire's disdain, this brings the "bonus" of having Tybain look more foolish to the audience from the beginning. If the squire is virtuous, he likely (unlike his master) becomes fully corrupted by the end of the play. There could be two squires (though that's pushing it numbers-wise, likely only used if there are seven or more characters), each of which have a different arc.
Ilsandra's slave, lackey, or sibling would likely fall more into the "cast of thousands" type characters than to be specific characters on their own. They may or may not be invited into Larazod and Ilsandra's bed(s) later as a result of their loyalty. If more comic relief is needed, they could be lazy and thoughtless and kind of 'surprised' into the role of going with their mistress (they might not have realized they needed to answer a question, and thus by remaining silent were held in contempt of the court, or perhaps they simply didn't decline when given the offer by the court because they weren't paying attention). They could be loyal to Ilsandra. Ilsandra's parts could even be split with them if they are a sibling (such as a twin). Since Ilsandra acts suspiciously more like a succubus than an Erinyes anyway, it wouldn't be so shocking that she and her sister "share everything". How Larazod responds to that could also be an interesting take on the proceedings.
Anyway, there's a few ideas.
...
One thought I just had, if someone's crazy enough to do it, is to add the Children of Westcrown in as additional actors. That could be a thing done if you are making a live stage production, need more lines, and have more people who want to do it.
So, you know, it's kind of ridiculous that I read the Adventure multiple times, but somehow missed the following sidebar (only clued into it by another thread). I feel stupid now. Anyway...
"More Roles to Play"
The version of The Six Trials of Larazod in which the heroes perform assumes that you have four PCs, and thus there are four roles to be filled, yet if you have more than four PCs you’ll need more roles. Fortunately, various productions of the play in the past have added additional characters to aid Larazod, and if you need them, you can do the same. Two more traditional (non-speaking) roles for other companions to accompany Larazod are listed below, allowing you to extend the participation to up to six PCs. You can even have Calseinica chicken out before the PCs arrive and leave the production, in which case the role of Ilsandra opens up for a PC to fill as well.
Farus the Traveled: A self-styled gypsy king, Farus is a smiling tower of joy. He is a dancing clown who speaks in riddles. His role is comedic—generally it was felt that one clown was enough for the play, and so his character is dropped in many versions of the trial.
Monris Blaksward: A fiendish dwarf with blood-red eyes and a shock of ginger hair, Monris appears in many early versions of the play as the strong arm to help Larazod. He sings in a deep voice and carries bagpipes, which he frequently blows tunes from. An addition to some productions of the play, most omit this character, as his bagpipes often annoy the audience.
These two can be used in conjunction with the characters I created above, creating more interesting dynamics.
As for why the characters I created are unused in general, effectively, they're seen as 'superfluous' or 'repetitive' (or worse: 'derivative').
In any event, this allows for the enormous maximum of up to thirteen characters with every possible permutation (though more likely only up to ten, in most conceivable circumstances).
Larazod's younger sibling would likely delight in Farus, while Dentris' sibling would likely compare Tybain and Farus unfavorably (likely going over Tybain's head; if Tybain's squire is bitter, he, too, would likely be in on the 'joke'). Ilsandra's lackey would likely be less comic with a Farus present, and Ilsandra would likely be unimpressed with Farus' whimsy (and probably more 'chaotic' nature), though given the at least minor lack of truth (purposeful or not) the author displayed about Erinyi, she may instead delight in it.
Monris' bagpipes would generally present an annoyance to everyone but Larazod's younger sibling, while his singing may make up for it to some - likely Tybain's 'pure' squire, and/or Ilsandra (maybe her aid/slave/sibling). Dentris' sibling would likely definitively prefer the singing (though, for a twist, could prefer the bagpipes) and would likely make comments on such (though whether or not they war subtle is up for interpretation).
Farus likely dances to Monris' bagpipe music, making him one of the few who like it, though Tybain might enjoy the pipes (mostly as a subtle nod to the audience that only idiots would like the Bagpipes*, depending on how it would be played).
Anyway, hope this helps!
* This represents what I interpret to be the fictional author's views, not my own. I actually enjoy the 'pipes, myself. :)
(Arise, o zombie)
So no one ever did recorded this and shared it? Just wondering as I'm about to delve into this module!
Thanks!
Jon
I've never seen anyone record or share this, sadly, though if you wanted, I could give you a *takes a quick head-count* 20-person variation of the play (if you include the Ilsandra, Montigny, the Bailiff, and the Prince of Darkness; 16-count if you include otherwise).
In fact, here's a direct copy/paste from my home campaign journal,
Dramatis Personae
Being those to face damnation and torments most foul amid the Six-Fold Trial.LARAZOD RILSANE: A tiefling at a time when being a tiefling isn't easy. To most Chelaxians, tieflings are considered a distasteful mixing of pure bloodlines and diabolic influences based not on thoughtful and potent compacts and bargains, but rather a crude relationship and mere carnal episode bearing rotten fruit. Larazod is a low-ranking scion of a lesser house and has no real influence. He achieved nominal acclaim as an officer in the Everwar but has never really been recognized as a hero. He is an odd choice for Asmodeus's messenger, but his faith in the Dark Lord is peerless and unquestioning. He is a simple and low-ranking member of society who is chosen nonetheless by Asmodeus to right a terrible wrong through faith alone.
DENTRIS MALAGRADA: An old, cantankerous wizard and a retainer in Larazod's family for as long as anyone can remember. He has forgotten more about magic than most wizards ever knew. While his magic is rusty, his mind is otherwise sharp, and his rapier wit cuts down most foes before violence is even an option in their mind. As snarly and grumpy as he is, he loves Larazod like a son, and though he tries to talk the zealous youth out of his dire course of action several times, he still marches steadfastly into death and dismemberment with his tiefling master once his sound advice is ignored. He is the character who most often moves audiences to tears, and his death during the trials often leaves no dry eye in the house.
TYBAIN OBEISAN: A paladin of Aroden who is drawn to close kinship with Larazod not by common religion, but rather by the mutual power of their faith in their own respective gods. The religious discourse between these two characters in the original manuscript illuminates just how close faiths can be, even when diametrically opposed. Tybain serves mostly as comic relief in this play, though theorists claim his original purpose was far more dramatically interesting, and meant to serve as insightful religious and political commentary. However, most of this was cut in staged adaptations for obvious reasons, and only the comic bits involving this character remain. The actor cast as Tybain traditionally dies first in the Trials and usually to audience applause.
ILSANDRA: The diabolic daughter of House Sarini who falls in torrid lust/love with Larazod. Whether or not Ilsandra really loves the young soldier turned tyrant-toppler is a topic of much heated debate among noteworthy drama critics. Many insist she is just using the girl to take down her rival. Either way, no one can deny her canny, Machiavellian mind and demure use of both her charms and wiles to come out on top in the play's conclusion (whether Larazod survives or not).
DROVALID VORCLUNE: Para Inquisitor of the Tribunal, a deeply pious giant of a woman whose flesh is one long taut veneer of scar tissue. He is a self-flagellant whose zealous love of his duties as head torturer is matched only by his zealous belief in Asmodeus's will. Assigned to administer soul-rending tortures to Larazod, the giant is converted by the tiefling's unyielding devotion to his beliefs and decides to assist the unlikely prophet through the remainder of his trials.
MONTIGNY HAANDERTHAN: The sadistic, traitorous, and demon-corrupted paraduke of Cheliax who engineers and oversees Larazod's trials. Arrogant and self-serving, he uses his lofty station in an attempt to deflect Larazod's accusations and put an end to both his accuser and his political rivals. His fate is decided, though, as soon as he defies Asmodeus's chosen servant.
BAILFF: The left hand and herald of magistrate Haanderthan. This nameless servant of the court introduces the feared paraduke and speaks no more, though his ominous presence lingers throughout the trial.
THE PRINCE OF DARKNESS: The archfiend and lord of Hell himself, whose hand shields Larazod throughout his trials and who ultimately exacts his own judgment upon both the accused and the accuser.LARATIA RILSANE: A tiefling who looks exactly like a half-elf (and is thus treated better and kinder than her sister) and the younger sibling of Larazod. Because of her normal appearance, she is effectively sheltered from the hatred Larazod has received, and generally he works to protect her from the harsher side of life. Having a long-standing crush on Larazod's companion Tybain, Laratia always wanted to be noticed by him, though the older man nobly treats her like a child and no more, uncomfortable with her intentions. Pure of heart (except where Tybain is concerned) and relatively innocent, as well as recently coming into adulthood (her birthday being today), she legally claims the right to enter and undergo the trials. She acts as a naive character that the others nobly protect in their own way without compromising their charge, even as Haanderthan allows to undergo the trials with no remorse. She delights in Farus' whimsy and Monris' bagpipes, and completely fails to notice that Certes is madly in love with her. Although relatively innocent and in most ancient manuscripts she's found in she's legally an adult, there are a few interpretations of the character in which she's substantially less innocent... and definitively not an adult. The latter was also a great problem at the time of the play's original release, as it was suggested that unwholesome events (notably the Trial of Pleasure, as well as the budding romance between herself and others) performed against a young girl not yet of age was most vile. Despite the fact that many older (and seemingly original) manuscripts have one of Ilsandra's lackeys stand in for the girl and that she is of age in the oldest references to her, this one element of the character is a matter of outrage and debate even today.
DANFEN AND DUNROC MALAGRADA: old, cantankerous men and brothers to Dentris (occasionally noted as 'triplets'). Danfen is just as cantankerous and insulting as Dentris, but without the clever wit, while Dunroc holds a notably 'silver tongue' and in some editions is even the reason Dentris speaks up to gain Ilsandra's support. The role of these characters is twofold: loyalty to their brother above all dragging them into the trials for which they have no part, and each taking one of the Paladin's squires under their respective wing. Their similarity in arcs and actions (despite their great difference in personality) have caused many to wonder if the original intent was only for one brother (and only one squire). Curiously, they do interact with each other often enough in the plays where they both exist, so it is unlikely they early plays intended them the same.
MIZKASD OBEISAN: One of Tybain's squires, ostensibly dedicated to Aroden, but who never shows anything but disdain for his master, much is made of Mizkasd's name being the same as Tybains, although no text ever delves into their relationship beyond master and squire. Much like other elements with the tertiary characters, it is possible Mizkasd had a deeper story-arc originally planned, that was later dropped. Also noteworthy to drama historians and literary analysts alike is the fact that his name "Mizkasd" is a homonym for "miscast" - a pun which by tradition often ensures that the character is, in fact, miscast for the role, adding another layer of humor and irony. Clearly taken under Danfen's wing, the unsubtle insulting nature of his relationship to his master seems likely to become less subtle as time goes on.
CERTES PERATOLIN: One of Tybain's squires, zealously dedicated to both Aroden and his master, and secretly (and deeply) in love with Laratia, Larazod's sister. One of the most offensive elements of the original work at the time was the "Fall of Certes", in which an honest, truly zealous young woman becomes disillusioned with his master and ultimately corrupted by the "power and honor of hell". Defended by many critics as a deeply honest look at what impressive displays can do to impressionable young men, it was nonetheless deemed 'unwholesome' in its original incarnation.
LISANDRA: The other diabolic daughter of House Sarini, and twin to Ilsandra (often noted by historians for being little more than 'Ilsandra, if she wasn't as clever or self-motivated') who desires to do everything with her sister. Entirely devoted to Ilsandra, the fact that their names are nearly identical and that they said to be twins makes for extremely interesting debate amongst drama critics that she is played distinctively - and actively, with no provocation from Ilsandra - subservient to Ilsandra's whims. Lacking the canny, Machiavellian mind and self-motivated drive of Ilsandra, but using of her own charms and wiles to aid her sister is a point that is fascinating, and many wonder if there wasn't a deeper subplot that was never crafted dealing with her. In any event, the fact that she actively (and purposefully) changes herself to be more like her sister (even going so far as to declare "our desires are twinned as we" when, before she realized Ilsandra's interest, she didn't even seem to notice Larazod and seems to have simply voted "Aye" with the rest of the council) leads to many debates about the exact nature of the relationship between the two.
FARUS THE TRAVELED: A self-styled gypsy king, Farus is a smiling tower of joy. He is a dancing clown who speaks in riddles. His role is comedic - generally it was felt that Tybain was enough for the play, and so his character is dropped in many versions of the trial.
MONRIS BLAKSWARD: A fiendish dwarf with blood-red eyes and a shock of ginger hair, Monris appears in many early versions of the play as the strong arm to help Larazod. He sings in a deep voice and carries bagpipes, which he frequently blows tunes from. An addition to some productions of the play, most omit this character, as his bagpipes often annoy the audience.
ILSANDRA'S (AND LISANDRA'S) SLAVE: The nameless slave to Ilsandra, often serving her in some way throughout the trials. In versions where Lisandra exists, she may have a similar slave of her own, seemingly imitating Ilsandra's, again, pointing to Lisandra being a subservient sister of the two.
HOMEN AND HEMON: The interchangeable lackeys of Ilsandra and Lisandra, generally if there is only one sister in the play, there is only one lackey, but if there are two sisters, there are two lackeys. Notably, they seem not to exist in versions of the play lacking Laratia, and seem only to be a combination plot-device and form of self-censorship (as a method of ensuring Laratia doesn't undergo trials she "shouldn't" according to Chelish thinking). If there are two, the first dies in the first trial and the second in the second trial. If there is only one he survives the first trial only to die in the second trial. Many have pointed out that killing them off in this way allows Ilsandra to bypass being part of the trials prior to the Belly of the Beast, though some question their presence in light of Ilsandra eventually joining the trial herself (and her own desire to experience the trial by pleasure).
I really thought I posted the different acts somewhere 'round here, but I can't find it.
EDIT: found it!