Trying to live independently (with a roommate), Nellie Williams became a frequent loiterer at Joe’s Magic Emporium and Consignment before joining Ruthful and Company as a stagehand.
Any interest Nellie had in illusion was recent, nurtured by Darky, as she worked a dead-end gas station attendant job. This new position may be what she needs to feel alive again – or not.
~~
Darky Rouse is the current Proprietor of Joe’s Magic Emporium and Consignment – a small business that takes a while to find after getting off the nearest highway exit, where you’ll see a a thin-ish middle aged black man dressed somewhat like a car salesman, short cut hair in the process of deciding if it will go white or fall off completely. Never a “proper” magician himself, his regular profits come from collectable card game sales. Still, there’s a regular stream of Amateur and Professional magicians coming through, and there are conventions to go to every so often, to chat up potential clients and talk showbiz. That’s all the travel he really needs.
Food is allowed in the front of the store – the card tables – but do keep in mind there is no public restroom. Even if you just made a purchase.
Darky is a friend of the original troupe of two and Nellie separately.
~~
Olivia Gregs is the planner of the Ruthful and Company stage show. An Overplanner at heart, she wanted to become a stage illusionist since she was a child. Her homely (for stage) face and flat affect didn’t do her too many favors getting into show business, though, not getting her above a second tier stage assistant before she met Aurelia.
Sheltering Aurelia’s privacy while letter her exploit her skills gave Olivia the motivation to plan her own small scale show – Ruthful and Company – where she was not playing the roll of the magician, but of the hesitating assistant – managing the chaos enough to keep a magic show full of dark humor going, but not well enough to keep it from being dark.
Olivia does keep up with regular exercise and strength training, trying to compensate for Aurelia’s lack of upper body strength. Short, dark brown hair, decently toned muscles when she doesn’t cover them up (she’s going for more functional strength than looks).
~~
If you manage to find Aurelia Marsh – a slightly bottom heavy, extremely dirty Blonde backstage during a performance of Ruthful and Company, somthing’s gone wrong.
Before preparations for the days’ performance begin, she might give you a line that she’s Imogen’s girlfriend, or the accountant, or writing a book, or the troupe historian.
During the show, she’s a Professional Shapeshifter.
Born with a with a defect in her muscular collagen, which she personally defines as making her muscles “slippery”, she suffers in having a weight restriction (can’t lift more than 25 pounds / 10kg), and lavishes in most contortionist stretches she can come across (as long as they aren’t handstands – weight restriction). This alone could make her a great stage assistant in the magic show. She also has worked up to an unnerving level of fine muscular control over most of her body – She does, in fact, alternate between 9 “persona” during the show, accomplished why quick costume changes, wig changes, and her own talents – Including playing “Ruthful the Great” himself.
So many characters would be impossible without the backstage assistance of Nellie, the planning of Olivia, and her own improvisational skills.
…Imogen is one of her Stage Assistant personas, by the way. That is, you’ll never find her outside a show.
~~
(A)ntonio is Aurelia’s practice male persona, less trying to create a proper working persona, more the name she prefers to use if playing with masculine presentation.
Supposedly, “he” can be very visually convincing, if not fully functional. Which is to say its hard to put forth a hyper-masculine front yet also be weight restricted. Which is also to say Nellie is in no rush to see if more changes happen than what she sees backstage with costume changes… Nellie wouldn’t be completely off guard if Aurelia’s talents extend, but is not really motivated to find out.
“He” and Olivia have tried to improv through a date like this. Antonino tried to play refined, almost aristocratic, Olivia never stopped with the mocking lack of strength and the dick jokes.
~~
Aurelia has experimented with male personas outside the show, but Anthony (R)uthful “The Great” is the only one she performs regularly on stage. He wears a vest, not a full suit – though for quick changing convenience, the vest is sewn to his shirt, and covers the fact that no part of the dirt actually tucks into his pants.
He’s depicted as all too ready to micromanage the back stage, and very schedule oriented… Part of the reason being, Aurelia can only be depicting one persona on stage at a time. Olivia or Nellie can slip on the wigs for a moment, to give the impression up to three of her personas are on stage at once, but they can’t really interact without their blowing cover.
In show presentation
At the start of act 2, Ruthful is on a reclining couch – like one might find at a psychiatrist’s office. He’s complaining about his assistants – not admitting that he may have any blame in proceedings of his perfect show not happeing. Olivia tries to get his attention – the second act is starting, he can either get off his ass and take charge or they will do this without him. She ends up dragging the couch off stage – leaving hims suspended mid-air, still complaining. Worried, she slips a worn chair underneath to catch him, then shouts. He has a cartoon physics moment, head over heels toppling over the chair that had no hope of actually catching him, realising he should continue the show.
~~
Olivia just had a (B) (C) and (D) in the plans for the first show with Aurelia’s personas – before Nellie had joined.
(B)eatrice was the one that survived. Bust because.
That is, as Aurelia continues to develop her body control capabilities, Beatrice is her Breast development platform – how large, how natural, a working set can she maintain during the act. Because she has figured out how to go larger, but with negative impacts to the actual stage assistant requirement.
As a character, the persona of Beatrice is happy to stick with being the “big boobed one” in the company. She’s competent, but doesn’t invest more energy in the situation than it requires. Her life is outside the show.
In show presentation
Beatrice’s possible 3rd act exit is “carry-ons only”. Coming up to Olivia on stage with a large purse, she pulls out a resignation letter – which Olivia insists must be given to Ruthful, who is missing.
“I’ll wait” – Beatrice thinks this is merely a stalling tactic, so she doesn’t move.
“Well, you can at least wait for him in the waiting room”
“Don’t be silly, there is no waiting room back there.”
“Then I guess we’ll have to improvise,” Olivia takes the purse and scoops Beatrice into it, lifting it up when her feet and shoes are all that’s sticking out. “I’ll let him know you’re waiting when I see him next.”
Trying to push the shoes in – the result is a small game of whack a mole. She gets both shoes in, a significant bit of both tatas pop out to replace them. The tries to get one tata in, the other just juts further out. Olivia struggles to zip if the purse for a moment, but it’s more Aurelia’s decision if she pulls in to allow it or not. Either way, Olivia eventually hands the purse from her arm and carries it offstage.
~~
Persona (E)velyn is an evolving attempt to portray a smaller person than Aurelia actually is. Originally this was pure posing – slouching and other adjustments spinal, keeping legs bent, body language. She has tried developing further compression techniques, but has only had real success in looking overall thinner, not shorter. Slightly more conservative clothing lines. Chestnut brown wig, dead anime mom hairdo with more accessories.
Evelyn is the “Everyday Carry” person – she’s got plenty of pens, knives, bottle openers, and other solutions looking for problems. This ends up being an implementation of Endless Pockets, as if they are connected to some sort of hammerspace (supplemented in the later instances by Aurelia’s ability to squish, but in the ways that don’t make her look smaller.)
Sybil has some friction, because there are correct tools for things, not improvised (NOT an option: pocketing Sybil’s toolbox). In effect, Evelyn wants to save the day by already having somthing another person needs for their juryrig.
In show presentation
Her 3rd act exit is when Olivia asks her if she happens to have anything to track down Ruthful. She pads around a bit, “Oh. Shoot. I left the chip tracker in my jeans,”
“You chipped Ruthul.”
“It’s not like this is the first time.”
This is not giving up – she reaches deep and pulls out a roll of fabric that’s assumed to be jeans, like one might tightly pack a suitcase. “Tuesday…” Another, “Friday…”, The last is not rolled, looking already worn. “Right, Monday.” She dips into that pocket and pulls out a large prop that looks a bit like the dragonball radar, and turning it on, “Ok, lets see – oh, where did I leave the car keys…” and she wanders off stage – hinting he is somewhere reachable , but she won’t be back by the end of the act
If Evelyn is supposed to reach the after party, thee final pair of jeans will be damp – pouring out like a bucket as the radar is retrieved. “I forgot to empty my pockets before the wash.”
If someone tries her pockets at the after party, they are meet with a Phalanx of pen caps.
~~
Persona (F)iona is the optimist – which means she’ll wait to run from a bad situation much longer than most would. This is mostly used to comedic effect.
She seems to believe in Magic, treating it like some people do religion. Issues with the act not the magician that’s doing something wrong, it’s the lack of belief of the audience.
Her hair is dark – chestnut, and curly, Tied back, no bangs. Her shoes are more of a sandal.
In show presentiaton
3rd act exit – “Magic Carpet Ride” – Fiona Dumps a rolled carpet on stage, determined to rescue Ruthful. “I know some you you are still skeptical, but really, I need some help getting this thing off the ground” Audience applause powers it – then as the applause turns from timed synced to a random round of applause, the carpet goes haywire, cartwheeling looping off the stage, Fiona barely managing to hang on, with a final command, “sniff Ruthful out boy” before disappearing high above the stage.
If (E)velyn is assisting that night, “chipping” must follow this act, and Olivia asks Evelyn to retrieve both Ruthful and Fiona.
~
The (I)mogen persona is recognizable for her platinum blonde hair/wig. Up close, uneven roots suggest she’s going grey and opted to bleach. Her face is fairly square, she wears flats.
If anyone has seen Aurelia, which most of the audience never will, Imogen is her girlfriend. This is partially to stave of questions if Olivia and Aurelia are seen together in public, partially and expression of Aurelia’s Type. Which might be white haired anime boy, since she can’t be in the same room a a persona she’s performing.
~
Persona (H)elena is the closest to Aurelia physically – no wig, minor modifications to the face, secured dirty blonde hair. This is specifically so she doesn’t get distracted during her hardest stunts – the type she’s not up for every show (especially not twice a day).
She signed up for this. However, she is perpetually plagued with performance anxiety – stage fright – while she’s otherwise competent. She has several cautiously walking on stage, heel turn than immediately walk off. Backstage, this lines up with Nellie getting the next costume ready.
In Show Presentation
“Koozy backbend” is used in the company’s take on “Sawing a woman in half”; She manages to bring the illusion on stage, but runs off. Olivia pushes the prop after her. She is going to get on into this box. they will make it work.
What end up is Nellie ends up pushing out the box (in disguise) after a moment as Olivia introduces the trick; gouc can see arms and feet through open panels, which she shuts; explaining that the head cover normally isn’t on at this point – it’s not closed casket – But Helena’s got to be on stage for a minimum time or she’s not getting paid that week. The visible feet are twitching. Sawing happens, boxes are separated — but then the legs manage to get out. Half a woman is out of the box and trying to find her way off stage, as Nellie and Olivia try to wrangle her back in. At one point Olivia peeks into the top half – “Holding up? We’ll Have you back together in a jiffy” – eventually the get the legs back in the lower box, do the rejoining, We see Helena restored, and she quickly makes her way offstage – her outfit noticably cut at the waist.
The Koozy hides everything above the pelvis. it would be one thing if she were wearing a longer skirt – but the stage assistint outfit doesn’t have any skirt. Normally, she pregrs to dress on an empty stomach. Here, she also needs a clean colon.
~
“Cryptodira” is used as a variation of the Mismade Girl illusion – a 3rd act exit. Helena again helps set up, but runs off again. Olivia catches her and drags her back on stage – but she’s carrying a tenis outfit and a racket. Olivia throws the outfit in the stack of boxes, and Helena puts down the racket and walks in after them.
The act proceeds; the boxes are unstacked and restacked, opened to show they are out of order. The ttenis skirt is already on in the midway reveal. Olivia starts to reveal the chest but quickly closes the door before the audience sees. And just stands there for a moment, head in her hands, before closing the doors back up and restacking. Except the door is stuck – somthing mis-aligned. Trying to force it, the top box comes off the stack. And a head (puppet) falls out. The body itself reaches over the foor and unlatches it – headless, in the full tennis outfit. Olivia returns the head, which it cradles, and the racket. It leaves, stage left. A moment later, while the boxes are still being taken back stage, Helena crosses the stage from left to right, still headless, bouncing the head off her racket like it’s a drill.
Cryptodira is pulling her head into her chest like the eponamous group of turtles.
~~
(L)ola is a persona that’s always ready to be scouted for Hollywood. Always presenting the left side of her face to the audience, because it’s her good side – seeming to move between photo set poses rather than paying attention to her work. If something goes wrong, she goes from trying to ignore the issue to helplessness to freezing up – because she knows how to pose. She was never trying to be compitent at this job, just have her feelers out for the next.
In show presentation
Shoulder length blonde, a little cinched at the waist, 2 inch heels. Stilettos are a sign things are about to go badly for her.
Her cinched waist is a gag through the show. Act 1 is a 3 inch belt and somewhat normal circumference, which Olivia unwittingly compliments (she meant it as an observation)
Act 2 has a 4 inch belt cinched smaller, with some fishing for another compliment, through words and strutting.
In act 3, with no magician to object, the belt is 6 inch and actually built into a pipe-stem corset. The buckle is big enough for what is left of her waist to hide behind. The corset allows for the outfit to be properly tailored for hip shelf and rib overhang. Olivia catches a measuring tape thrown from offstage to measure it while Lola is distracted pre-signing her final illusion.
During the “poster girl” illusion, she is “flattened” into a lifesize poster during a camera flash; it is always her end when she appears. Olivia also signs and dates her “photograph” under Lola’s signature, and Nellie, disguised as another assistant, rolls it up to take off stage. Aurelia gets a moment to take off the corset and recover while they do.
They have a stack of these posters printed at a time, not for sale. That nights signing may go to a VIP, or may be a premium purchase at the merch table.
~~
Persona (S)ybil thinks she should be a diva in her role – a anime princess type – but often converts into being a mechanic of sorts. Her disappearances are less magical and more crawling into places that wouldn’t be crawled into if they were working properly. This is an excuse to Aurelia to explicitly show some flexibility on stage, clambering around things awkwardly rather than gracefully. She seems to be a promoted stagehand, falling on that “I can fix this” attitude.
In show presentation
She will address Nellie directly from stage – as if her replacement stagehand isn’t doing her job.
Sybil is not one of the disappearances of the third act; she could be a walk-off, she could be the one that makes it to the after party beside Olivia. So her big illusion is second act – the twister, part 2. It’s a little more electronic than the classic model, LEDs to indicate rotation direction, motor powered. While setting up the illusion, Sybil stumbles. The trick then proceeds with Olivia getting twisted, the magician controlling the wired electronic industrial remote, opening and closing the compartment to show the twisted and straightened olivia inside (which is merely a false set of doors and decoration).
When twister part 1 is done, Sybil comes out to retrieve it and is not looking good, despite her efforts. After quieting down the audience, she takes the remote in hand and latches herself in the twister, not bothering to close the front door. The audience then get to see her twist up, groans and yelps of relief as she does so – but then the next trick is already being brought on stage. She’s run out of time. Still twisted in the machine the hobbles off, pulling the contraption back behind the curtain with her, fighting the power cord a bit. The assistant on stage looks up when there’s a final yelp of relief when she’s offstage.
Later appearances are “like it never happened”.
~~
Persona (T)essa is tech enthused. Not tech savvy, but tech enthused. Also not young. She looks like she may be an empty nester, and starting to sag. She never had the opportunity in life to learn digital restraint – she will walk around staring at her phone, believing social media gossip, to leave the phone laying wherever when her attention is required.
At least once she tries to get a selfie with the audience behind her. These do go up on Ruthful & Company’s social media. Rasing the lights to take them is a decent cover while other things are happening on stage.
~~
If a persona is facing the audience under good lighting, it’s Aurelia depicting them. There are opportunities for Nellie or Olivia to depict them, though – back turned to the audience, messing with the perception of who is where. Ruthfull and Company is a three woman show – and does not want the audience to realize this.
Aurelia would accept the label of shapeshifter over contortionist – even if a lot of her talent overlaps with one. She is intent on keeping the contortion as a tool, and not what she is known for. That’s not the act she wants – and she is forgoing temporary fame for attention, no matter who you think she is.
