TEXT:  
   
  By 
  dire rugrat 
  publishing 
  Tangible Taverns: 
  Simon’s Dinner Theatre 
  
   
   
   
  Tangible Taverns: Simon’s Dinner Theatre 
   
  Design, Editing:  Kelly Pawlik & Ken Pawlik 
  Layout: Kelly Pawlik 
  Art:  Ken Pawlik, Jeff Preston*, Graphicstock.com 
  Cartography:  Kelly Pawlik 
   
   
  Table of Contents 
  Foreword  ................................................... 1 
  The Tavern ................................................ 2  
  Map: Simon’s Dinner Theatre .................. 5 
  The Food ................................................... 2 
  Rumours ..................................................... 2 
  The Dinner Theatre .................................. 4 
  Events ......................................................... 5 
  Faces at the Tavern .................................... 6 
  Spell Reference .......................................... 12 
   
   
   
   
  © 2016, dire rugrat publishing; All rights reserved.  
   
  *Some of the art in this book was created by Jeff Preston and coordinated by Duane O'Brien in a project titled Terrible Character Portraits. It was used under the Creative 
  Commons License, which can be viewed at: http://creativecommons.org/licenses/by/3.0/.    
    
  Product Identity: The following items are hereby identified as Product Identity, as defined in the Open Game License 1.0a, Section 1(e), and are not Open Content: All 
  trademarks, registered trademarks, proper names (characters, deities, etc.), dialogue, plots, storylines, locations, characters, artworks, and trade dress. (Elements that have 
  previously been designated as Open Game Content are not included in this declaration.) 
   
  Open Content: Except for material designated as Product Identity (see above), the game mechanics of this game product are Open Game Content, as defined in the Open 
  Game License version 1.0a Section 1(d). No portion of this work other than the material designated as Open Game Content may be reproduced in any form without written 
  permission. 
   
   
  
  1 
   
  Foreword 
  Same old story—the PCs venture into town, they find a 
  room to rent and grab a few drinks and a decent meal be-
  fore settling into a comfortable bed for the night.  They 
  wake up, sell some loot, and venture on their way.  But 
  what if, instead of just deducting a few gold pieces and let-
  ting your PCs regain some spells, you give them a chance 
  to explore and interact with the city around them?  What if 
  you let them hear tales of other adventurers (be they en-
  tirely fictional or inspired by local heroes), give them a 
  chance to use their Persuasion or Performance skills, or 
  allow the weary travellers to just be entertained by amusing 
  actors?   
  The latest in the Tangible Taverns line is a dinner theatre. 
  That’s right, a dinner theatre. Don’t worry; it still serves 
  food and drinks.  Plus we have provided a brief synopsis of 
  various plays so you have an answer ready when your play-
  ers ask what the show was about.   
  Join us as we embark on an entertaining evening at the lo-
  cal dinner theatre. 
   
                                        Kelly Pawlik 
   
  
  2 
   
  The Tavern  
  In what can easily be called the dullest part of town, a large, 
  double story wooden building sits on a corner lot.  Like other 
  property in the area the lot is perfectly manicured and the 
  building lovingly maintained. A set of stairs leads up to a large 
  covered porch decorated with potted flowers.  A sign, hanging 
  above the stairs, reads “Simon’s” and the double doors are 
  beautifully carved with intricate designs.  The building is other-
  wise just as dull as every other building in the vicinity. 
  The double doors open into a 
  spacious foyer where a pair of 
  attendants cheerfully greet new 
  arrivals before leading them 
  into the main room, which is 
  filled with tables and chairs, all 
  decorated with white table 
  cloths.  In the centre of each 
  table several candles are posi-
  tioned around a short vase of assorted flowers or greenery 
  (depending on the time of the year). A stage is clearly visible 
  on the opposite wall. 
  There are several doors in this room.  Two lead to a large and 
  well-stocked kitchen where a staff of half a dozen is busily 
  making an assortment of meals.  Racks with pots and pans 
  hang from long chains mounted to the twelve foot high ceilings 
  and tall shelving is mounted to some of the walls, storing vari-
  ous dried goods. The other two doors, located on either side 
  of the stage, both lead to a dressing area for the actors.  On 
  the other side of each of these doors guards (see the 5th Edi-
  tion MM) are stationed to ensure only actors and servers enter 
  the area. Exceptions are sometimes made at the request of the 
  actors. 
  A large room backstage, directly behind the stage and between 
  the two doors, is the main dressing room which is used by 
  most of the actors.  The current production’s costumes are 
  generally stored in here (or in a private dressing room), but 
  costumes from previous productions are generally kept in the 
  large open space on the upper floor.  The other smaller 
  rooms are private dressing rooms for actors who have larger 
  and more regular roles in the theatre’s productions.  One of 
  the larger rooms at the end of the hallway is an office for Au-
  gustus Marlowe, the current owner of the establishment.  This 
  room has a desk, extra chairs for guests and shelves with vari-
  ous books and scripts.  There is also a screen which acts as a 
  partition, dividing his office from a changing area and dressing 
  table as he occasionally acts in the plays at the dinner theater.  
  Also at the end of the hall is a large dressing room used by 
  Finn, the up-and-coming actor and a favorite at Simon’s.  A 
  door at one end of the hall backstage leads outdoors and ac-
  tors will occasionally use this door to get a breath of fresh air. 
  It is generally kept locked.  A set of stairs leads to a large open 
  room on the upper floor.  Furniture in this room is minimal 
  and it is instead used to house racks of costumes and boxes of 
  props from previous plays.  All of them are neatly labelled and 
  sorted.  The locked door off of this room leads to a simple 
  but tastefully decorated bedroom used by Augustus Marlowe 
  on the occasions he doesn’t want to travel home. 
  Map: Simon’s Dinner Theatre 
  Legend 
  COST: Entrance to Simon’s 
  Dinner Theatre is 2 gp.  
  This includes a meal, one 
  drink and the evening’s en-
  tertainment.  Additional 
  drinks are available for the 
  standard cost (see the 5th 
  Edition PH) plus 10%.  
  
  3 
   
   
  Table 1—Rumours 
  1.  “You know, Augustus engineered his uncle’s 
  death?” (False  - It really was a tragic carriage accident.) 
  2.  “That dwarf, he really knows how to show a girl a 
  good time.” (Partially True – Most women seem to enjoy 
  their time with the confident actor.)  
  3.  “Augustus, he’s not real.  What I mean is he’s some-
  one else in disguise.  Faked his own death and came back 
  with a new identity.”  (We leave this decision to the GM.) 
  4.  “Finn is trying to seduce Corrah out from under Au-
  gustus.  Risky move if you ask me.” (False – Finn sees 
  more than his fair share of ladies and would never do 
  anything to jeopardize his working relationship with Au-
  gustus.  He and Corrah are friends, but nothing more.) 
  5.  “That Flibbidus, he is such a catch.  He really is the 
  star of the show!” (False – His work is arguably integral to 
  the performance, but Flibbidus is far from the star and 
  more of a special effects kind of guy.  His status as a 
  “catch” is debatable as well.  It is possible Flibbidus has 
  started this rumour himself.) 
   6.  “Nobody can help you mellow out like Cerulean 
  can.” (True – The musical elf has a great understanding 
  of plants and their effects on the body and mind.) 
  Simon’s Dinner Theatre was started by a young playwright 
  named Simon Marlowe.  An exceptional writer with a dream, 
  Simon converted his living room to a small theatre and began 
  recruiting actors.  He built the theatre house from the ground 
  up, slowly and steadily developing a name for himself.  Over 
  the years his troupe grew, his plays became popular and the 
  dinner theatre became ever more popular.  The house un-
  derwent a massive renovation, converting the main floor to 
  the layout it is now, and the theatre once again saw a surge in 
  popularity.   
  Approximately two years ago Simon was the victim of a tragic 
  carriage accident.  The future of the dinner theatre was un-
  certain and all of the actors mourned their friend and em-
  ployer.  During the aftermath of the incident, Simon’s neph-
  ew Augustus, who was not much younger than Simon him-
  self, emerged.  Few knew Simon had a nephew, and those 
  that did had not seen him in close to two decades as he had 
  been living abroad with his mother.  Miraculously, Augustus 
  is arguably his uncle’s equal as a playwright and was happy to 
  have a chance to carry on Simon’s legacy.  Since taking over 
  the dinner theatre, Augustus has finished a few of Simon’s 
  plays, which were close to completion before his death, and 
  written his own pieces.  Occasionally, Augustus also produces 
  plays written by Finn. 
  The Food 
  The servers at the dinner theatre circulate the tables before 
  the play begins, asking patrons for their dislikes, but they 
  don’t take orders or requests.  The server will instead return 
  a short time later with food for the table.  Everyone at the 
  table receives the same food, but some tables have a different 
  meal prepared for them.  Meals range dramatically from 
  fresh crab and garlic butter to meat pies to layered pasta with 
  a tomato sauce, ground meat and vegetables.  Fine wine and 
  spirits are served much the same way, perfectly complement-
  ing the food served.  Every dish is perfectly prepared, perfect-
  ly seasoned and accompanied by a drink that both suits the 
  dish, and would be appealing to the consumer. Indeed, the 
  kitchen has an incredible, almost magical, knack for deter-
  mining the best fit of food for a table after accounting for 
  their dislikes.  Post dinner drinks are always offered at addi-
  tional cost. 
  Rumours 
  In a building filled with actors, there tends to be a flair for the 
  dramatic that even patrons cannot avoid.  Mutterings of se-
  cret identities, murder and love triangles may have some 
  truth to them, or they may simply be inspired by the array of 
  stories presented in the various plays and the incredible act-
  ing abilities of the dinner theatre’s assorted thespians. You 
  can chose a rumour from the table to the below (Table 1-
  Rumours), or roll a d6 and use the corresponding number.  
   
   
   
  
  4 
   
  1. A Game of Crones - Drama is coming.  The hags of West-
  ern Oaks maneuver and scheme against each other, vying for 
  control of the coven.  Their cronies desperately attempt to 
  increase their stature while avoiding their masters' wrath.  By 
  Finn McEwan 
  2. The King is Yellow - King Abelard II is a good and virtuous 
  man; why do the members of his court interpret his edicts in 
  such macabre ways?  And what is the meaning of the tattered 
  yellow cloak that haunts his dreams?  By Simon Marlowe 
  3. Dungeon Crawl - A satire.  Titan's Maulers, a band of ad-
  venturers, have slaughtered the troll king's army and rescued 
  the village of Tembler's End from certain doom.  The villagers 
  see them as a demanding gang of murderous drifters and 
  tomb raiders.  Tensions are on the rise.  By Simon Marlowe 
  4. Dragons in the Pantry - Publican Helton Porter frets over 
  his debts while he corrals the strange and eccentric characters 
  frequenting the titular tavern in this comic masterpiece.  By 
  Simon and Augustus Marlowe 
  5. Scoundrels Don't Wear Dancing Shoes - Mid-level thug 
  Tavers McMullen is ascending in status in the Lucky Brother-
  hood of Drovers and Ploughwrights, a local thieves’ guild, 
  however, in his heart, he wants to dance.  Local diva Jana Tri-
  ette craves a life of swashbuckling danger.  Passions ignite 
  when their paths meet. By Augustus Marlowe 
  6. The Brief History of Everything - The gods emerge from 
  the Infinite Chaos and create the universe in their images in 
  this epic production.  It is said the secrets of the multiverse 
  can be gleaned by astute viewers.  By Simon Marlowe 
  7. The Rise of the House of Winter - From courtesan to 
  queen.  The mostly fictional account of how Adelaide Winter 
  ascended from the most common of origins to become the 
  most beloved monarch in the history of the country.  By Finn 
  McEwan 
  8. The Necromancer's Cookbook - Shasta Corva has two 
  things: a flair for raising the dead and an exclusive eatery 
  whose staff have walked out due to a disagreement over fair 
  wages.  It's eat and be eaten in this darkly comic examination 
  of the class struggle.  By Finn McEwan 
  9. Faery Lights and Goblin Nights - Toadface Snotspittle can 
  hear the fey folk of Titania's Grove dance and frolic every 
  night and yearns to join them.  When his tribe is mercilessly 
  exterminated by a cruel band of marauding humans and elves 
  he stumbles into the fairy ring during his panicked escape.  
  His acclimation to the fey lifestyle is both amusing and heart-
  breaking.  By Augustus Marlowe 
  10. A Midwinter's Song - Huldra Varnsson's axe arm has 
  brought her wealth and notoriety throughout the north lands.  
  When she returns from raiding to find her family murdered, 
  she embarks on a quest of vengeance and ultimately, redemp-
  tion. By Simon Marlowe 
  11. Fancy Jack, A Musical - The brutal evisceration of young 
  men and women in the port town of Endhold has always 
  been attributed to beasts from the bordering forest.  The 
  beasts were unfairly accused. Thirty years later, the grisly 
  deaths resume as the Endhold Ripper returns from Hell to 
  terrorize the populace anew. By Augustus Marlowe and Finn 
  McEwan 
  12. Total Party Kill (sequel to Dungeon Crawl) – The towns-
  folk have had enough.  Dark powers have been summoned.  
  No-one gets out of this alive. By Simon and Augustus Mar-
  lowe 
  Table 2—The Plays 
  The Dinner Theatre 
  While the food is incredible and quite the dining experi-
  ence in itself, the main reason people visit Simon’s Dinner 
  Theatre is for the entertainment.  A new production begins 
  each month, though at the GM’s discretion the plays could 
  change faster, or be on a rotating schedule.   
  The most notable actors are listed in the “Faces at the Tav-
  ern” section, but bit-part actors should be added as the 
  GM requires. 
  We have included some suggested plots for the plays you 
  PCs may attend. 
  
  5 
   
  Events 
  Taverns, even those with a theatrical twist, are a melting pot of 
  citizens and adventurers and it can be hard to know exactly 
  what the evening might have in store for someone.  No doubt 
  the PCs are looking for a little entertainment at the dinner thea-
  tre but they might get more than they bargained for with some 
  of the events on Table 3– Events.  Chose an event from the 
  table, or for a little randomness, roll a d6 and use the corre-
  sponding number.   
  Faces at the Tavern 
  Augustus Marlowe  
  "We are delighted you could attend tonight! Tell me, how did 
  you like the performance?" 
  Appearing to be in his mid-twenties, Augustus has short dark 
  hair, piercing blue eyes and a charming smile.  He keeps his 
  face shaven and is always neatly dressed.  Augustus is charming, 
  if a bit egocentric, but long-time residents will attest that Corrah 
  has been a positive influence in the young man’s life.  The 
  young woman has tamed the heart of a man who could have 
  once been described as a self-absorbed womanizer, and Augus-
  tus now thinks of making her his bride and sees her as his 
  muse.  Augustus treats all of his actors with great respect, but 
  also jokes with them as though they are family.  He views him-
  self as a sort of glue that holds the troupe together and the play-
  house as a home for them all to meet.   
  Now a notable playwright and actor throughout the country, 
  Augustus appeared in town only a couple of years ago, ready to 
  pick up the pieces after his uncle’s passing.  Little is known of 
  him before his arrival and he is remarkably vague on the details 
  if questioned.  Some suggest that he is not, in fact, the nephew 
  of Simon at all, but a man who wanted to step in and claim the 
  estate.  What no-one can deny is that the theatre culture in the 
  city, especially the dinner theatre, would have suffered and pos-
  sibly died without his presence.  Since no-one else ever laid 
  claim to Simon’s estate, it is accepted that Augustus is the neph-
  ew and last known relative of the late, great Simon Marlowe.   
  Table 3—Events 
  1.  One of the actors in the play has become incredibly ill.  If 
  no-one can cover their part, the show is going to be cancelled.  
  The role has very few lines, but is an integral part of the per-
  formance.  Any PC able to cover the role by succeeding at a 
  medium difficulty (DC 15) Performance check will earn Au-
  gustus' gratitude and free attendance to the playhouse once a 
  month for a year. (If none of the PCs are capable of this, we 
  suggest switching the sick actor out for a sick Flibbidus.) 
  2.  During the evening's show half a dozen armed men and 
  women start making their way around to the tables demanding 
  the patrons' valuables. At first their presence seems to be a 
  part of the performance, but it quickly becomes evident they 
  are nothing but common criminals. (Feel free to adjust based 
  on the capabilities of your PCs, but we recommend using five 
  Bandits and one Bandit Captain from the 5th Edition MM]. If 
  it looks like the PCs are out of their depths, don’t forget some 
  of the tavern employees are capable too.) 
  3.  It is the playhouse's anniversary! There is a one night only 
  performance and seats sell out.  The food is, amazingly, even 
  better than usual and the play, titled The Demon's Dream, is a 
  musical detailing a strange pair of Hezrou demons who arrive 
  in a small village and decide they want to live in peace among 
  the people. 
  4.   One of the actors/actresses invites a PC to join them at a 
  nearby tavern for after show drinks.  There are an assortment 
  of actors and actresses provided, so pick the one that will be 
  most entertaining or applicable to the PC in question.   
  5.  Cerulean has realized he left his bag of mushrooms at 
  home and insists he needs them in order to play.  He knows 
  Augustus will notice he is missing, so he begs the PCs to go to 
  his home and retrieve them.  His home isn’t far and there 
  should be enough time before the performance begins to 
  make it back.  
  6.    Talia has been receiving troubling correspondence from a 
  too ardent admirer.  Augustus asks for the PCs assistance to 
  track down the mysterious fan and investigate the situation.  
  Illustration by 
  Ken Pawlik 
  
  6 
   
  Augustus Marlowe                                       
  Male humanoid (human) neutral  
  Armor Class 14 (glamoured studded leather)  
  Hit Points 67 (15d8) 
  Speed 30 ft. 
  _____________________________________ 
    Str 
       Dex 
  Con 
      Int          Wis 
  Cha 
  10(+0)    15(+2)         10(+0)      17(+3)      12(+1)     18(+4) 
  _____________________________________ 
   
  Saving Throws Dex +7, Cha +9 
  Skills Acrobatics +7, History +8, Performance +9, Reli-
  gion +8  
  Senses passive Perception 11 
  Language Common, Dwarven, Elven, Infernal 
  Challenge 8 
  Bardic Inspiration (4/day, recharges after long 
  rest).  Augustus Marlowe can inspire others through his 
  performance. He may use a bonus action on his turn to 
  choose one creature other than  himself within 60 feet of 
  him who can see or hear him. That creature gains one 
  Bardic Inspiration die, a  d12.   
  Once within the next 10 minutes, the creature can roll the 
  die and add the number rolled to one ability  check, attack 
  roll, or saving throw it makes. The creature can wait until 
  after it rolls the d20 before  deciding to use the Bardic In-
  spiration die, but must decide before the GM says whether 
  the roll succeeds  or fails. Once the Bardic Inspiration die is 
  rolled, it is lost. A creature can have only one Bardic Inspi-
  ration  die at a time.  
  Spellcasting.  Augustus Marlowe is a 15th-level spell-
  caster. His spellcasting ability is Charisma (spell save DC 
  17, +9 to hit with spell attacks). Augustus Marlowe has the 
  following bard spells prepared: 
   
  Cantrips (at will): dancing lights, mage hand, minor illu-
  sion, prestidigitation 
  1st Level (4 slots): charm person, disguise self, faerie fire, 
  heroism, silent image 
  2nd Level (3 slots): invisibility, suggestion 
  3rd Level (3 slots): dispel magic, major image 
  4th Level (3 slots): dimension door, freedom of movement, 
  hallucinatory terrain 
  5th Level (2 slots): animate objects, legend lore 
  6th Level (1 slot): eyebite, true seeing 
  7th Level (1 slot): project image, regenerate 
  8th Level (1 slot): power word stun  
   
   
  Corrah Bousaid  (N female human expert 6) 
  "We are always pleased to see new faces! I trust you liked the 
  show?" 
  Long dark hair cascades down Corrah’s back and her eyes, al-
  most the colour of coal, are sultry and seductive.  A notable 
  actress at the local playhouse, Corrah appears to be in her early 
  thirties and her skin is a light creamy brown, her figure curvy.  
  She has a musical laugh and her voice is pleasant to listen to.  
  Corrah’s dedication to her craft has taught her to excel in pre-
  tending to be what she isn’t, but she is generally a pleasant and 
  down to earth woman who appreciates the adoration of her fans.  
  As such, she sometimes frequents local taverns after a perfor-
  mance.  Corrah and Augustus are something of an item, and 
  some people say she is his muse.  Corrah is flattered by such 
  claims, but insists that Augustus is talented and in no way needs 
  her to ensure his success or inspiration.   
   
  Actions 
  ______________________________________ 
  Dagger. Melee or Ranged Weapon Attack: +7 to hit, 
  reach 5 ft. or range 20/60 ft., one target. Hit: 2 (1d4)  
  piercing damage.   
  Illustration by 
  Ken Pawlik 
  
  7 
   
  Finley “Finn” McEwan  
  "I don't think I've seen you here before. (I never forget a face.) 
  What did you think my performance?" 
  This charming young man seems to have some sort of casual 
  relationship with fellow thespian Eldrin, but that does not stop 
  him from appreciating other women.  He often absentminded-
  ly runs one hand through his short blonde hair when he is 
  nervous, such as before a performance starts, when is having 
  trouble getting his way, or when he is quite tired at the end of 
  the night.  He utilizes his charm and good looks to his ad-
  vantage, finding himself without company only when he wishes 
  it.  Finn is generally easy going and gets along with his fellow 
  thespians quite well, though he 
  keeps some distance from Talia as 
  he sees her for what she is.  It 
  should be noted that Finn is an 
  exceptional actor and while his 
  writing still shows the rough edges 
  of inexperience, Augustus believes 
  the young man has great potential.   
  Eldrin Semarantha  (female elf 
  expert 5) 
  “Augustus really has an amazing 
  acting troupe here doesn’t here?  
  I’m honoured to be a part of it.” 
  With mousey brown hair and aver-
  age features, Eldrin is oddly plain 
  looking for an elf, and shy beyond 
  belief.  There is no doubt, howev-
  er, that she comes to life when she 
  takes the stage, transforming into some-
  thing incredible.  When the show is over, 
  Eldrin makes her way around to the vari-
  ous tables like all of the other actors, greet-
  ing guests and discussing the play.  Percep-
  tive PCs will notice that she stays in char-
  acter to some degree; a strategy she finds 
  helps her with her shyness. She adores 
  Finn, and will often accompany him to a 
  local tavern after the dinner theatre closes, 
  sometimes leaving with him, other times 
  alone, and on occasion, with other wom-
  en.  If one were to speak to Eldrin when 
  she isn’t in costume, it would not be diffi-
  cult to notice her timid nature.   
   
  Illustration by 
  Ken Pawlik 
  Finley “Finn” McEwan                                       
  Male humanoid (human) neutral  
  Armor Class 14 (leather armor)  
  Hit Points 45 (7d8+14) 
  Speed 30 ft. 
  _____________________________________ 
    Str 
       Dex 
  Con 
      Int          Wis 
  Cha 
  10(+0)   16(+3)          14(+2)   14(+2)        10(+0)    16(+3) 
  _____________________________________ 
   
  Saving Throws Dex+ 6, Int +5 
  Skills Acrobatic +6, Intimidation +6, Performance +6, 
  Sleight of Hand +6 
  Senses passive Perception 10 
  Language Common, Dwarven 
  Challenge 3 
  Cunning Action. On each of his turns, Finn can use a 
  bonus action to take the Dash, Disengage, or Hideaction 
  Sneak Attack (1/Turn). Finn deals an extra 14 (4d6) 
  damage when he hits a target with a weapon attack and has 
  advantage on the attack roll, or when the target is within 5 
  feet of an ally of Finn’s that isn’t incapacitated and Finn 
  doesn’t have disadvantage on the attack roll. 
   
  Actions 
  ________________________________ 
  +1 Rapier. Melee Weapon Attack: +7 to hit, reach 5 ft., 
  one target. Hit: 7 (1d8+4) piercing damage. 
   
  Reactions 
  ________________________________ 
  Parry. Finn adds 3 to his AC against one melee attack that 
  would hit him. To do so, Finn must see the attacker and be 
  wielding a melee weapon. 
  Illustration by 
  Jeff Preston 
  
  8 
   
  Flibbidus Starriwynckles  
  "Yes, yes, the actors are important but the show wouldn't be the 
  show without my technical expertise." 
  Flibbidus is remarkably quiet for a gnome, keeping to himself and 
  blending into the background during the performances.  Flibbidus 
  wears round spectacles and his dark hair is worn in a spikey di-
  shevelled manner, though whether this is intentional or not only 
  he knows.  He has bushy eye brows and a small amount of facial 
  hair, worn in a goatee.  Only perceptive PCs are even likely to 
  notice Flibbidus lurking in the shadows at the back of the theatre, 
  adjusting lighting levels and creating believable sound effects and 
  realistic illusions to enhance the performance.  Those that do 
  speak with Flibbidus will find him condescending and arrogant.  
  He usually leaves the theatre right after the performance is fin-
  ished. The actors at the playhouse enjoy Flibbidus’ company as 
  much as he enjoys theirs, which is to say very little. They do, how-
  ever, appreciate the part he plays in helping to create each master-
  piece, which is more than can be said about him for their contri-
  butions. 
  Ulat Strongarm (female half-orc commoner 2) 
  “Uh, yeah? I really just move stuff, so unless you need something 
  moved…” 
  When it comes to resetting the stage for scene changes, or putting 
  up backdrops for a new play, the theatre relies on Ulat.  While 
  she isn’t overly intelligent, Ulat excels at following orders and few 
  can carry sets and heavy props as easily as she can.  Ulat has large 
  tusks, small brown eyes and a plain ring through one of her nos-
  trils.  When a performance is over, Ulat usually busies herself 
  gathering the props and then retreats backstage.  She is pleasant 
  enough, but a bit gruff and unrefined.  Ulat does her best to avoid 
  any drama, associating with the actors as little as possible and stay-
  ing focused on the tasks Augustus requests her to do. 
   
  Kel Kellsen (male Dwarf expert 4) 
  "How'd ya like the show, lass? Care for a private performance?" 
  Of middling height for a dwarf, Kel keeps his long wavy nut-brown 
  hair and well-trimmed beard neat and tidy.  He has a perpetual 
  sneer on his face and mocking grey and black eyes.  Brazen be-
  yond belief, Kel has been known to proposition visitors to the 
  theatre during the meet and greet after the show has finished, even 
  Flibbidus Starriwynckles 
  Small male humanoid (gnome), chaotic neutral  
  Armor Class 12 (15 with mage armor)  
  Hit Points 39 (6d8+12) 
  Speed 25 ft. 
  _____________________________________ 
    Str 
       Dex 
  Con 
      Int          Wis 
  Cha 
    8(-1)     14(+2)         14(+2)    18(+4)      10(+0)      12(+1) 
  _____________________________________ 
   
  Saving Throws Int +8, Wis +3 
  Skills Arcana +7, Investigation +7 
  Senses darkvision 60ft., passive Perception 10 
  Language Common, Dwarven, Goblin, Gnomish 
  Challenge 3 
  Gnome Cunning. Flibbidus has advantage on all Intelli-
  gence, Wisdom, and Charisma saving throws against mag-
  ic. 
  Spellcasting. Flibbidus is a 6th-level spellcaster. His 
  spellcasting ability is Intelligence (spell save DC 15, +7 to 
  hit with spell attacks). Flibbidus has the following wizard 
  spells prepared:  
  Cantrips (at will): light, mending,  minor illusion, presti-
  digitation  
  1st level (4 slots): color spray, fog cloud, mage armor, 
  silent image  
  2nd level (3 slots): gust of wind, invisibility, levitate 
  3rd level (3 slots): hypnotic pattern, fly, major image 
   
  Actions 
  _________________________________ 
  Dagger. Melee or Ranged Weapon Attack: +5 to hit, 
  reach 5 ft. or range 20/60 ft., one target. Hit: 4 (1d4 + 2) 
  piercing damage. 
  Illustration by 
  Jeff Preston 
  
  9 
   
  if they are obviously with a date.  He is unfazed by rejection 
  and will respond with “Well, your loss sweetheart!” before 
  moving on to another table.  Kel harbours no ill-will and is just 
  as likely as not to proposition the same female guest again in 
  future if they are with other company.  He has been known to 
  take women into his private dressing room after the show, but 
  almost always makes an appearance at a local tavern at some 
  point in the evening.  Some even say he has leased a room 
  there.  He is humoured by his fellow thespians, though they 
  have been seen rolling their eyes at some of his less tactful 
  comments. 
  Kel is a capable actor though he is most typically cast as an 
  obnoxious or over confident character.  Most audience mem-
  bers who have seen him in several plays are astounded when 
  he plays a character with more depth or sincerity.   
  Kel does harbor one secret: without fail, he anonymously do-
  nates 20% of his earnings to a local orphanage.  This is not 
  something  he ever shares with anyone, including those he is 
  trying to impress. 
  Talia (female tiefling expert 3) 
  "You must be looking for an autograph. You can put in a re-
  quest and the necessary sum with Augustus and I will see what 
  I can do." 
  Platinum blonde hair cascades down this young beauty’s back 
  in soft waves. Her eyes are a strange but striking lavender col-
  our, the only evident sign of her fiendish heritage. Exuding 
  confidence and femininity, Talia attracts the attention of men 
  and women, both on the stage and off.  She is by all accounts 
  an excellent actress and is capable of playing a variety of roles. 
  When not on the stage Talia is a complete diva.  She is well 
  aware of her talent and looks and expects them to get her eve-
  rywhere and anywhere she wants to be.  Those men that do 
  attract her attention are likely to find they don’t keep it for 
  long, especially if they have little to offer her.  While Talia may 
  once have had and used a last name, she now prefers to be 
  known simply as “Talia”. 
  Curulaeron “Cerulean” Meadowpane   
  "The music tonight? Oh man, it came to me when I was out in 
  woods one time and I found these delicious mushrooms... I 
  was just overcome with these feelings and I just heard it, you 
  know?" 
  Curulearon, or Cerulean as he prefers, is a master musician 
  and his ability to create the perfect accompaniments to Augus-
  tus’ plays is rivaled by none.  Pointy ears protrude from an 
  unkempt mop of dun-coloured hair and the light brown eyes 
  of this elf are often slightly glazed.  His clothing during the 
  show is well-made and reasonably attractive, but Cerulean 
  changes into obviously comfortable clothing as soon as he can 
  each evening. 
  Cerulean has three great loves in life: making music in the 
  dinner theatre, tending to his plants (including his carnivorous 
  plant companion), and enjoying the fruits of his labour, so to 
  speak, by ingesting the various mushrooms and other plants he 
  has grown or found in the nearby forest. Cerulean is always 
  very relaxed and has an easy-going air about him.  He general-
  ly has an assortment of feathers protruding from his bag and a 
  strange looking plant he calls Cactor can often be seen in his 
  vicinity.  
   
  Those looking for various herbs and plants will likely find Ce-
  rulean to be an asset, while those who frown on mind-affecting 
  substances or a somewhat lazy demeanor may be frustrated by 
  his apparent lack of ambition.  Cerulean brushes this sort of 
  attitude off as he is more than happy with his life. 
  Illustration by 
  Ken Pawlik 
  Illustration by 
  Ken Pawlik 
  
  10 
   
  Most of the thespians enjoy Cerulean’s company, save for Ta-
  lia who finds him to be a waste of space and insists Augustus 
  could find someone a bit more polished for the job.  While 
  Augustus would like Cerulean to be a bit more focused on his 
  job, he has come to accept that the elf has a way of doing 
  things, with great results.  And as Cerulean would say, “What 
  do you expect man?  You found me in a patch of mush-
  rooms.” 
   
  Cerulaeron “Cerulean” Meadow-
  pane 
                                        
  Male humanoid (elf) neutral  
  Armor Class 11 (unarmored)  
  Hit Points 33 (6d8+6) 
  Speed 30 ft. 
  _____________________________________ 
     Str      Dex 
  Con 
      Int          Wis 
  Cha 
  10(+0)    12(+1)          13(+1)   13(+1)        16(+3)      14(+2) 
  _____________________________________ 
   
  Saving Throws Int +4, Wis +6 
  Skills Medicine +6, Nature +4, Performance +5 
  Senses darkvision 60ft., passive Perception 13 
  Language Common, Druidic, Elven 
  Challenge 3 
  Fey Ancestry. Cerulean has advantage on saving throws 
  against being charmed and magic can’t put him to sleep. 
  Spellcasting. Cerulean is a 6th-level spellcaster. His 
  spellcasting ability is Wisdom (spell save DC 14, +6 to hit 
  with spell attacks). Cerulean has the following druid spells 
  prepared:  
  Cantrips (at will): mending, produce flame, shillelagh 
  1st level (4 slots): cure wounds, purify food and drink, 
  speak with animals  
  2nd level (3 slots): barkskin, locate animals or plants, 
  moonbeam 
  3rd level (3 slots): daylight, plant growth, water breathing 
   
  Actions 
  _______________________________________ 
  Quarterstaff. Melee Weapon Attack: +3 to hit (+5 to hit 
  with shillelagh), reach 5 ft., one target. Hit: 3 (1d6) bludg-
  eoning damage, 4 (1d8) bludgeoning damage if wielded 
  with two hands, or 6 (1d8 + 2) bludgeoning damage with 
  shillelagh. 
  Sickle. Melee Weapon Attack: +3 to hit, reach 5 ft., one 
  target. Hit: 2 (1d4) slashing damage 
  Another conversation coming soon 
  Tangible Taverns:  
  The Bull & The Bear 
   
  The favorite post-show hang-out of the local thea-
  tre crowd is The Bull & The Bear, a comfortable 
  tavern, complete with a discrete brothel.  The 
  drinks are cold, the food is delicious, the staff are 
  attractive and, like all of our taverns, there are 
  hooks for GMs to develop into mini quests, side 
  tangents or just good old fashioned role-playing if 
  your PCs are craving a change of pace. 
  After a long trek on the road, or days traipsing 
  through dungeons and caves, or near-death expe-
  riences 
  with an 
  orga-
  nized 
  band of 
  goblins, 
  some-
  times 
  your players just want a little comfort, a little re-
  laxation, and some good company.   
  
  11 
   
  OPEN GAME LICENSE Version 1.0a 
  The following text is the property of Wizards of the Coast, Inc. and is Copy-
  right 2000 Wizards of the Coast, Inc ("Wizards"). All Rights Reserved. 
  1. Definitions: (a) "Contributors" means the copyright and/or trademark 
  owners who have contributed Open Game Content; (b) "Derivative Material" 
  means copyrighted material including derivative works and translations 
  (including into other computer languages), potation, modification, correc-
  tion, addition, extension, upgrade, improvement, compilation, abridgment 
  or other form in which an existing work may be recast, transformed or 
  adapted; (c) "Distribute" means to reproduce, license, rent, lease, sell, broad-
  cast, publicly display, transmit or otherwise distribute; (d) "Open Game Con-
  tent" means the game mechanic and includes the methods, procedures, 
  processes and routines to the extent such content does not embody the 
  Product Identity and is an enhancement over the prior art and any additional 
  content clearly identified as Open Game Content by the Contributor, and 
  means any work covered by this License, including translations and deriva-
  tive works under copyright law, but specifically excludes Product Identity. (e) 
  "Product Identity" means product and product line names, logos and identi-
  fying marks including trade dress; artifacts, creatures, characters, stories, 
  storylines, plots, thematic elements, dialogue, incidents, language, artwork, 
  symbols, designs, depictions, likenesses, formats, poses, concepts, themes 
  and graphic, photographic and other visual or audio representations; names 
  and descriptions of characters, spells, enchantments, personalities, teams, 
  personas, likenesses and special abilities; places, locations, environments, 
  creatures, equipment, magical or supernatural abilities or effects, logos, sym-
  bols, or graphic designs; and any other trademark or registered trademark 
  clearly identified as Product identity by the owner of the Product Identity, 
  and which specifically excludes the Open Game Content; (f) "Trademark" 
  means the logos, names, mark, sign, motto, designs that are used by a Con-
  tributor to identify itself or its products or the associated products contribut-
  ed to the Open Game License by the Contributor (g) "Use", "Used" or 
  "Using" means to use, Distribute, copy, edit, format, modify, translate and 
  otherwise create Derivative Material of Open Game Content. (h) "You" or 
  "Your" means the licensee in terms of this agreement. 
  2. The License: This License applies to any Open Game Content that con-
  tains a notice indicating that the Open Game Content may only be Used 
  under and in terms of this License. You must affix such a notice to any 
  Open Game Content that you Use. No terms may be added to or subtracted 
  from this License except as described by the License itself. No other terms 
  or conditions may be applied to any Open Game Content distributed using 
  this License. 
  3. Offer and Acceptance: By Using the Open Game Content You indicate 
  Your acceptance of the terms of this License. 
  4. Grant and Consideration: In consideration for agreeing to use this Li-
  cense, the Contributors grant You a perpetual, worldwide, royalty-free, non-
  exclusive license with the exact terms of this License to Use, the Open 
  Game Content. 
  5. Representation of Authority to Contribute: If You are contributing origi-
  nal material as Open Game Content, You represent that Your Contributions 
  are Your original creation and/or You have sufficient rights to grant the 
  rights conveyed by this License. 
  6. Notice of License Copyright: You must update the COPYRIGHT NO-
  TICE portion of this License to include the exact text of the COPYRIGHT 
  NOTICE of any Open Game Content You are copying, modifying or dis-
  tributing, and You must add the title, the copyright date, and the copyright 
  holder's name to the COPYRIGHT NOTICE of any original Open Game 
  Content you Distribute. 
  7. Use of Product Identity: You agree not to Use any Product Identity, in-
  cluding as an indication as to compatibility, except as expressly licensed in 
  another, independent Agreement with the owner of each element of that 
  Product Identity. You agree not to indicate compatibility or co-adaptability 
  with any Trademark or Registered Trademark in conjunction with a work 
  containing Open Game Content except as expressly licensed in another, 
  independent Agreement with the owner of such Trademark or Registered 
  Trademark. The use of any Product Identity in Open Game Content does 
  not constitute a challenge to the ownership of that Product Identity. The 
  owner of any Product Identity used in Open Game Content shall retain all 
  rights, title and interest in and to that Product Identity. 
  8. Identification: If you distribute Open Game Content You must clearly 
  indicate which portions of the work that you are distributing are Open Game 
  Content. 
  9. Updating the License: Wizards or its designated Agents may publish up-
  dated versions of this License. You may use any authorized version of this 
  License to copy, modify and distribute any Open Game Content originally 
  distributed under any version of this License. 
  10. Copy of this License: You MUST include a copy of this License with 
  every copy of the Open Game Content You Distribute. 
  11. Use of Contributor Credits: You may not market or advertise the Open 
  Game Content using the name of any Contributor unless You have written 
  permission from the Contributor to do so. 
  12. Inability to Comply: If it is impossible for You to comply with any of the 
  terms of this License with respect to some or all of the Open Game Content 
  due to statute, judicial order, or governmental regulation then You may not 
  Use any Open Game Material so affected. 
  13. Termination: This License will terminate automatically if You fail to 
  comply with all terms herein and fail to cure such breach within 30 days of 
  becoming aware of the breach. All sublicenses shall survive the termination 
  of this License. 
  14. Reformation: If any provision of this License is held to be unenforcea-
  ble, such provision shall be reformed only to the extent necessary to make it 
  enforceable. 
  15. COPYRIGHT NOTICE 
  Open Game License v 1.0a Copyright 2000, Wizards of the Coast, Inc. 
  System Reference Document 5.0 Copyright 2016, Wizards of the Coast, 
  Inc.; Authors Mike Mearls, Jeremy Crawford, Chris Perkins, Rodney 
  Thompson, Peter Lee, James Wyatt, Robert J. Schwalb, Bruce R. Cordell, 
  Chris Sims, and Steve Townshend, based on original material by E. Gary 
  Gygax and Dave Arneson. 
  Tangible Taverns: The Bull & The Bear. © 2015, dire rugrat publishing; 
  Authors: Kelly Pawlik and Ken Pawlik 
  Tangible Taverns: Simon’s Dinner Theatre. © 2016, dire rugrat publishing; 
  Authors: Kelly Pawlik and Ken Pawlik 
  
   
   
     dire rugrat  
  publishing 
  
SOURCE: textdata/thevault/Dungeons & Dragons [multi]/5th Edition (5e)/3rd Party/Dire Rugrat - Tangible Taverns Simons Dinner Theatre.pdf