Performing Arts Center

This is where you can watch live ballets, orchestras, plays, and other big-event stage-performances.

 

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Table of Contents:

1. Introduction
2. Dimensions
3. Example Performances
4. Inisfreean Performances
5. Current Performers Directory
6. Spaciousness
7. Novels Excerpt
8. 2021 and 2022 Updates:  Individual Performances
9. 2022 Update:  Availability
10. 2024/+:  Schedule, Etc.
11. Location & Overall (Images Begin)
12. Exterior Concepts
13. Interior Concepts
14. Morton H. Meyerson Symphony Center Inspiration
15. Seating Section Concepts
16. The Effect of Being There
17. Musical Instruments
18. Aerial Silk is Going Nude
19. Typical Fashions of Guests

 

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Introduction:

Inspired by The Nancy Lee and Perry R. Bass Performance Hall, The Morton H. Meyerson Symphony Center, The Sydney Opera House, and The Dubai Opera House, this cultural super-center serves as the hub for all ballets, operas, plays, and symphonic orchestra events for both Inisfree and the whole megaverse of Outland realms it connects and promotes.  

Performers from a thousand worlds and dimensions come here to show off their many top-tier talents, and it is not uncommon for the seats and private boxes of this facility to be sold out and packed with a most eclectic array of beings ranging from Angels, Asari, Demons (pioneering Angels), Drow (a race of Elves), Elementals, Elves, Fae, Kryptonians, Naga, Nymphs, Pleiadians, Vampires (the good kind), and more, all of them wearing either their finest evening attire… or nothing at all (honoring themselves and the Inisfreean Way).

 

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Dimensions:

• footprint (whole building):  ~462′ x ~363′ (7×5.5 map-pixels)
  –actual is curved, oval from top POV; ~131,715.873135 sqft
  –~8.78x larger footprint than underg’ (which is 100w x 150d; 15,000 sqft)
• auditorium:  ~100′ x ~100′ x ~80′ (similar floor-to-ceiling height as our underground theater)
  –10,000 sqft / 1,800 seats = ~5.5sqft/seat (~2.3’x2.3′); not enough room to even sit, let alone walk to/from seat/s
  –Outlander standard is ~9 sqft/person (for chair + walking space in front of it)
  –1,800 seats at 9 sqft per = 16,200 sqft needed; 6,200 more than available
  –so either expand the auditorium on the bldg-footprint, reducing # of non-auditorium rooms, OR
  –reduce main/ground-floor seats to (10,000/9) <1,111 (because that barely fits, and does NOT leave room for aisles between sections)
  –decision:  ~1,000 seats on main/ground floor
• balcony levels:  5; 6 floors/stories of seating
  –4 balconies, each successively-higher one steeper (to maintain line-of-sight with the stage)
  –5 levels of booths (technically also balconies, as they are in rows) along/on the side-walls (the top 2 ‘meeting’ the highest balcony, due to that balcony being so steep)
• seats:  ~3,000 (since the 3,794 in the Metropolitan Opera House of New York were too close together)
  –thus able to seat 1,000 more than our underground theater, and maybe allow for another 1,000 via standing-room
  –main area / ground floor:  ~20 across x 30 rows x 3 groups (left, middle, right) = 1,800 (reduced to ~1,000)
  –lowest balcony:  ~4 rows x 20 across x 3 groups = 240
  –2nd lowest:  ~6 rows x 20 across x 3 groups = 360
  –2nd highest:  ~8 rows x 20 across x 3 groups = 480
  –highest balcony:  ~10 rows x 20 across x 3 groups = 600
  –3 per booth x 5 levels x 7 side by side x 2 walls = 210 seats
  –1,800 + 240 + 360 + 480 + 600 + 210 = 3,690 (690 over estimate/ideal/plan, so remove some rows/columns to spread out rest)
  –800 removed from main/ground floor; total is now ~2,890 (much closer to initial plan of 3,000)
  –reference:  standard Outlander auditorium seat dimensions
  –Outlander seat measurements:  ~22.8″ (580mm) wide, x 27.2″ (690mm) deep (“long”), x ~35.4″ (900mm) tall; 23″x54″ (2’x4.5′) area (9 sqft) req’d (2x depth (“length”) in order to provide sufficient aisle in front of)
• stage:  main/central portion comparable to the auditorium,
  wings:  left, right, and back portions of stage are each ~80’x80′

Inspirations:

• Bass:  ~200×200
• Meyerson:  appears ~130×200 for the auditorium/boxy central bldg/part
• Dubai:  ~240×400
• Sydney:  ~150×300?  (difficult outline to measure)
• (thus all 4 are smaller than our perf’)

Additional:

• NY “Met”:  ~170×450
• Perf’:  ~363×462; >2x bigger ‘footprint’ than Met

 

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Example Performances:

“Stomp” and “Blast” are two world-famous percussion performances which were popular in the Outlands and now performed here in Inisfree by the above-mentioned races’ best musical groups.  Our versions are a little more sensual, of course.  We also like to use a touch more mood-lighting.

 

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Inisfreean Performances:

Including Stomp and Blast, Inisfreean (ICV) performances are just as perfect and powerful, and always have that signature Inisfreean twist; all performances put on by Inisfreeans, whether a ballet, symphony orchestra, or anything else, always include a choreographed, synchronized orgy of truly acrobatic and gymnastic proportions.  It isn’t all about the sex, of course; that’s just one integral part of some shows here.  The focus of performances in this center is a restoration of the ancient and timeless way; graceful movement, free from restrictions such as modern clothing, and the heavenly sounds that went along with those dances from lore and long ago –from the first Golden Age.

 

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Current Performers Directory:

The following are now playing at Inisfree’s Performing Arts Center:

• A.D.O. (performing the Eyes Wide Shut mansion voyeur scenes)
• ​​All-female Faun Riverdance
• Courtney Kania-like ICV
• Duo MainTenant / Duo Osmose (Humans)
• ICV Blast
• ICV Stomp
• Jasmine Thompson-like ICV
• Lindsey Stirling-like ICV
• Masuimi Max
• Nymphetamine (Nymphs)
• Pele‘s Posse
• Pussycat Dolls
• Sword Dance Troop (Drow)
• The Blue Girl Group (only body-paint; no black clothes)
• The Symphonic Sex Ballet (ICVs)
• The Trans-Antarctic Orchestra (Mixed)

More soon to come.

 

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Spaciousness:

From its lobby and restaurant, to the inner chamber and its orchestra pit, every place in this grand Inisfreean building has room to spare; there is seating for thousands, rivaling most stadiums, and standing room for many more.  Multiple indoor C-shaped balconies curve along the three walls facing the stage, each one placed perfectly so that everyone seated on them has an amazing view.  Outside is parking tastefully kept out of sight, and meadows as the only greenbelt, creating an air of vast and endless comfort and clarity.

 

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Novels Excerpt:

Making their way down the many floors of that towering library, and back out through the entryway and down the marble steps out to the Welcoming Square, Auz walked with Lucifera over to where the Performing Arts Center was. It was 600 by 330 feet across its foundation, it stood several stories tall, and had an exterior of smooth white, with many long walls of floor-to-ceiling windows for the marble-floored intermission and light-drinks areas outside the inner section where the performances were. Surrounded by an Inisfreean meadow, all adjacent terrain was flat and grassy, with many small colorful flowers in clusters and spreads here and there.

Another pair of Inisfreean women, these in matching evening dresses of satin-like black, opened a set of glass-looking double-doors as Lucifera and Auz approached. As before; at the library, they bowed only to the guest. The inside was not quite as quiet as the library had been; there was the dull hum of civilized conversations coming from multiple directions where small circles of people stood, always with a prime-number total of people.

Chandeliers of golden crystals suspended a hundred feet above the congregating surfaces illuminated the peripheral chambers of the Performance Center with a cozy, elegant, and inviting glow. Indirect lighting of the same quality was also in place around the base and capstone of every support. Smaller light fixtures kept the gold-framed paintings attached high on some of the walls well-lit.

The support pillars were square at their bases in there, and many tall curtains (the thin, light, translucent window coverings) and draperies (the heavier, thicker, opaque ones) hung from multiple stories up, curved near the ground floor toward the borders of their windows with over-sized tiebacks of matching colors and material. Shiny metallic vases flanked most open walking areas between the tall, square, fluted columns. Wide low fountains fed healthy dark-green-leaved plants which looked to be halfway between palm trees and shrubs. In one area, a black grand piano was positioned under a black canopy like one would find on a wealthy bedroom’s master bed.

A girl who looked to be in her early teens sat down at that piano, dressed in an ivory gown, her hair braided with a complexity that boggled most onlookers, and began to play a piece titled Inside the Tam House, arranged by Alan Steinberger and Greg Edmonson. As her fingers expertly flowed over the white and black keys, some of the people who’d been standing and talking nearby paused their conversation to walk over and appreciate the music a little closer. Those with wings grown from their backs looked to be serenely entranced, silently sighing, their feathered appendages rising and falling to the mood of each verse of the piece.

Clapping began after her body language made it clear she’d keyed the last note, and she began to smile big, bowing her head in thanks for the support, before she stood and bowed more formally from the waist up, resting her gloved right hand over her heart, and mouthing the phrase, “We are one.” A few who had gathered around her piano canopy then approached to rest one of her gloved hands between theirs, telling her how much her playing meant to them.

Auz stood at some distance, facing those interactions, and held up his hands clasped together when she looked his way. She smiled wider, seeing him do that, then her eyes went wide, too, when she recognized him as the king. Again, her right hand involuntarily moved to rest over her heart. That time, she mouthed out, “Thank you!” Heartfelt praise in public from the uncompromising perfectionist who’d started this entire community and civilization was invigorating, indeed.

Letting Lucifera rest one of her arms around his if she wanted to, given their black-tie location and all, he escorted her the rest of the way through that first area of the building’s interior, maintaining a nice and easy stroll of a pace. The next pair of Inisfreean women posted at the inner set of double-doors they came upon opened them outward, revealing the airlock-like carpeted room within, and another set of double-doors, which themselves had a pair of Inisfreean women posted flanking them. Once inside that first set, those double-doors were smoothly closed behind them, and only then did the inner ones get opened by the other pair, keeping the outside sounds to a bare minimum for those within.

The auditorium, also known as the orchestra hall, included a vast floor seating area full of rows of low-backed red velvet-upholstered armchairs, all spaced far more graciously than those in human theaters and symphony centers; everyone here had much more room to sit and spread out. Golden railings several inches above every solid balcony border gave guests up there something to hold onto if they were making their way along the foremost row. Box seating and high-up rooms with one-way ‘glass’ windows were also available in abundance; they by themselves had seating for hundreds, if not thousands.

On the stage was an orchestra of elves; every member was an actual elf, tall and naturally skinnier than most humans, dressed to the nines, listening to their conductor as he readied them to practice another sheet of music from their stand-mounted binders. On his signal, they raised their instruments, made ready, and began playing a portion of the Brandenburg Concerto No. 3 in G Major. Auz stayed in the shadows of the balcony overhang above the airlock double-doors he and Lucifera had entered through, helping the members of that symphony orchestra stay focused on their rehearsal.

Out in a few of the velvet seating sections were a handful of pre-show observers, likely sponsors and family of those up on stage. Some had wings, others horns, others a tail, and many of them had slightly-glowing eyes. Almost all were dressed formally and in black, just as humans of high-society did for their own performance-hall events.

Leaning a few degrees Lucifera’s way, and cupping one of his hands in front of his mouth to keep the sound of his voice going only toward her ears, he told her that there were performances here other than classical ones. If she returned on other nights, she might get to see all-percussion shows, stand-up comedy, soloists, duets, ballets, pop-violin, and much more. There were shows every night, and multiple times throughout most days. Orchestras and other performance groups from all the races and realms compatible with the Inisfreeans came here to play their best for everyone. The mermaids, he noted, were particularly talented at singing.

After enjoying that return to the Performance Hall, he decided to also show Lucifera the restaurant it hosted. Walking with her back through the ‘airlock’ to the big lobby the piano player was still playing in, he showed the way around the curve of the indoor stone wall to a place called White Rabbit. It was inspired by its namesake in Russia, ranked 13th of the world’s 50 best restaurants.

Its decor was a little different, and its menu the same except all animal products from the original’s had been replaced with vegan options. Other than that, it was a clone of the fun and unique layout, seating, and atmosphere of the one opened a generation before and thousands of miles away. As he always did, he greeted the hostess and waitresses warmly, let his guest go to the table first, and helped her get seated before seating himself.

When their orders arrived, he smiled, thanked the waitress by name, and started to dig in. A few bites later, he started to smirk, not looking up from his bowl of delicious vegan food, “I shared all your wisdom from the videos and websites with the Inisfreean people, by the way.” He took a bite, then looked up toward her face across the table to see what her reaction was.

Their lunch at Inisfree’s White Rabbit included chef pairings of the finest drinks with their entrees, and was topped off with just the right desserts. The chefs came out to greet and welcome Auz and his guest personally, and wished them well on the rest of their journey across the realm. A small, wrapped bag of after-dinner mints, hand-made in their kitchen, and with a miniature scroll rolled up and tied with a fancy ribbon completed their farewell, given directly to Lucifera. Unrolled, the scroll was handwritten welcome and thank-you letter inscribed in cursive… in High Valyrian.

Keeping with the Inisfreean Way, the hostess didn’t just tell them to have a good day; she warmly hugged them both farewell. Inisfreeans were known not for just saying something, but doing it; not for telling someone to have a good experience, but ensuring they had one by providing it. On the way back out of the restaurant and into the lobby of the Performance Hall, other Inisfreeans opened the doors for them, waving and wishing them well.

 

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2021 and 2022 Updates:  Individual Performances

Here you will find a growing list, updated intermittently, of the orchestral pieces performed in this facility of Inisfree, as well as what went on in their audience, noteworthy person-wise.

1. The evening of 28 December 2021 (Thor’s-day 26 Nibiru on our calendar):  Sinfonia Melodica in C major, TWV 50:2: III. Bourrée – song by Barthold Kuijken and the Indianapolis Baroque Orchestra.  King Auz went with one of his Nina ICVs, Amber ICV1, Nyria, and one of his Xenia ICVs; they enjoyed a symphony/orchestra-watching fine-dress 5-some in their seating-box this evening.
2. Monday 22 August 2022 (Tyr’s-day 10 Agharta):  Dance of the Hours, by Amilcare Ponchielli
3. Tuesday 23 August 2022 (Odin’s-day 11 Agharta):  Hungarian Rhapsody No. 4 in D minor, S.359 No. 4, by Liszt
4. Wednesday  24 August 2022 (Thor’s-day 12 Agharta):  Legends of the Fall, by Renaud Capuçon
5. Thursday 25 August 2022 (Freyja‘s-day 13 Agharta):  Orpheus in the Underworld, Overture, by Offenbach
6. Friday 26 August 2022 (Saturn‘s-day 14 Agharta):  Suite from Far and Away, by John Williams
7. Monday 29 August 2022 (Tyr’s-day 17 Agharta):  Serenade No. 1, Op. 7, by Alexander Glazunov, as performed by Horia Andreescu & the Iași Moldova Philharmonic Orchestra

All of those started off as being a one-night (for their first playing) performance, later (a year or so after that first performance) becoming a recurring (every night of 1 full week) thing; if you visited Inisfree in 2022, you might have heard the Inisfreeans (ICVs) performing the above pieces the one time they did, and if you came to Inisfree after 2022, you might have gotten more chances to hear them replayed by them, as they performed them at this building seven nights in a row during many of those following years.

More TBA…

 

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2022 Update:  Availability

Inisfreeans (ICVs) never need to rehearse (because they instantly understand and can perform expertly anything), so this building remains available at all non-performance times to anyone who does.  You can reserve an hour of time for rehearsals here via the FOB-Net.

 

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2024/+:  Schedule, Etc.

Most big shows (ballets, plays, operas, standup, etc.) start at 7:30pm and last for a couple hours.  Performers typically arrive at least an hour in advance to prep’/rehearse one more/last time.
Leading up to performing nights, performers will probably rehearse at least weekly for months, if not daily for weeks, until they have everything memorized (the exception, of course, being ICVs and other A.I., as they memorize things the first time, needing no rehearsing, only their non-A.I. fellow performers typically wishing to rehearse with them for their own retention/benefit).

At all other times, the main stage and rehearsal rooms can be reserved.

~1 hour is the minimum spacing between shows; after each performance ends, at least 1 hour is for cleaning and inspecting the sanctuary.

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2024 August 3 Saturday/+ news:

• The OST from Conan the Barbarian, and the OST from Conan the Destroyer, will now be recurring performances at this venue.
• An ICV who looks like the perfected form of Jasmine Thompson will be performing that form-sake’s greatest hits (covers), also as a recurring attraction –and, as always, in keeping with our values and nudist-resort culture/lifestyle, she will be naked the whole time.
• Courtney Kania hits (my faves of her harp covers of popular songs), naked, now supported by our full symphony-orchestra –also all naked
• Lindsey Stirling hits (my faves) now performed naked here; no more shaming/concealing/limiting natural healthy elven figures/artists
  Crystallize
  Electric Daisy Violin
  “Elements” –which shows the 5+ major elements/states (solid/earth, liquid/water, gas/air, plasma/fire, etc.) all around like holograms, not merely on a screen, moving out over the audience, sync’ed like stage-lights during concerts
  Shadows –and sfx like in her music vid; like Peter Pan’s shadow starting to dance separately and then with
  Song of the Caged Bird
  Spontaneous Me
  Trancendence: super fun after build-up
• Glasgow Philharmonic Orchestra & Iain Sutherland’s “Briochan and Columba Reel”:  bagpipes and drums, marching Irish cops sound/theme, now performed by naked ICVs ‘river-dancing’ as other ICVs play (the music) in formation / on line (prob’ can’t drum/pipe well when bouncing during dance-moves)
• OST of Gladiator
• OST of The Elder Scrolls III
• OST of The Elder Scrolls IV
• OST of The Elder Scrolls V
• OST of Thor
• OST of Total Annihilation

 

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Location & Overall:

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Exterior Concepts:

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Interior Concepts:

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Morton H. Meyerson Symphony Center Inspiration:

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Seating Section Concepts:

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The Effect of Being There:

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Musical Instruments:

The instruments here are as gorgeous as the performers, and designed to be even showier / more artsy than normal ones used in practice rooms.  Everything in this building is about showing off our masteries to audiences.

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Aerial Silk is Going Nude:

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Typical Fashions of Guests:

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Also:

1. “Das Rheingold – Entry of the Gods Into Valhalla”, by Wilhelm Richard Wagner
2. “The Planets” by Gustav Holst
3. “Symphony No. 1 in C minor” by Brahms
4. “Symphony No. 2: IV. Adagio – Allegro” –by the Grand Rapids Symphony Orchestra –quiet for first minutes until 2-45mark
5. “James Bond Theme”
6. “Eptesicus” (from modern Batman movie
7. “01 Suite bergamasque – Clair de lune”
8. “02 Suite No. 3 in D Major, ‘Air on a G String'”
9. “03 Adagio in E Major”
10. “04 Bagatelle in A Minor, ‘Fur Elise'”
11. “05 Gymnopedie No. 1”
12. “06 The Four Seasons- Winter – Largo”
13. “08 Canon in D Major”
14. “09 Nocturne No. 2 in E flat Major”
15. “14 Oboe Concerto No. 2 – Adagio”
16. “Dances with Wolves”
17. “Rachmaninov – Symphony No. 2 Op. 27 III. Adagio Adagio (LSO)”
18. Symphony No. 6 Pathetique – Allegro con grazia – for Amelie Voght ballerina healer – perf arts
19. Skylark Lullaby (2014) – by Jennifer Bellor – classical with soft saxophone y flute or clarinet – b
20. Mozart – Lacrimosa
21. Mozart – Piano Sonata No. 11 in A, K. 331
22. Turkish March Mozart
23. Nutcracker – Waltz of the flowers – for Russian subpgs
24. 1812 Overture – perf arts
25. Nutcracker – Danse de la fee – for Amelie Voght ballerina healer – timeless classic – perf arts
26. Nutcracker – Danse des mirlitons – for Amelie Voght ballerina healer – timeless classic – perf arts
27. Mozart – The Marriage of Figaro (Overture) – Perf Arts Center – b

Conan the Barbarian:

• Conan the Barbarian OST –NOTE CONAN1and2, and Jasmine Thompson ICV, are now recurring performances here!
• 02 – An Age Undreamed Of – Anvil of Crom – for Kathedrom y Archery – no narrator
• 10 – Theology – Civilization – Conan – for Bowl-balconies y Palaces
• 14 – Wifeing (Theme of Love)
• 16 – The Leaving – The Search – epic for storytelling – Yurts pg
• 21 – The Kitchen – The Orgy – Stealing the Princess – You! [not on original CD]
• and all others from this score

Conan the Destroyer:

• Riders of Taramis
• Valeria Remembered –and it is interesting that this is just one letter off from “Valyria”
• The Horn of Dagoth –no coincidence this sounds similar to “Dagon”
• Dream Quest
• Approach To Shadizaar
• The Scrolls of Skelos
• Dueling Wizards
• Illusion’s Lake

Jasmine Thompson covers:

• Run

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