| rdfs:comment
| - As is common with theatre productions in HQ, Troupe performers usually utilise disguise generators as part of their costume. Troupe performances are usually set in unconventional locales (for Shakespearean theatre, at least) and have the actors only remove their disguises during curtain call, which makes even the casting a surprise for many audience members. The first known director to use this technique was Joel Whitegrass, in his play The Glorious Revolution, the review of which states it was meant to increase the audience's immersion and provide additional challenge for the actors; it is unknown if Whitegrass is involved with the Troupe himself, or if they are just using this technique for themselves. Because few of Shakespeare's characters have "canonical" appearances to disguise as li
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| abstract
| - As is common with theatre productions in HQ, Troupe performers usually utilise disguise generators as part of their costume. Troupe performances are usually set in unconventional locales (for Shakespearean theatre, at least) and have the actors only remove their disguises during curtain call, which makes even the casting a surprise for many audience members. The first known director to use this technique was Joel Whitegrass, in his play The Glorious Revolution, the review of which states it was meant to increase the audience's immersion and provide additional challenge for the actors; it is unknown if Whitegrass is involved with the Troupe himself, or if they are just using this technique for themselves. Because few of Shakespeare's characters have "canonical" appearances to disguise as like Discworld's characters do, the use of disguise generators might be to a more limited extent in the Troupe's plays. The Troupe's main directors are DoI agent Sandi Rustlefeathers and former DMS agents Kate Lynn and John Naki. The latter two seem to have transferred to DoDAEG in order to have more time for this artistic endeavour. Troupe performances are generally reviewed in the Multiverse Monitor, most recently by Nita Incog and Nim de Cagny, though presumably Stan Grayston is usually involved, as most reviews posted by the former two have cited his unavailability. The comments sections that go along with these reviews tend to provide even more insight into the performance, as they are the product of happy, confused, frustrated, and bouncy play-goers.
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