Legendary 028 - draft

Saturday, July 2, 1066 SE, continued

As the Second Crew finishes its breakfast, a page arrives and delivers working notes from Sir Sergeii. He notes there are several differences between the two theaters. The Grand Royal Opera's stage is shallower in front of the curtain, but longer. The space behind the curtain is slightly larger, but, unlike the Legendary, the facility does not offer a second stage with the same specifications. As a result, the following arrangements have been made. The Legendary’s crew will have unfettered access to the Grand Royal Opera from 8 am to 4 pm every day until Thursday, then they will have full access for the entire weekend. The following week, the schedule will switch and the crew of the Grand Royal Opera will work during the day while Masha and the Bear is performed at night. Sir Sergeii then mentions that until opening night, breakfast will be served at the South Gate Hotel every day at 7 am, while dinner will be served at 6 pm. Lunch will be provided as a brown-bag, or folks can partake of the many restaurants and eateries in the old city at their own expense.

Following this hearty breakfast and sending both a message and a letter to Lady Sirenko about Verushka and Matviyko, Mon, Marigold and Branna walk with the rest of the second crew to the Grand Royal Opera. As they walk, Marigold voices the concern that even though the cargo arrived and all items are accounted for, some props and costumes might have been damaged in transit. Branna is worried that they will need to figure out how to stage the costumes and equipment while another production is occurring in the evening. Perhaps they need to touch base with Maksym, the Grand Royal Opera's stage manager, and figure out a plan of action to ensure that the conflicts between the two productions are minimized.

Returning to the theater, they are greeted by Marta, the theater director, and Maksym. Marta reiterates that the Second Crew should be able to enjoy the facilities and have access to all spaces. She tells them that arrangements have been made and that the local staff should be obliging with any reasonable request. If they encounter roadblocks, they should inform her immediately so she can address the issue and resolve it. Maksym listens to Marigold and Branna’s worries, and he tells them he will have several carts on wheels that can be used to store props and costumes. These will be lockable and can be moved on or off the stage when needed. Marigold agrees it’s a good compromise. With no more questions, Marta tells them she will check on them periodically, but once again reminds them to notify her as soon as possible if a problem arises.

Mon joins the rest of the acting crew, and he experiences a memory about how his family stored their fishing boat for the winter. He remembers how the boats were lifted in the boathouse through a system of ropes and pulleys. Perhaps they could do the same with some of the props, lift them up in the fly tower and drop them down when needed. He makes a mental note to present this idea to Marigold. 

Meanwhile, Marigold and Branna meet with props and costumes to see how those local departments stage their own equipment. Folks working in props are thrilled to work with Marigold, and after spending time discussing and complimenting each other’s props, they soon exchange trade secrets. Their workflow is similar to that of the Legendary, and Marigold is convinced she will be able to make this temporary relationship work. For Branna, things don’t go as smoothly. The costume department’s workers are polite and efficient, but she finds them rather distant and cold. Their costumes are decent, but lack imagination, instead adhering to fashion standards Branna remembers from her youth. She will be able to work with them to repair any costumes that need attention, but it’s clear they won’t become friends.

It soon becomes clear that, for the most part, local theater workers are upset at having to share the space with the Legendary's crew. Laborers are essentially interrupting the actors' rehearsal as it occurs by moving equipment, painting the scene’s floor, or generally making a nuisance of themselves. Not wishing to rock the boat, the actors obligingly move out of the way of the laborers and make do with the various interruptions. Branna takes measurements of all of the actors to make sure costumes still fit, and she notices that Luba has gained some weight. Branna speculates that perhaps the actress might be pregnant.

Near the end of their first day at the Grand Royal Opera, Marigold stumbles upon a conversation between two of the local stagehands. Remaining partially hidden and unnoticed, she sees that the two of them are bickering in whispers, so they are not overheard. She recognizes Oleksandr, an older stagehand, and Kostya, a younger man, both of whom were introduced to the Second Crew earlier in the day. Oleksandr seems frustrated at a pile of ropes and props from the Grand Royal Opera’s current production. He tells Kostya that the rope is frayed and that the paint is still wet. Both of these elements make the stage a more dangerous place. Kostya sneers and tells the old man that they’ve been told to help, but most of the locals agree to do only the bare minimum, adding that it’s not up to them to ensure the Legendary’s success while in Konstantina. Oleksandr replies that the Legendary’s troupe is a group of professionals who deserve a proper stage and, more importantly, a real welcome from fellow theater workers. Kostya tells Oleksandr that 

Marigold overhears a conversation between Two local stagehands, Kostya and an older man named Oleksandr, are bickering. Oleksandr is frustrated, gesturing at a pile of rope and props.
    "This is all wrong!" Oleksandr says, his voice a low growl. "The rope is frayed, and the paint is still wet. They'll have a disaster on their hands."
    Kostya sneers, "The director told us to use what we had. It's not our problem if they can't make do."
    Oleksandr shakes his head. "They're a big troupe. They deserve a proper stage. What you've done is sloppy, Kostya, and dangerous."
    Kostya shrugs. "Dangerous? You think too much, old man. It'll hold. We'll give 'em a show they won't forget." He smirks and walks away, leaving Oleksandr to grumble to himself as he tries to find a replacement prop.
 

She makes a note to mention this situation to Sir Sergeii when she sees him tonight.

Marta comes true with a triangle and lets people 

Branna would like to watch the production tonight.

The Iron Will of Sezja

The Iron Will of Sezja is a three-act opera of grand scale, celebrating the resilience, faith, and patriotic spirit of the Sezjan people through a story steeped in Ukrainian folklore. The opera's music is a powerful blend of traditional Ukrainian folk melodies, particularly from the Carpathian region, and soaring, dramatic classical orchestration. It's a conservative piece that extols the virtues of tradition, family, and national unity in the face of foreign threats. The libretto is in the Sezjan language, a fictional tongue derived from Ukrainian.

Act 1: The Gathering Storm

The opera opens in a picturesque Carpathian village, where the annual harvest festival is in full swing. The people sing of their love for their land and their deep connection to its history. The central figures are Oksana, a beautiful and virtuous maiden, and her fiancé, Taras, a strong and noble blacksmith. Their love is pure and tied to the land. .

The festive mood is shattered by the arrival of a foreign scout, a member of the invading Horde from the East. He is a menacing figure, arrogant and dismissive of the villagers' traditions. He demands a tribute of their grain and announces that the Horde's army will soon arrive to claim their land. The villagers are terrified, but Taras refuses to submit. He rallies the people, urging them to fight for their freedom and their way of life. The act ends with Taras and the village elders, armed with farm tools and ancient knowledge, preparing to defend their homes.

Act 2: The Whispering Woods

The second act takes place in the sacred forests surrounding the village, where ancient spirits and protectors of the land are said to reside. Oksana, distraught by the thought of war, seeks guidance from a wise Liesha, a forest spirit. The Liesha tells her that their will is a reflection of the will of the land, and that true strength comes not from iron, but from faith.

Meanwhile, the Horde's general, a cunning strategist, leads his army through the dense forest, believing the villagers to be an easy target. But the forest itself seems to conspire against them. The trees twist, the paths vanish, and the air becomes thick with disorienting whispers. Taras and his men, using their intimate knowledge of the land, perform a ritual to call upon the spirits of their ancestors. The spirits answer, and the forest comes alive, with root-like hands grabbing at the invaders and trees blocking their path. .

The climax of the act occurs when Taras confronts the general. The general mocks him for relying on superstition, but Taras demonstrates the power of their belief. With a powerful aria, Taras channels the energy of the land, and the general's sword shatters against his simple blacksmith's hammer. The invaders, demoralized and defeated by the unseen forces of nature, retreat in disarray.

Act 3: The Dawn of Freedom

The final act returns to the village. The people, battered but not broken, sing of their victory and the power of their faith. The Horde's general, humbled, returns and offers a truce, recognizing the unyielding spirit of the Sezjan people. He offers to form an alliance, recognizing that they cannot be conquered.

The opera culminates in the wedding of Oksana and Taras. Their union is not just a celebration of love, but a symbol of the nation's renewal. They sing a final, powerful duet, "Velykyi Narod" (The Great People), an anthem to their iron will and their unbreakable connection to their land. The final scene shows the villagers, their faces filled with hope, standing proudly under a rising sun, their freedom secured by their faith and patriotism. The chorus swells, and the curtain falls on a tableau of national unity and eternal hope. 

 Marigold is concerned that their production features a lot more color. It may be worth evaluating whether they should be dazzled by the brightness and glitz of their production, or should they focus more on their storytelling skills and let the crowd enjoy the acting and the costumes at the expense of the scenery. 

Masha and the Bear's chorus should blend more in the scenery than their Legendary production.  

Marigold is interested in finding a semiprecious shop. Two shops are identified by Hennadii

The Golden Griffon is located uptown, near the road heading down to St. Boris Known for its intricate, mythical beast designs and high-end pieces favored by the nobility.

Sezjan Sparkle: A more modern shop that specializes in cutting and setting gems, acting as a wholesale and making their work popular with the city's burgeoning merchant class. 

Marigold speaks with Vika, the owner. The shop specializes in rare forms of quartz, howlite, cinnabar, and the black tears of Olha. The Black Tears of Olha are a type gemstone, volcanic glass found only on the island of St. Olha, where Konstantina was founded. It's jet black and said to be formed from the tears of the city's founder, St. Olha, mourning the loss of her people. It's used in mourning jewelry but is also said to offer powerful protection against evil spirits. 

Mon wanders towards the archives. Hours are 8 am to 6 pm Monday through Friday. Mon wanders back to the South Gate hotel, looking at the shops. He walks in the instrument shop called the Luthier's Harp, owned by Yevgen. Lute, pan flute, dulsimer. Something that can travel well, nothing flamboyant

Mon plays the lute, and brings a tear to Yevgen's eye. 

The pan flute is made of a dark wood thin like a sheet of paper. 

Mon tells the children a story and his performance is incredible. The children are riveted. 

Dulcimer held the rhythm of a journey, the clatter of a long road, and the beat of a campfire drum. It's not a loud instrument, but it has a way of cutting through the noise and grabbing people's attention. Its seasoned wood and well-worn strings tell the story of every road it's traveled. Combination of maple and rosewood. 

Conversation between Yevgen and Mon about telling tales, and seeking knowledge.

Mon hands the girl a lute, and she plays it better than him. Child feels like she's possessed . Mon buys the lute for the girl, then purchases the pan flute for 20 and the dulcimer for 60. 

The Jenken Ensemble. Yevgen has 3, he's looking for the other six, and he would pay a pretty penny.

Mon returns to the South Gate .

Ioulia is playing music in the dining room. 

With Herald not in the room. Mon places the dulcimer in the extra-dimensional space in his suitcase. 

Mon meets Marigold and in the dining room. Marigold makes a speech about the locals not being helpful, and that the crew needs to check the crew. Scenery should be toned down. They are here to see the actors. She then mentions Kostya and him being out of sorts. 

Sir Sergeii is advised of the changes in color. He offers five tickets to tonight's performance of Iron Will of Sezja.

They leave for St. Boris, to visit Sparkling Sezja. They are tailed by Dhuka, who does a 

Sparkling Sezja is owned by Ihor.  

Ceruleite, Hemimorphite, Friedelite and Xonotlite, and Sezjite. 

Mon experiences a memory Sezjite.

Appearance: The stone's primary colors are cerulean, sky blue, and deep navy, often interlaced with thin, thread-like veins of silvery-white or shimmering gold. These intricate patterns are said to resemble the shifting waters of the Lavra River under a changing sky, from a clear day to a brewing storm. The stone has a soft, almost velvety luster when polished.

Lore: According to local legend, Sezjite is a gift from the River God of Lavra. It's believed that the stone captures and holds the peaceful, flowing energy of the river. Wearing a piece of Sezjite is said to bring a sense of calm, improve communication, and ensure a journey is safe and prosperous. It is a popular gift among families and lovers, symbolizing a love as deep and true as the river itself.

Uses: Due to its beautiful color variations, Sezjite is a favored stone for jewelry, particularly for pendants and rings. It is also carved into small totems and talismans, which are often placed in homes or on boats to protect against misfortune. 

Mon commissions Marigold to create a talisman made from one of the Sezjite stone.

Branna looks for bolts of cloths and buttons conversation about expressing their individuality. Branna will make a coat filled with buttons for Mon. 

Dhuka buys a honey-soaked pastries, sugar-dusted buns, and candied fruits that look too beautiful to eat.

Dhuka's name in gold on red. 

Mon in black on a light-blue covered book . Anya in white on a pale rose book. Branna in peach on a deep green reminescent of the forest. 

They are followed by three unsavory youths. Mon tosses three gold coins at them, and tells them this is a downpayment, he might call upon them at some point.

Meanwhile, on Katarina, the doors of Verdant Estate are opened to the public for the first time in decades as everyone is invited to tour the gardens and enjoy light refreshments. In the evening, Sir Staal hosts a black tie dinner.