Friday, July 8, 1066 SE
With the dress rehearsal now behind them, the crew of the Legendary had returned to the South Gate, finding that some rooms had been burglarized. Hennadii apologizes profusely for the evident lack of security at the hotel, and he tells the actor he’s never had such an incident. He promises to hire additional security to ensure his residents are safe.
Mon, Marigold, and Branna return to their rooms and search for anything missing. They discover nothing of theirs has been taken. After a few hours of rest, Mon, who does not need sleep, gets up and explores the third floor of the South Gate Hotel, looking for secret spaces linked to the cult of the Black Sun. His exhaustive search yields no results. Early in the morning, he connects with Hennadii in his kitchen because he is short-staffed after a cook left following Mon’s appearance to perform sorcery. They discuss Hennadii’s ownership of the South Gate Hotel. Hennadii reports he has owned the building for about seven years. At the time he purchased the building, three or four of the rooms were permanently occupied by individuals for extended stays, including one who had resided in the Hotel for more than 12 years. At the same time, Mon helps Hennadii prepare breakfast for the crew.
Branna wakes up, gets ready for the day, then descends the stairs and sends a message from the hotel reception to her parents in St. Gleb asking if they would mind keeping Dhuka with them until tomorrow morning. She eventually received a response that they would be delighted to, and Dhuka is working hard, learning about the family business.
Entering the dining room, Branna notices that Luba has recovered from the shock of yesterday’s performance and seems ready to return to the stage tonight. While Ioulia plays music, working on her score, Marigold joins her friend and Mon for breakfast.
Sir Sergeii rushes in again, a large grin on his face. Known for enjoying sleeping in, this is the second day in a row that the King’s cousin is here, and the Legendary’s crew is surprised. He tells them he brings several copies of the Konstantina Sun, which contains Lady Voloshyna's review. The newspaper praises Luba and the crew of the Legendary for their performance in the face of formidable odds and disruptions. Sir Sergeii wonders if some of the disruptions could be incorporated into the actual play, as a wink to what happened yesterday. Marigold suggests they move a tree for every performance.
The conversation returns to the burglaries that took place last night. Now that time has passed, people have had the opportunity to take inventory of their possessions. Among the things missing are Anya’s arcane study notes and Branna’s master annotated script for Masha and the Bear.
Anya’s arcane study notes contain mnemonic sketches she used to help her master the rudiments of magic so she could communicate. For its part, the annotated script contained all the adjustments Branna, Marigold, and Mon had made, replacing independentist themes with religious iconography and pious labor to ensure the play was not perceived as a threat to the crown. In the wrong hands, this hand-marked, unique copy could be a potentially incriminating document for the troupe to lose.
After breakfast, Marigold and Branna head back to the Royal Grand Opera to examine their props and costumes and make sure there are no other surprises. Mon wanders to the Luthier’s Harp in the walled city to discuss the Jenken Ensemble with Yevgen, the store owner. He tells Yevgen he might have a lead or two on some of the statues, and he wonders if Yevgen would be willing to trade when he acquires them. Yevgen tells them he would. Satisfied, Mon joins his colleagues at the Royal Grand Opera.
The crew checks everything to ensure the space is secure. Anya stands on the catwalk with a few of the laborers. She notices there is a trap door in the ceiling that could be used by a skinny person to enter the space from the crawl space in the roof. Marigold jury-rigs a contraption that rings a bell if someone tries to open that trap door.
As the time for the performance nears, the Royal Grand Opera slowly fills with the people of Konstantina. Nobles in their private boxes watch as the city’s working class, wearing their finery, occupy the cheaper seats. Sir Sergeii comes backstage, advising them that the house is sold out for the weekend. Konstantina Sun's review has boosted sales, with people interested in catching the play that has generated so much ink.
Sir Sergeii stands in front of the house, welcoming them to an amazing performance of the Legendary’s famous crew, a play that sold out its entire run in Katarina. He tells them they will be entertained and educated, and that their faith will be challenged, then strengthened. The curtain finally rises, and Luba steps on the stage and begins singing.
Marigold and Branna watch from the wings, keep track of the trees and of anything else that could be enchanted. When Vadim, dressed as a bear, joins Luba, the performance enters its zenith. The acting and singing raise the level of the performance. By the time the intermission comes, no attempts have been made against the performance. Reports from the attendees mingling in the lobby are overwhelmingly positive.
The remaining performance resumes after the intermission and concludes with a rousing number. The crowd applauds and delivers a standing ovation before slowly streaming out of the theater. Backstage, Lady Voloshyna praises their performance. However, she is joined by Levko, a reporter for the Shredded Truth. He introduces himself, then starts questioning Mon, Marigold, and Branna.
His first question is aimed at Mon. "Is this play a veiled recruitment tool for political subversion? Given that the original script had a documented 'independentist bent,' how can the citizens of Konstantina trust that your last-minute additions of religious iconography are anything more than a cynical mask for Katarinan revolutionary propaganda? Mon replies that Masha and the Bear is meant to be unifying, revealing that the play’s central theme is the renewal of faith and the triumph of pious endurance over adversity. Essentially, he tells Levko that the play functions as a cultural olive branch, using the universal language of faith and traditional storytelling to reassure the mainland of Katarina's place within a united Sezja.
He directs his second question to Marigold: "Why are foreign ‘stars' being allowed to steal the livelihoods of local artisans? At a time when homegrown artists are being driven to the brink of ruin, why has your troupe brought everything—costumes, sets, and props—rather than supporting the local laborers who are now forced to work around your presence?” Branna joins the conversation. She tells Levko that she is a proud resident of Konstantina, that her family has lived here for generations, and that many of the crew are also from mainland Sezja. No one has lost their job because of the Legendary’s visit to the capital.
Levko changes track and asks Branna to explain the cursed and chaotic nature of yesterday's dress rehearsal. With reports of a lead actor passing out in his dressing room, an animated bear suit assaulting the lead actress, and the stage plunging into darkness, why should the public pay for a production that appears to be dangerously unprofessional or even sabotaged by its own incompetence? Branna replies that the sabotage attempts did not stop the Legendary from delivering an amazing performance to the people of Konstantina.
Levko returns to Mon for his fourth question. Is the Legendary Theater merely a puppet of elite cronyism? He asks Mon to confirm or deny the circulating rumors that Sir Sergeii has secretly acquired an ownership stake in the Legendary, and is he using his social weight to force this "glitzy" and "extravagant" production on a conservative public that values tradition over foreign vanity? Mon answers, telling Levko that he does not know the troop's finances and that he should instead question Sir Sergeii directly.
Finally, Levko asks Branna to justify the play's decadence while the people of St. Boris starve. While local firebrands correctly argue that the working class needs food and tax relief rather than entertainment, can she defend the "unearned arrogance" of a troupe that demands special treatment while our merchants are crippled by the new excise tax? Branna replies that the Legendary spends a lot of money in the Konstantina economy, purchasing food, lodging, and services. They did not cause the excise tax, nor do they influence tax policies. Branna sympathizes with the residents of St. Boris and hopes that the play will provide them with at least a valuable lesson in faith.
The reporters depart, and the Legendary’s crew is left alone to complete the performance’s reset for tomorrow’s show.
