The musical opens with the songs "Den Reik tallail" (The Rising Sun) and "Dait Nérakhys-dailar" (The daughters of Nerakhis), which show us the two sides of Little Calanthe's world: that of men, warriors and Reikwald, and the one ruled by Nerakhis, the world of nymphs and nature.
In "Tants Tallail" (Growing Up), we see how a now grown-up Calanthe and Lea have had their relationship become unbalanced, as, while Lea is eager to get married, Calanthe discovers that she has feelings for her, and dreads the prospect of marriage and children that is being paved for her.
Everything seems to go well until a red letter arrives to the castle, sent by prince Signar. He has chosen Calanthe as the one to marry him. Calanthe fights with Lea over the decision, and her mother ends up finding all the love letters that Calanthe had written to Lea, which brings forth an argument between them.
💡FUN FACT: The song “3.1. The Letters” shares the same melodic structure as Calanthe’s confrontation with Nerakhis in “9. Teosáuron,” suggesting that, in Calanthe’s mind, her argument with her mother carries the same weight as her battle with the King of the Universe
The spectacular sequence of Calanthe's Wedding sees the maids preparing her for the wedding with prince Signar. A special focus is put on the silver in her outfit: while Signar wears gold, like the Sun and the god of men, Reikwald, Calanthe is forced to wear silver, like the moons. In her tiara, an inscription can be read in Theonic: "Calanthe, likhré ayar", meaning "Calanthe, flame of the moons".
As Signar unveils his true intentions for marrying Calanthe, she discovers that he only wants to marry her because he believes that her scar is a mark by the god of the Sun that she is destined to bear his children. After a struggle, Calanthe ends up branding him with his own scar with the hearth's firepoker, and escapes her castle home.
Exhausted, hurt and lost, Calanthe finds herself stranded in an ancient forest and sings one of the most iconic songs of the musical, Calanthe at-silvyr (Calanthe of Many flowers). This is a warped version of the typical "I want" song, as she laments everything that could have been and is no more. Her true act of agency is to call on the god of the night, Nerakhis, rejecting completely her home identity and surrendering herself to the world of nature.
Watch the music video of the song "Calanthe of many flowers" here now:
As the chorus sings the theme of Alea for the first time, Calanthe meets the daughter of the god Nerakhis in the waterfall, next to Varga, her protector. Their first meeting is brief, as soon a shadow looms over them and everything goes dark as the organ of Nerakhis blares in the heavens.
FUN FACT: The song performed by the chorus in this scene is one of the only poems in theonic directly borrowed from the poems of the book, in this case, written by Calanthe about the gardens:
Érön siscais uann narha
Ver’shannila leandrain
Düm’dakhain-tallön
Eins’reiknöba-arha
Meet Alea, daughter of Nerakhis, princess of nature and much more! Alea lives in her father's castle, and Calanthe is the first human she ever meets. Excited to show her where she lives and teach her about her world, she takes her on a journey into the gardens in the wondrous "Alea-aleain-alashi" (Alea of snow hair).
When Calanthe realises that Nerakhis is keeping her daughter a prisoner, she goes to face her, and god and human have an argument about freedom and Creation, in the song "Teosáuron" (Shepherd of the World). Freedom, that concept so precious to humans and natural to Calanthe, is an abomination to Nerakhis, who, as creator of the Universe, has had to fight freedom to allow for Order to prevail. When Nerakhis decides to punish Calanthe for her rebellion, Alea steps in and flees alongside Calanthe.