The traveler, still thirsty, tries to rehydrate with the providential rain water. Little did he know that rain would be very difficult to tame in this imaginary Mexico. Two-dimensional images created from water droplets and blank spaces start falling from the sky before a parade of percussionists and singers, reminiscent of the Day of the Dead celebrations, take over the stage.

When our resident clown finally outwits the water and manages to fill up his canteen, he is met by a beautiful, mysterious woman in a white dress adorned in budding florae. She’s Majo Cornejo, our singer extraordinaire, and she’s serenading us with a rousing melody. (Tu llegaras hasta donde nadie se atreverá y mas alla te acercaras a lo que ya tu dejaste atrás, corres mas recio, mas necio, sin lios hasta llegar. No se explicar por donde volveremos cargando secretos de lluvia y luz.) As the rain begins to fall now in earnest, whimsical patterns begin to emerge and then converge into more recognizable symbols of the land; the flowers on her dress magically burst into bloom, turning her dress from white to red.

The images and patterns that appear in the rainfall here are generated electronically by a graphical water display screen, interacting with the artists to support the story and mood of the show. There are Otomi patterns, rain drops, flowers as well as various animal figures that are nods to the strange, warm and whimsical creatures of Mexican painter Francisco Toledo.

Now, as Majo reaches a crescendo she is joined by the Running Girl, the galloping horse, and the rest of the cast as a red circular lantern-like structure descends upon the stage, powerfully bringing an end to the first half of the show. (Ya lo descubriste si el cielo llora, no sirve ponerse más triste, nunca nunca Jamáaaaas. jamáaaaaaaaaaaaaaas!)

INTERMISSION