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Click hereCome: fiends, strangers, and friends,
excuse some gin-n-tonics,
grace the cashmere upholstery
of our theatre-seats,
and be muse, phantom, and critic
to a new dadist skiffle music-montage,
set in primitive-pianissimo
to the neo-beastnik roboto-libretto
by Jacques Madman II,
which will be conversationally recited
by split-personalitied lime-light addicts,
whose physiques will not this time
transform to portray
but tonight instead
quite ignore their latest theatric identities
with random-dance-moves,
improvisational psyche-purges,
masterfully cracked make-up,
and toupees that fall
into the theatric French soup
(on and off cue,)
all as an Arabic audience-participant hurls
a bull's eye shoe:
downing the narrator in mid-drone,
which doesn't stop our black-lipped heroine
from stealing the scene
by wilding off her decadent plum-mini-skirt,
and then more wolfishly
her gothic-white lingerie,
as the count turned anarchist
fights back with bardic arias
from Bohemian-blue stick-lips,
all as black-cat-masked Romeo below
vainly entreats
their castle-tower of aesthete attention
with replete vows of dead-beat affection.
Meanwhile, the angelic horned-fox
frets, wails, frets, howls,
frets and knaves throughout
the labyrinthian metal-guts
of his absinthe-rusted saxaphone,
before taking Romeo's black-browed cue
and joining the cast in choral-lined 'apology'
"Asylum-night. all is calm. all is bright.
Puck's dream is over: the ghost-green wings await!
Asylum-night:
leave and sleep in heavenly peace.
Satiated, we comi-tragic shadows
like rebel chateaus await
your leisure's return.
all is calm. all is bright:
by the big-dipper hangs
the furry invalid's only light."
...too much to take in. After three read-throughs I'm still a bit lost.