Vertiglo Symphony

Come: 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."