Vertiglow 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 your big-dipper hangs the furry invalid's only light."