Keeping a cheap little online diary has never been one's true vocation of course. One was meant, as I'm sure the sapient looseletter will have noticed, for much finer things, much more noble pursuits. These quotidian minutiae, this daily parade of (pfuh!) "links" and (ptui!) "content", such matters mean little to me beyond a way to bide one's time, as it were, until a more meaningful opportunity presents itself. A stopgap, no more.
For once one has inhaled (don't mind if I do, thank you very much) the rarefied air of sublime inspiration, of true art, then why return to the acrid fug of the sussurating snakepit that IS the thankless demi-monde of (shudder) Electronic Vanity Publishing?
I was not born for this blogging thing. I should have been, ought to have been a THEATRE CRITIC, DAMN IT!
Yes, a theatre critic. Scoff if you must. Your base concerns are not mine.
Picture it, if you will: the roar of the greasepaint, the smell of the optics in the theatre bar. Delicious imported powders sandblasting my nasal passages and easing down the snot at the back of my gullet. Hot brandy and port to wash them down. Expensive cigars. During the intervals, plenty of opulent decolletage to admire. Younger hopefuls at my beck, acolytes of theatre criticism, hanging on my every word. Learning the craft from my wise old avuncular self. They cut my lawn, refresh my drinks, procure for my delectation the finest punetang. Meanwhile, inside, of course, a bunch of pantomime fools are stumbling around under a proscenium, talking loudly and avoiding the furniture. The first act passes, a distant irrelevant rumble, while, still in the bar, I finish the Times crossword, inscribing the final character and laying aside my pen with a studied flourish.
The mobile communication device, nestled in my pocket next to a ninebar of the finest Moroccan, trills pleasantly. Bored, I decide to take the call. It is my admirer, young Bartholemew J. He sounds in a bit of a pickle.
"Tell us! You know about dese t'ings, Brenno. Is it anny good? Is it?"
"Relax, Taoiseach," I tell him. "You can
Then, of course, a quick call to my loyal army of polyglot monkeys with typewriters, now much better off and ingesting a finer class of monkey chow. I confabulate with them briefly - fair, generous and respected employer that I am - offering them a few, er, enticements to get the thing rattled off and ready for the courier first thing on the morrow.
It is time I realised my true vocation.
"So it is, with a phalanx of amber fresnels (*) illuminating the beads of sweat on the immaculately appointed brow of Gorpth Fnorgerskal (fresh from his three week engagement in ORPHEUS UNPLUGGED at the Sawmill), that a sort of hush descends on the auditorium. As he speaks the final syllables of McDingus' famous Fifth Soliloquy, something that is neither visceral nor spiritual, but somehow a bit of both, partaking of the noumenously plastic and the timelessly antedeluvian in equal measure, seems to possess the room.Let's face it. The very essence of theatre criticism courses through my veins. Read it back. The use and placement of the word "must" in the final sentence I find particularly piquant.
"It is not, friends, merely a play. It is a sort of History. And if theatre truly is about bums on seats (at the end of the day), then the preciously placed posteriors in the Grand Scarab Theatre last night must have been, dare we say it, quite moist ones indeed."
(*) I said "Fresnels". It's a word!
True talent will out. And the sooner this tawdry ball of clay that calls itself a "planet" learns to deal with it, the better.