ACROBAT I SHEILA BEv
AN'I'IGONE BARMAN AI.I.
ALLOA PUBS AND RESTAURANTS.
ALLOA PUBS & RESTAURANTS PRESENTS
H MINE’SA f
By Harold Pinta
Scene I. [A lively Edinburgh pub. It could be Maison Hector, Bert} Bar, The Kent/worth.
The Victoria é/ilbert, Deacon Brodie}, or (ireyﬁiars Bobby]
No, No, you mistake abstract formal functionalism for pure hidebound reactionary structure.
With all due reSpect to your masters degree in The use ofthe dactyl in Middle English literature, I think it is you who are mistaken.
I think you mean . .you whom are mistaken.”
Shame you didn’t catch my performance today. Sorry. Sweaty palms. Still you went down rather well, I thought.
One cannot fail but to be impressed by his references to native Aboriginal culture and the bold use ofcolour.
An attempt at the naive, contrived and utterly without merit or sincerity.
Alright, alright I’m not deaf.
An even superficial glance at the syntax reveals an overweening sense
Only after sax.
All I’m saying is that without a deeper, underlying metaphysical substructure, all performance art is doomed to Shallow futility and ultimately failure.
I don’t care what you say. I happen to like Rolf Harris.
Time gentlemen please.
(looking at their watches) Twelve minutes past eight.
What’s French for encore?
[JUSTIN e’rAN'I‘ItmNE are standing at the bar deep in
[ [inter two acrobats in spangles ana’ tights. ACROBAT I has a bro/zen nose and his arm in a sling]
[Enter a MIME ARTIST. He waves his hands violently at the bar.]
[ The door opens. [inter two AUSTRALIAN GIRLS in tutus and boots playing the saxophone. ()ne of the ACROBATS oﬂers a cigarette]
[ They continue to play]
Alloa , S __ __ _ pubchrestaurants
ALL THE VARIETY YOU CAN HANDLE.