Put on your high-heel sneakers (or your carpet slippers) and join a
tour of the Black Rooms with their shuttered windows, of the Green
Rooms and the adjoining stages. Meet the man on the stage, flanked
by Hamlet and Heisenberg, uncertain of what was and what will be,
but quite assured that he cannot keep time: Peter Hammill. The
critical toolbox and the associative palette are used in roughly
equal measures, leaving scholarly glyphs as well as poetic graffiti
down Hammill's passage of time. The shouting, however, is up to you
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