Back to meryfela homepage - and details of Ken Campbell at the 2002 Fortean UnConvention available on DVD

Illuminatus! Amazing adventures in putting Science Fiction on the stage

part of a doctorate paper by Jeff Merrifield for University of Liverpool

California, 1974. Robert Shea and Robert Anton Wilson are two bright-eyed reporters, working on the Forum pages of Playboy magazine. Working on material for the Forum pages, they come into contact with the weird and the wacky and the wonderful of the world, people with bizarre ideas, and strange reports of things that might be happening to them. They reported that, like any other editorial office, it functioned quite smoothly, work came in work went out. It was all pretty ordinary, save for the fact that all the secretaries tended to be rather gorgeous, stunning beauties. Once a week, Shea and Wilson were invited up to the famous Heffner mansion, to ‘watch movies and stuff'.

Liverpool, 1974. Peter O'Halligan decides he will become a dream merchant. He has been a sea merchant, he has been an artist and a photojournalist, he has dabbled with poetry and philosophical matters. But he now decides that he wants to be a dream merchant. Almost as soon as he has made this decision, he has a dream. It is a dream about a building. In this building there is a fire raging on the upper floors, and in the basement there is a theatre. There is a play taking place. Most of the seats in the theatre are empty. But on the front row, there is one man sitting there, a very old man. On a seat next to him is a copy of Playboy magazine.

1974. Out and about. Ken Campbell has been touring his now famous Roadshow, all over Britain and sometimes further afield. These performances, which as we have seen, mostly took place in pubs and clubs, were a particular hit in Kirkby. Like the old music hall acts, the Roadshow had tapped a public nerve. This was a wham-bam-comic-strip style of theatre, Berlin Mailbag escapes, Human Bomb stunts and sticking ferrets down your trousers, with front man Sylveste McCoy himself emerging directly out of an old music hall song. He was the great hero, the man who could do anything. A knee thing!

Shea and Wilson meet Kerry Thornley, a discordian anarchist. New Orleans District Attorney Jim Garrison had accused Thornley of being involved in the Kennedy assassination and was investigating him. On an acid trip, Thornley has flashbacks, and remembers holding one of the guns that actually killed Kennedy. He also recalls strange visions of training camps, brain-washing sessions, weird briefings. He tells them that the first Discordian catma was the Law of Fives, which holds that all incidents and events are directly connected to the number five, or some multiple of five, or some number related to five in one way or another. Conspiracy is gradually becoming a big part of Shea and Wilson's daily life. All sorts of people start bringing them material, through the Forum columns of Playboy, or directly into their own hands. They are recipients of lots of samizdat-ed material, from very limited circulation lists. They find themselves writing more and more for underground newspapers, testing out some of their ideas. Things begin cropping up in fives.

Peter O'Halligan acquires an old warehouse building. It is a huge old property, at the point where a number of roads meet, at the end of Mathew Street, quite near to were the Beatles had first come to public attention in the famous Cavern Club. The building is still there. It is now an Irish pub and eating house, called Flannagan's. In those days, it was really old and broken down. He built a market on the ground floor, where people would sell their hand-made crafts, aromatic perfumery and the sort of clothes you could not buy in the regular shops. On the upper floor, he built a cafe, where the Liverpool philosophical debaters would meet. It was a place where he could do his dream merchanting, along with a lot of friends. Some ran the cafe, others ran stalls in the market. They called it ‘Aunt Twackies', which apparently means ‘something old-fashioned', in the Scouse. Antiques. Anti-kwies. Aunt Twackies.

This was the time when Ken Campbell first met Brian Aldiss and was told about the bifurcation of literature. There had been time, mused Aldiss, when people just wrote books. When H.G.Wells wrote, he sometimes would write about romantic schoolteachers and he would sometimes write about time travel. They were just books. Now there were categories of books, some of which were not to be regarded as ‘Literature'. To those who had taken upon themselves to define these categories, fantasy and science fiction writing fell well short of serious literary merit. Aldiss was unforgiving about such blinkered views, which unfortunately had wielded considerable influence on the development of literature in the English language, and consequently, on his own writing career.

Shea and Wilson realise that they are gathering together a phenomenal amount of material, all manner of conspiracy related matter. They begin to get a little bit paranoid, about some of the things they are discovering, some of the things they know about. They realise for sure that they have no longer any faith in the instruments of government. Government in America, or anywhere else, for that matter. “We should write a novel about this,” Shea says.

Peter O'Halligan is running art exhibitions in his market-cafe. This was the time when there was the great John Moores Exhibition in Liverpool, when all the great and good artists of Britain brought their work to the city and it was either exhibited or it wasn't. Peter O'Halligan had the idea that he would do an ‘Even Moore' exhibition, of those artists who had their work rejected that year. He collected the work of such artists around Liverpool, but realised that a lot of the rejected artists lived around London. He got himself a van, went off to London and told them about this wonderful idea, that even if you had been turned down by the John Moores, you could still have your work exhibited in Liverpool. More that that, he told them that it was most important that they did have their work exhibited in Liverpool, for Liverpool is a Pool of Inspiration, the ‘Pool of Life'.

Ken Campbell is taken by Brian Aldiss to the World Science Fiction Convention and finds out what the ‘bifurcation of literature' really means. He finds that he likes the Science Fiction people.

Robert Anton Wilson learns about the significance of the number 23 from William Burroughs:

William Burroughs introduced me to the 23 Enigma while I was still at Playboy. I had said, on first seeing the unpublished manuscript of Naked Lunch in 1956, “This man is the greatest prose writer since James Joyce.” (I am still rather proud of being the first to make that comparison) I did not meet Burroughs until 1966, and found Bill a more charming and ordinary individual than his books suggest - one had been prepared for a mad genius and found instead a rather prosaic, almost academic, quite gentlemanly genius. His story of the 23 mystery went like this... In the early ‘60s in Tangier, Burroughs knew a certain Captain Clark who ran a ferry from Tangier to Spain. One day, Clark said to Burroughs that he'd been running the ferry 23 years without incident. That very day, the ferry sank, killing Clark and everybody on board. In the evening, Burroughs was thinking about this when he turned on the radio. The first newscast told about the crash of an Easter Airlines plane on the new York-Miami, and the flight was listed as Flight 23. Burroughs began keeping records of odd coincidences. To his astonishment, 23s appeared in many of them.

Sean Halligan tells distant cousin Peter that he has heard that expression somewhere before, in a dream he recalls. It was a dream reported by the Swiss psychologist Carl Gustav Jung. He had written about the dream in his book Memories, Dreams and Reflections, strangely enough, on page 223:

I found myself in a dark, sooty city. It was night, and winter, and dark, and raining. I was in Liverpool. With a number of Swiss - say half a dozen - I walked through the dark streets. I had the feeling that we were coming from the harbour, and that the real city was actually up above, on the cliffs. We climbed up there. It reminded me of Basel, where the market is down below and you go up through the Tottengässchen (Alley of the Dead), which leads to a plateau above and so to the Petersplatz and the Peterskirche. When we reached the plateau, we found a broad square, dimly illuminated by street lights, into which many streets converged.. The various quarters of the city were arranged radially around the square.

Peter O'Halligan has a strong feeling that Jung is talking about the small square at the end of Mathew Street, where Aunt Twackies was situated. He is also chilled by the references to Petersplatz and Peterskirche. He avidly reads on:

The various quarters of the city were arranged radially around the square. In the centre was a round pool, and in the middle of it, a small island. While everything around was obscured by rain, fog, smoke and dimly lit darkness, the little island blazed with sunlight. On it stood a single tree, a magnolia, in a sea of reddish blossoms. It was as though the tree stood in the sunlight and was, at the same time, the source of light. My companions commented on the abominable weather, and obviously did not see the tree. They spoke of another Swiss who was living in Liverpool, and expressed surprise that he should have settled here. I was carried away by the beauty of the tree and the sunlit island, and thought, “I know very well why he has settled here.” Then I awoke.

Jung had been very concerned about his own inner state and took the dream to be a reassurance that all was well with him. He had also, for many years, been fascinated by mandalas, and had painted many of these circular cryptograms, exploring the inner self, with an active dynamic towards a central goal. The circularity of the sectors of the dream city, arranged around the central sunlit island struck mutual chords in Jung and O'Halligan. As Jung goes on to record:

This dream represented my situation at the time. I can still see the greyish-yellow raincoats, glistening with the wetness of the rain. Everything was extremely unpleasant, black and opaque - just as I felt then. But I had had a vision of unearthly beauty, and that was why I was able to live at all. Liverpool is the ‘pool of life'. The ‘liver', according to an old view, is the seat of life - that which “makes to live.”

Peter O'Halligan could hardly believe what he was reading, in this book, on page 223. Here was synchronisity at play, indeed. The Aunt Twackies building was at the centre point of several meeting passageways, Mathew Street, Temple Court and others. It was a pool of energy, though what Peter did not know then, was that it was also literally on top of a pool. When excavations were carried out around the old Cavern Club, round the back of the Twackies building, when plans were underway to build a new shopping mall, the engineers discovered a huge brick-built reservoir, the original site of the pool, with water still in it. Originally, when the city was being constructed, it was where they brought in the water supply. And all this was under Mathew Street and surroundings. The cafe parlour, from the French ‘to speak', had become a place where people met to talk, to share wild ideas. The fire upstairs, in Peter O'Halligan's original dream, was obviously these ideas burning. But what of the theatre, the empty auditorium, the old man and the Playboy mag? These were still firmly in the basement.

Shea and Wilson began keeping their own records and 23s began cropping up with remarkable consistency. They discovered that gangster “Mad Dog” Coll was shot on 23rd Street when he was 23 years old, the contract being settled by Dutch Schultz. One year later, Dutch Schultz himself was fatally shot on 23 October. Schultz's killer, Charlie Workman, served 23 years of a life sentence. There are 23 axioms that open Euclid's Geometry. 23 in telegrapher's code means ‘bust' or ‘break apart', while Hexagram 23 in the I Ching also means ‘break apart'. In the process of conception, mothers and fathers each contribute 23 chromosomes to the fertilised egg, and within the DNA coil of genetic metaprogramming instructions, there are unexplained bonding irregularities every 23rd angstrom. Aleister Crowley's Cabalistic Dictionary defined 23 as the number of “parting, removal, separation; joy, a thread, life.” It was also noticed that the mad bomber in the disaster movie Airport sat in Seat 23 and that in the old stage productions of A Tale of Two Cities, Sydney carton is the 23rd man guillotined in the gory climax, with some lexicographers believing that this is the origin of the term ‘23 Skiddoo'!

To establish the new Liverpool School, Peter O'Halligan stages the first Jung Festival. A special stone is to be brought from Basel. Sean Halligan and a friend from St Martins art college, graphic designer Denato Cincollo III, are given the job of going to Switzerland to collect it. They use Denato's car and paint on each side of it: “Liverpool-Zürich Lapis Express.” The Swiss Embassy in London help to expedite the mission and they set off to get the stone, from Newlan Quarry, just across the river from Jung's house at Bollingen. When Jung was building the corner stone to build a tower onto his house, the masons took the measurements and returned with the stone on a barge across the river. But the measurements were way off, totally wrong. The masons apologised and said they would take the stone back, but Jung said, no. He wanted the stone. He did not know for what, but he knew he wanted it. He later engraved the stone, with quotes about the alchemist's stone, in Latin and Greek. A verse in Latin, from the Alchemist Arnaldus de Villanova, who died in 1313, was chiselled into the stone by Jung, and in translation reads:

Here stands the mean uncomely stone, ‘Tis very cheap in price! The more it is despised by fools, The more loved by the wise.

The verse refers to the alchemist's stone, the Lapis, often despised and rejected. Then Jung began to see, in the structure of the stone, a small circle, a sort of eye, which looked at him, like that which you see of yourself when you look into the pupil of another's eye, a reminder of the Telesphoros of Asklepios, often shown wearing a hooded cloak and carrying a lantern, whilst at the same time, pointing the way. Jung dedicated one of the quotes to him. The translation of the Greek goes:

Time is a child - playing like a child - playing a board game - the kingdom of the child. This is Telesphoros, who roams through the dark regions of the Cosmos and glows like a star out of the depths. He points the way to the gates of the sun and to the land of dreams.

At the base of the stone, Jung inscribed, in Latin: “In remembrance of his seventy-fifth birthday C.G.Jung made and placed this here as a thanks offering, in the year 1950.” It was placed in his garden and was a joy to him for the rest of his life. When Sean and Denato go to the quarry, they actually acquire the piece of stone that would have been the back side of the piece of stone that had gone to Jung. It was cut from the same place in the quarry. Back in Liverpool, with the Lapis, they take it to stonemasons and have it engraved with an inscription detailing Jung's dream of Liverpool and the date of the first Jung Festival 1976. It set in the wall. A bust of Jung is made by sculptor David Wright and is set above it. The Swiss Consul General attends, as well as Jung's great-grandson, Mark Balman, there is the Mathew Street woodwind ensemble, the Mathew Street brass band, the groups Deaf School and Yachts. Right in the front row is Herbert Freulick, Austrian physicist and a prominent Jungian, now professor at the University of Liverpool, he invites Peter O'Halligan back to his house for dinner. There he is introduced to the ‘other Swiss', who had been said to live in Liverpool, Professor Terreau, a colleague from the University of Liverpool The ‘other Swiss' from Jung's dream and from the clairvoyant's prediction. Professor Terreau. Terr-eau. Earth-water. Two parts of the Alchemical elements. With that meeting, many synchronistic connections come together.

Despite the fact that he has met Timothy Leary and has started to carry out extensive research in the use of peyote, mescaline and other hallucinogenic substances, Robert Anton Wilson begins to see things with a much greater clarity:

Many other scientists have agreed with Carl Jung's opinion that the number of startling coincidences in ‘the Net' increases sharply around anybody who becomes involved in depth psychology or in any investigation that extends the perimeter of consciousness. Arthur Koestler has written about this at length, in both The Roots of Coincidence and The Challenge of Chance. Dr John Lilly has whimsically suggested that consciousness research activates the agents of “Cosmic Coincidence Control Centre.” Let us hope he is joking. In New Orleans, Oswald and Thornley went about their different lives, and in Ohio, I went about mine, and the Net was gradually drawing us all into what, in Illuminatus!, we wrote about as Operation Mindfuck. When John Kennedy was blown apart by Oswald and/or persons unknown, something died in the old American psyche, as Jules Feiffer among others have noticed. Kennedy was not a universally beloved President, of course - nobody ever has been, not even George Washington - but he was young (or youngish), handsome, cultured, brave (everybody knows the PT-109 story) and virile. There was a commotion of primitive terrors loosed upon the national psyche by the Dealy Plaza bullets; Camelot died; the Divine King had been sacrificed; we were caught suddenly in the midst of a Frazer-Freud re-enactment of archetypal anthropological ritual. The national psyche veered dizzily towards Chapel Perilous.

Timothy Leary is impressed:

Wilson's ability to open himself up and receive signals both from within his own expanding neurology and from the broadcasts of scientists defines him as one of the key personalities of modern neurological philosophy. He is becoming a major literary figure... with a modern, personal summary of such basic concepts as: the Illuminati conspiracy, the Sirius phenomenon, UFOs, mind-changing drugs, new experiential perspectives on Lee Harvey Oswald, Jim Garrison, Hugh Hefner, the 24 clones of Timothy Leary, the meaning of the number 23, Aleister Crowley, Aldous Huxley, Carl Sagan, Gurdjieff, Alan Watts, William Burroughs, immortality, Nikola Tesla, modern quantum theory, the physics of consciousness, the eight evolving circuits of the nervous system...

Ken Campbell meets Peter O'Halligan, introduced by Alan and Beryl Williams. Peter O'Halligan tells him about the founding of the Liverpool School of Language, Music, Dream and Pun, about Jung's dream. And about his own dream, and how that had led him to acquiring Aunt Twackies, in the first place. How he had dreamed of plays being put on there. Invites Ken Campbell to think about putting theatre on here.

Chapel Perilous. Everything you fear is waiting with slavering jaws in Chapel Perilous, but if you are armed with the wand of intuition, the cup of sympathy, the sword of reason and the pentacles of valour, you will find there (or so the legends say) the Medicine of Metals, the Elixir of Life, the Philosopher's Stone, True Wisdom and Perfect Happiness.

Bill Drummond finds himself back in Liverpool, at the Everyman Theatre, being run at the time by Chris Bond:

I was building sets then, doing scene painting. I had never trained to be a set designer, I trained in Fine Art. But I had ended up in theatre a couple of years before that. There were some good actors that, at the time. Peter Postlethwaite, Julie Walters and a couple of people who went on to be a part of the Science Fiction Theatre of Liverpool, Bill Nighy and another one. There were some great characters around Liverpool at the time. When you interviewed Peter O'Halligan, I don't know how good he was at blowing his own trumpet, but that place he ran there, Aunt Twackies market beneath and O'Halligan's Tea Shop, or whatever he called it, upstairs, it was the meeting place for many weird and strange people in Liverpool. They just gravitated towards it. I remember that in 1976, there was a guy named Arthur Black and a number of other quite phenomenal characters. There is absolutely no reason why you should have got to know about these people, they were very very creative people, but one of the great sad/bad things about Liverpool is that, lots of people of Liverpool who are creative, have got lots of energy, have got no interest in it going anywhere else, no interest in it being known about in London. It was about being within a whole peer group, the whole thing of Liverpool. That's where it has got to be great.

Ken Campbell goes up to London, to find a suitable piece of Science Fiction Literature to develop for the stage, and to recruit for actors amongst his chums, people who might be interested in Science Fiction and other forms of high weirdness. He scours the bookshops for suitable books. On his way out of Compendium Bookshop, in Camden Town, one day, he has a pile of books and is about to pay for them. In Compendium, you pay for your chosen books on the way out, at the cash till. There they also keep the new stock that has just come in. As Ken was waiting to pay for his book pile, he saw it. A new book that had just come in: Illuminatus! - part one: The Eye in the Pyramid by Robert Shea and Robert Anton Wilson. And prominent on the cover of the book: a yellow submarine!

Hagbard Celine was trained in contract law and naval engineering, but claims he acquired his real education playing the piano in a whorehouse. He is captain of the world's largest submarine, the Leif Erikson, and president of Gold and Appel Inc., an import-export firm that has frequently aroused the suspicions of law enforcement agencies. (“137 arrests and no convictions,” Hagbard normally brags). Some claim he is master of disguise and has successfully passed himself off under such alternative identities as Howard Cork, Hugh Crane, Captain Nemo, etc., and has appeared in countless epics and sagas. Celine has written about the basic stupidity of the human race:

Two eminently intelligent men, R.Buckminster Fuller and Werner Erhard, have proposed that we can and should abolish starvation by the end of this century. This goal is rational, practical and desirable; so it is naturally denounced as Utopian, fantastic and absurd. I wish to propose a similar goal, which is also rational, practical and desirable, and which will also be denounced as Utopian, fantastic and absurd. I suggest a worldwide War against stupidity. Although the stupid will resent this, I address my ideas here to those who are not totally stupid or who are not stupid all the time, i.e. those rare individuals who have occasional lucid moments... Stupidity is a contagious sociosemantic disturbance which afflicts all of us. Stupidity murders geniuses, burns books, slaughters populations, blocks progress. There is nothing rationally desirable that cannot be achieved if rationality itself increases. Neurochemistry means the human nervous system studying and improving itself: intelligence studying and improving intelligence. Why be depressed, dumb and agitated, when you can be happy, smart and tranquil? Like death and poverty, stupidity has been around so long that most people cannot imagine human life without it, but it is rapidly becoming obsolete. However, many special-interest groups (politicians, clergy, advertisers, etc.) may profit from stupidity, humanity as a whole will profit more from its abolition. From here on, we should measure our progress toward our personal goals, and our contribution to humanity's world-wide progress, in terms of how much smarter we have gotten in the last year, the last month, the last week, THE LAST HOUR.

Ken teams up with actor Chris Langham and they soon discover that the one novel is, in fact, three. A trilogy. A trilogy about conspiracy They spend the next ten months turning this amazing work into playscripts. Not knowing how such fantastic stories could ever be presented on the stage. But having a go.

Illuminatus! Soul Goodman, a New York cop who talks faster than he thinks. He is investigating the strange disappearance of the editor of Confrontation magazine, a libertarian-left broadsheet. Goodman and his sidekick, Barney Muldoon, discover a box of memos about the ‘Illuminati', and they embark on a roller-coaster ride of dangerous discovery. Meanwhile, a young reporter from Confrontation is on an assignment in Mad Dog, Texas. He falls fowl of some bigoted and vicious law-enforcement types. They don't like his questions and throw him into jail. Whilst masturbating, in his prison cell, he is abducted by a beautiful blonde guerrilla girl, who blows open the prison, and hands him over to Hagbard Celine, leader of the League of Dynamic Discord, on a high-tech yellow submarine bound for Atlantis. A desperate sea-battle with the Illuminati ensues.

“How do you put this on a stage?”

Peter O'Halligan and friends have by now firmly established Aunt Twackies as the Liverpool School of Language, Music, Dream and Pun, and it is rapidly becoming the cultural meeting place of people with fantastic ideas, dreams that they want to realise. With bust of Carl Jung proudly erected outside, with the plaque broadcasting the news of Jung's dream of Liverpool. A place with a buzz. In London, Ken Campbell cogitates on what he had seen in Liverpool, the energy he had felt there. This had to be the venue for staging the fantastic Science Fiction dramas that he knows are contained within the pages of these three extraordinary novels. Straight on with it. A couple of phone calls between London and Liverpool, then work begins in earnest to make it all happen.

Bill Drummond becomes a regular visitor to the Liverpool School of Language, Music, Dream and Pun. He got to know Peter O'Halligan and his cousin Sean quite well, and Charlie Alexander, who also ran events in the building. They tell him about Ken Campbell and the idea of a Science Fiction Theatre show to be staged in the cafe parlour:

Ken Campbell was a bit of a hero, in that world, as he still today. And I was told he was going to be doing this thing. What Peter was telling me about it, and Peter couldn't be too articulate about it, he only knew what Ken had told him. But what he did tell me, fired me up. I knew I wanted to be a part of all that!

To Liverpool. How do you put three novels about global conspiracy onto a small stage in a cafe parlour, that is part of an old warehouse in Liverpool? Answer: by just doing it, in spades and with balls. Ken Campbell and Chris Langham collect a team of actors together, some from London, some from Liverpool. Also, Bill Drummond is recruited as designer:

I don't remember how the contact was actually made, but I do remember spending a day with Ken Campbell, which included spending time on the Mersey. I had been a art school in Liverpool, but then I had gone off and done all sorts of things, including being a trawlerman, then working in theatres, and back to Liverpool. I had done a lot of walking around the docks area, so I took Ken on one of these walks: a ferry across the Mersey, then a walk down through all the broken down old docks, and then another ferry back across. I remember him sitting on the ferry and telling me about this trilogy of books and about his ideas for turning them into a mammoth play. At that point, you could not easily get the books, but he let me have the first one. People often say about things, that they have never read anything like this before, but I certainly hadn't come across anything remotely like this. I said to Ken, “What are the scenes? What is it you need? What is the budget?” But it soon became obvious that I was not going to be getting the answer to these questions. But I did up some sketches, all very expressionist... Ken said, “Nah, nah. We've got to have everything, there is the White House, in a submarine...” So at least I now knew that he was looking for something different, something to make you laugh, not some weird expressionist set

Musicians Terry Canning and Camilla Saunders form a band, and start to get the music together. A young Ian Broudie is on guitar. The thirty-six actors start work on developing the more than three-hundred different parts that had to be enacted. Bill Drummond solves amazing problems of staging, by utilising tiny sets, that appear to enlarge the mystery. (“There was just no space in there, but I just loved making things work, out of almost nothing.”) These sets have strange perspectives, often foreshortened or exaggerated. Sometimes they are be multi-faceted, a prison on one side, someone's bedroom on the other, a top-view of a table and chair. Actors are required to pop up at strange angles through different bits of set, often having to almost defy gravity, as well as speaking the lines. It is an amazing to watch, a marvel of invention.

But the Law of Five and the Law of Twenty-Three kick in. Of course, everyone has decided it would open on 23rd November. However, leading up to that date, five different people are injured in accidents. Bill Nighy and his girlfriend are both badly injured in a car crash, Bill with a fractured thigh bone and other injuries, putting him out of this opening production, though he was to return for the later National Theatre performances. His girlfriend, who was going to be in the production but had not yet been given a part, is very badly injured. Then John Joyce runs his motor cycle into an unmarked hole in the road and breaks his collar bone. The very same evening, Chris Taynton gets involved in a fracas at a Liverpool pub and has his nose broken. These four people are all in the same hospital at the same time. Then, Neil Cunningham is bitten by a dog, badly bitten, with a scar on his hand in the shape of... a ‘v'. There had been a plan to do five plays, each of five acts, each lasting for twenty-three minutes. But that idea fell by the wayside.

The show duly opened on 23 November 1976, to astounding critical acclaim.

Back to meryfela homepage - and details of Ken Campbell at the 2002 Fortean UnConvention available on DVD