we are walking on the roofs, and he's talking us through the
footprint of the building from above,
the different areas, gesturing around, we're stood on a 3-d map.
Below that's the foyer… out there that way, that's the fly tower,
over there, right up the edge there that's the studio.
We step this way and that on the silver roof paint,
that part there, with the tiled roof, that's the original stage and auditorium, it's just fraction of the complex,
then we're on the move again, wary of the edges, stepping the low 'walls' which mark the boudaries of the separate buildings/extensions/additions to the structure below
look he says, that's the city wall, he's pointing out and down to the stone structure running off beneath us and away from the building, before it's sandwiched between two much more modern structures. We look out over the city trying to get a fix on location,
below us the warren of the spaces we've walked through – under stages and over them, through corridors, passages, second-foyers and studios, past offices and apparently random apparently windowless rooms, through construction spaces, ascending and descending to second balconies, third balconies etc – knots and unknots, tumbling in mental space, as it tries to match, settle or cohere with the plan view we have from up here but whichever way I picture it, whichever way I twist, stretch, bend or compress the model in my head, it seems unlikely that the space below our feet could ever contain the whole of what we saw.
later, in another city. Up there on the stage one of the dancers in the golden 60's mini dresses (it's the one with the beard) neglects to put down her bottle of beer as they traipse to the stage for the song, so that the section with the synchronised hand movements – the Supreme's Stop In The Name of Love – has only two outstretched hands to gesture the punctuation Stop!, and a third which seems to vaguely proffer a bottle.