Babalon Diaries: # 17: Invocatory Theatre and the Babalon Project

Aline DeWinter: Invocatory Theatre and the Babalon Project

Interview by Alison Rockbrand

This is Part 17 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

by Air Adam

by Air Adam

As part of her on going academic research into esoteric acting and performance/theatre at the Rose Bruford College, Alison Rockbrand interviewed me about my creative process. She was  especially interested in my use of ritual to develop roles in acting and dance.  Most actors at one time or another, study Method Acting developed by Constantin Stanislavsky in the late 19th century. I recently learned that he made great use of esoteric methods in training actors how to embody their roles. I wonder how far he originally took them in terms of Otherworld contacts….

Alison Rockbrand:

Aline DeWinter is an American medium, tarot reader, witch, writer and performer whose work has crossed from the Seattle Shakespeare Company,to the dance performances of the Companions of Musavir, to working on esoteric theatre projects in London, England where she lived for nine years. She is the writer of a detailed and extensive blog on what she calls ‘the magical path’; included in this blog is an account of her experiences while working on the esoteric play by Paul Green, Babalon, of which I  myself was the director. I spoke to her on her experiences as an individual performer in the realms of esoteric theatre and dance.

Interview with Aline de Winter

AR: You describe yourself as a witch and as a performer, can you give me some idea as to how you interpret these terms and how they relate to each other?

AD: Well, I think I have always been what I would call a witch. When I first started working with the Seattle Shakespeare Company in the 1980′s I started to feel that there were deeper levels to Shakespeare that no one was really investigating. I tried to bring my magical awareness into my performances.

AR: What do you mean by ‘magical awareness’.

AD: At the time I was doing a lot of Kabbalistic magic, you know from the Jewish Kabbala. I was getting up at five in the morning to do these meditations which were based on that system, trying to increase my esoteric knowledge. But I was always a natural witch, I always just somehow knew how to do magic. It was like what they say about shamans, I was just called to the path I am on by the spirits themselves. I have heard the same sort of thing from Native Indian shamans with whom I have had a lot of experiences. Basically I knew how to tap into other dimensional reality and bring stuff through, though my body. I would move my mind through a door. But at the time of my work with Shakespeare and particularly with the part of Lady Macbeth, I was just trying to integrate my knowledge with what I felt were the deeper levels in that play.

AR: How did you accomplish this integration?

AD. One example is the scene where Lady Macbeth conjures of all of these dark spirits or demons in order to make herself stronger. In the performance, we thought of that scene as an actual magical ritual. We drew a circle, and conjured the directions, and treated the scene very much as you would in ceremonial magic. We thought of the scene as an actual magical ritual though we were quite careful not to fully conjure the dark energies that Lady Macbeth was conjuring, or at least I did not conjure them into myself as she was because that would have been too chaotic. But we still  treated it as though I were real, as though the spirits were being spoken to during the performance. We also banished them everyday after the rehearsals and performances; we were careful to cleanse to space magically after every performance.

lady-macbeth Ellen Terry as Lady MacBeth

AR: Can you tell me something about your preparation for the performance of that role?

AD. Well as I said I was doing all this Kabbala, and that helped me to get to some of those deeper levels. But the way I always prepare for such roles is through ritual and through the use of images. I would find the right image of the magical levels within the character I wanted to use during the scene and then I would take those images into my own body, or my own awareness. I finally found that it was easier to do this with dance because then I can just totally let go in performance and let the character or the spirit I am trying to work with completely take over, like a kind of shamanic possession.

AR: You said you also used ritual?

AD: Yes, when I practice at home I always begin the practice by drawing the circle and calling in to it the energies I need for the performance. Its a magical ritual that I repeat every time I rehearse because I am trying to do magic on the stage and it takes a lot of practice of that ritualistic kind to accomplish that. The ritual might vary, but its a ritual the same as in ceremonial magic where the circle is drawn before the spirits can enter. It was the same when I started working in dance.

AR: Can you elaborate about your work in dance?

AD: I started to work with the dance company, Companions of Musavir, performing sacred dances. I was initiated into the Sufi Order in Paris in 1982.  In those days when I was dancing an doing a lot of theatre my whole desire was to use theatre as a magical vehicle.  There were very few people, if any, who had the same idea as me- only Elizabeth Dickinson, the director of the Companions of Musavir - had this as the real reason behind the dance company. I was one of two dancers who got that. I felt I could do more of what I wanted with them. I started doing my own choreographies which sprang out of my desire to unite with a Goddess or God- as Circe, Melusine, Salome, Ariadne and various others.

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Circe by Waterhouse

AR: What was your process in preparing for that kind of role?

AD: When I was working on Circe, once the choreography was set, I would move my consciousness into what I have to call ‘the Circe current’. I would try to connect my consciousness with that of the Goddess, which feels more like a specific current of consciousness rather then the mind of a character. Its something from a different reality. Then I would often find new ways to move in the choreography and a lot of it would change based on my connection. I would do this over and over again, as a ritualistic, magical and spiritual practice as a preparation for performance.

AR: How was the performance different from the rehearsals?

AD: In the rehearsal phase I would just be contacting it myself, letting the Circe current show me the dance and letting in use me to find the right choreography. In performance, I would mediate on stage between the Goddess Circe and the audience. I would try to bring something magical through to the audience. However, you never know if its going to work. You can’t control the spirit. Its a willing co-operation. If it does not want to manifest in a certain performance then there is nothing you can do. You have to work with it and develop a relationship with it, so that is why there is so much ritual practice involved- it makes the connection stronger.

AR: How do you develop this connection?

AD. I always invoke, I develop in magical circles. I make a circle, I invoke the spirit and then I let it take over me but without letting go of my critical side so that I can work. It develops through the ritual practice, but in that practice I am making my self very open emotionally. I am trying to release my conscious mind and go into the subconscious, which opens you up emotionally, and then  you can connect to the spirit through a strong emotion. In magic we often use sygils and symbols to get in touch with the subconscious mind and I use those to connect the spirits as well. I use the heart chakra combined with the third eye, which then makes you telepathic with spirits that are good for you,that have a higher energy level. From the solar plexus into the lower chakra levels you get demons who feed off your sexual energies, which can be very debilitating.

AR: What is there to be gained from this kind of connection to a spirit?

AD: Every time I perform in this way and get into the body of a spirit, or mediate for a spirit to an audience, it alters me in ways I sometimes do not know about until much later. I have gotten many gifts from this kind of practice, mainly new abilities or new insights into myself or the world. These are magical gifts which are given from the spirit who has a different reality to me, and when I communicated with it on this level, something of the spirit always stays with me, forever. And it can alter reality as I know it as well. Things change, strange things happen, my life changes. It could be a dangerous practice and many people on the occult path go insane from conjuring demons. If you conjure positive entities, then good things will follow, but often when you deal in Black Magic, then bad things tend to happen and people loose themselves. With the Babalon project, I felt that the energy of Babalon was very fiery and chaotic and many bizarre things happened during the rehearsal process in London. But I gained a lot from Babalon, especially lots of Kundalini energy rising up my spine.

AR: Can you tell me more about your preparation for Babalon?

AD: I have written in my blog about the experiences with Babalon by Paul Green and with the spirit of Babalon because it was something that altered my life in many ways and in which I saw how the use of certain energies and types of magic can have major effects in reality. In preparation it was very magical because the play itself is alive- it contains some of the Enochian keys of John Dee and Edward Kelley which were used by the occultist Jack Parsons to complete what he called “ The Babalon Working”, a magical rite to call the energies of the spirit of Babalon into the world at large. Those energies were not the kind I was used to dealing with. They were darker, more fiery. In rehearsal we sang the Enochian keys and it would get very weird. There was definitely something happening when we sang the keys in rehearsals. Since all the actors were occultists and magicians, it would seem that we could not help but actually perform aspects of the Babalon Working whenever we performed those scenes in the play.

AR: Did this differ from your private practice?

AD: In my private practice I would draw the circle, call the directions as is done in most Wiccan and ceremonial magical rituals, then I would use the Babalon sygil which Aleister Crowley created to try to connect to the ‘Babalon current’ . I would work to bring through the Babalon energy. What it felt like was a very disruptive energy, like the earth was falling from underneath me. As always I experienced it as a dimensional shift. Then Babalon would appear to me. Babalon shows up as a red fiery figure covered with jewels. Then I would walk into that figure. I would just move my body into the body of this spirit Babalon and I would focus on what that felt like, and try to remember the feeling of that for the rehearsals with the rest of the cast.

AR: Was the same thing happening in performance?

AD: No. In performance I felt as though Babalon was talking directly through me to the audience. There were moments in the performance when I felt as though the energy was really being manifested directly to them. My performance was a magical act to conjure Babalon and I think she was definitely there and I think the audience could feel that. But each time one of these spirits manifests though a medium, it will take on aspects of that person as well. So my invocation of it would be different from another actors.

AR: You said you experienced magical phenomena during the rehearsals for Babalon. Can you elaborate?

AD: The play had a magical effect way beyond just the rehearsal room. Not only on myself but in the real world as well. There is one incident which happened during the rehearsals. It was towards the end of the rehearsal process and nearing the performance. I had a problem with my flat and so I had to go and stay with a friend of mine near Hampstead Heath. At one point  she told me to find someplace else to stay because another friend of hers was coming from Germany for her job in Hemel Hempstead. The German friend’s return home was delayed all of a sudden when the factory she was working at blew up. It turned out that the factory was a producer of airplane fuel.  It’s very bizarre because Jack Parsons, the protagonist of Babalon, was, in real life, one of the inventors of rocket and air plane fuel. He was killed when he dropped a canister of rocket fuel and it exploded. His death is also the climax of the play.  I find it incredible that this should have happened so close to where Babalon was being performed and only a few days before the performance, and that I who was  playing Babalon, was directly connected to someone who worked there. It’s horrible though, really.

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The Babalon Working as it was performed by Jack Parsons was supposed to bring the energy of the ‘Babalon Current’ into the world at large, to affect the outside world and to have a major effect on humanity. Many people have wondered what was actually accomplished by it though, as Parsons was killed in an explosion not long after. I think we awoke something in our rehearsals that had a similar effect. We  performed a version of the Parsons Babalon Working and a factory close to us that stored air plane fuel blew up.  That is what I mean about real effects. This type of esoteric theatre effects things.

(Aside by me: This why we say “Don’t do this at home….” Luckily no one was hurt.)

AR: What effects did the experience have on you personally?

AD: Its always like a kind of initiation because something in me changes and a whole new side of my personality can develop. The experience with Babalon brought through something that was not there before. Initiation is about creating a holistic self  from these currents, dimensions, or conciousnesses, and letting them add to by body and to my knowledge. I have more energy then I do this. Also, the spirit becomes a muse for me, and though it new connection are born and I gain in gnosis. Working with Babalon I contacted things I had not contacted before, but now I always can again. I can always call that spirit or energy back. I still feel very connected to it today. It affects objective reality.

AR: Do you think this kind of experience is possible though other theatrical means? Do you need to be an esoteric actor to experience this or can it happen in other theatres, such as those in which use shamanic techniques ?

AD: I have done a lot of work with shamans and I have seen many of their rituals on Native American reservations in America. You cannot take the techniques of shamanism away from the shamans and expect to get the same results. Those techniques are tied to the land, to specific trees, or lakes or other natural elements, and to a specific tribe. I have seen shamans perform with feathers that were 1000 years old passed down a family line- a lot of the magic is in those feathers. Shamans are healers and they work for the whole community. There may be some similar techniques in esoteric acting, but its not really shamanism the way it is used traditionally. Our practice of Esoteric theatre is urban, it travels with us, its not tied to a place or a people. Its like a kind of urban shamanism. But these shamans like esoteric actors are trained to be able to see into other dimensions and to bring things back. I do not think that is what is happening in other theatres because the people involved are not trained in that way, the audience in not being changed in the same way because the actors are not calling in other dimensions of reality. They are exploring this reality, but we are going somewhere beyond there.

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alterofbabalon

And of course, if you want to listen to podcasts of our December 16, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

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Babalon Diaries #15+9: Cup of Abominations!

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This is Part 15 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

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I have been slowly approaching these scary parts of the Babalon Diaries.

4 December, 2005

It was  our director, Alison’s, birthday. Since she was having the blues, I decided to give her the present of a bottle of Jack Daniel’s. The Brits love all this Americana stuff  that is so easily forgotten about when you are back in the States.

By this time the rehearsal process had become extremely intense — at least for me. I was having trouble doing research because I was so unfamiliar with computers and I didn’t know these characters at all. I didn’t even know about google images at the time.

I do now…..

The set designer was woman I will call S. Since I was going to be the only actor onstage, Alison decided to project images, sigils, photos, etc on the back stage wall so the audience would have something to look at. S. had a great fund of them and was creating a slide show with a musical score to be played before the show. She had also provided a book about Jack Parsons called Strange Angel, by George Pendle that had some photos of the Babalon crew.  Slowly I began to learn about these fascinating characters, and was drawn more and more into that world of Thelema, Magick, and the Bohemian culture of California just before WWII.
I was also bringing Babalon through — sometimes feeling entirely changed as I practiced my lines and monologues at home, repeating over and over the words of Aleister Crowley and entering the consciousness of the Scarlet Woman.

Black hooded robes were being made for the the actors, and I was looking for red and black vintage to transform myself into 1940‘s Marjorie Cameron and Babalon. We now had sound effects and voice overs. Our sound effects man, G. frequently had trouble coming to rehearsal because he worked graveyard shift, and the process of trying to get him to sacrifice sleep to rehearse was often difficult. The responsibility seemed to fall on me for some reason. This wasn’t  good with what the Babalon current was doing. The actor who played Jack Parsons was often late as well. T this held us up considerably. On Alison’s birthday, he was very late having gotten lost in Sainsburys in Covent Garden, waylaid by the wine shop on his way to rehearsal.

red-phone-box

Hail to the Red Phonebox

After rehearsal, I brought out the Jack Daniel’s for Alison. We passed it around in Treadwells and then had to leave. I remember G. had to go and that he looked like Russian Prince out of a fairy tale.We finished celebrating Alison’s birthday on the sidewalk outside. Pharoan showed up with a bottle of red wine and we passed that around too.

Now it takes very little alcohol for me to get drunk. One glass of wine and I am smashed. On and empty stomach — even worse. Mixing whiskey and wine? Unthinkable, but in the moment it seemed OK.

I don’t know how we got to Charing Cross tube station. I am sure I meant to take the train to Camden Town and then go on up to Highgate where I was living at the time. But somehow, I was sitting on my rear end on the sidewalk in front McDonalds! A homeless guy was sitting beside me pointing a row of lighted Christmas trees in a shop window across the street and asking which one I was.

“I’m the blue one. Which one are you?”

“The red one,” I said.

“You can stay here with me tonight if you want to. Curl up in my blanket.”

I remember at one point throwing up in a corner — I am naturally very tidy — aware that I had entered a sphere I would never have imagined entering before.

Next thing I recall was the Wiz talking to me, trying to pull me up off the sidewalk. A cab was waiting. I don’t know why I was being so difficult, but was alert enough to remember the Wiz saying, “Three cabs refused to pick us up and I couldn’t get you up off the side walk. I’m not letting this one go.”

“Really?” I said. I couldn’t imagine such a thing. “What time is it?”

“3 AM. S. told me to stay with you and make sure you got home all right. You were saying Hail to the Red Phonebox and took off down the street.”

“I did?”

Long story short, the cab took us to my house. I luckily had enough money on me to pay it. The Wiz came in and I settled him on the floor of the lounge. I fell into bed with my boots on.

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5 December, 2005

In the morning I woke up fully dressed and upset that my top was wrinkled and would have to be dry cleaned. The Wiz had been so kind as to remove my boots. He had to leave early, and the Goths were stirring. I usually got in the shower before they did to give them time to get ready.

The Goths and I worked at Camden Lock Market. December was time for what the management called The Christmas Package which meant we had to work extra hours to keep our pitches over the holidays. As a Tarot Reader, I never made much money at Christmas, but could never afford to take three weeks off, so I eeeked out what I could in the freezing cold, barely moving from my table  and the heat of the electric fire I had going underneath it.

I had been suspended the week before (another first for me!)  for arguing with a cut-throat  jewelry trader who was manipulating and  trying to steal a chunk out of my pitch for himself. People with terrible attitudes, and  some downright sociopaths have been known to grace the Market with their presence, and I was often a target — probably because I was a woman and because what I did for a living wasn’t perceived as valuable by them — even though I had hundreds of clients who only came to the Market to see me.  I was pretty fed up with these a_____s  at that point and full of the ferocity of the Whore of Babalon: Goddess of Love and War!

But that morning, I was so ill, I could barley stand. You know the feeling, like your stomach had fallen out and gotten left behind somewhere. I had taken my shower and was cringing on the couch.

Me: Yup! I have to go to work. I’ll feel better after my coffee…

Goth #1: You’re not going to work.

Me: I have to! If I don’t show up  for the start of the Christmas package, I’ll lose my pitch for three weeks.

Goth #2: Nope. You’re not going to work. You’re too sick.

Goth #1: You’re not going to work like that.

Me: Well what will I do?

Goth #1: We’ll tell them you’re sick and you can’t come in. Look at you. You can barely stand up.

Me: Well, OK.

I did feel so horrible. I really didn’t want to go work.

Thank God I stayed home!

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And of course, if you want to listen to podcasts of our December 16, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

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Babalon Diaries # 12: & Love to a Great Ancestress on Samhain

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Thanks to multi-talented musician,  Brian Butler, we have a brilliant biography of Marjorie Cameron and her role in the obscure Curtis Harrington  film, The Wormwood Star.

After seeing a clip from this film, I was on a mission to find it. and stumbled on this article. I really would love to see the whole thing. It is highly poetic and very beautiful. Marjorie Cameron’s presence was  compelling, deep, and wise.

I asked Brian if I could re-print it, and he seemed to say it was OK, so Brian, thank you!

This article adds so much to the Babalon Diaries and to our knowledge of Marjorie Cameron’s influence on Witchcraft.

Enjoy a fabulous story about an amazing woman.

He has a great website at www.brianbutler.prg

CAMERON: THE WORMWOOD STAR

BRIAN BUTLER

We are Stars and herald alien laws outside the Solar Wheel

invading natural systems of the earth.[1]

The late 1940’s was an interesting time to be in Southern California. World War II had just ended and for the first time atomic weapons had been detonated in warfare. Science and technology were advancing at an alarming pace. Science fiction had become popular, and space travel seemed a possibility. There were UFO sightings; tales of Black Magick and strange new religious cults were formed. For some reason, Los Angeles became the hub for such activity. There, through a chance encounter with an old navy acquaintance, 23-year-old Marjorie Cameron was led to the home of the famous Jet Propulsion Laboratory rocket scientist and master occultist Jack Parsons in Pasadena. This house, also known as the Parsonage, had become a meeting place and boarding house for cutting edge scientists, occultists, cult leaders and science fiction authors. At the time Cameron arrived, Parsons and then science fiction author L. Ron Hubbard were well into one of the most important occult operations of the 20th century — “The Babalon Working.” Through their invocations, they had set the stage for the arrival of Cameron to assist them as an elemental spirit incarnated in the form of a redhead with green eyes. This meeting was to forever alter the destiny of Marjorie Cameron and set her on a lifelong quest to manifest the Babalon[2] current upon Earth. While much has been documented from her years with Jack Parsons, until now very little has been known publicly about Cameron’s life before or after this five-year period.

Mockery is the punishment of the Gods. What fiendish laughter…[3]

Marjorie Elizabeth Cameron –later known as Cameron – was born on April 23, 1922 in Belle Plain, Iowa, the eldest of four children. Her father, Hill Leslie Cameron, was a Scot from Illinois who worked with the railroad. Her mother, Carrie V. Ridenour, of German and Dutch decent, was a native of Iowa. The night of Cameron’s birth was surrounded by chaos; there was a terrible thunderstorm and her father got drunk and attempted suicide because he thought his wife was dying. Her grandmother, a staunch churchwoman, believed Cameron to be a child of the devil because of her fiery red hair.

As a child, Cameron began to have strange and powerful visions that were so vivid, she could not be sure if they were real or imaginary. One night from her bedroom, she saw a ghostly procession of four white horses float by her window. Later she could recall these dreams in detail and was able to capture this in her artwork and poetry. In a letter to magician and Aleister Crowley associate Jane Wolfe, she mentions finding “a hole to hell” in her grandfather’s backyard:

“I remember always a tree on my grandfather’s property from which hung an old, old swing where my mother had played as a little girl. Near this spot I recall a well which I always believed was the hole to hell. – also the blue Bachelor Button flower grew near this spot. Herein I find again a new concept of the 4 elements and the name of god – the tree, the well, the swing (water’s life) and the flower –which is seed.” [4]

Bachelor's Button III

Never quite accepted in her small hometown, Cameron spent most of her childhood alone. In kindergarten, she was placed in a special school for children with above-average abilities and it became apparent that she was very different from other children. In a town dominated by the railroad, Cameron would often venture to the proverbial “wrong side of the tracks.” She was always attracted to the darker side of things and found a kinship with other individualists and loners.

As a teenager, Cameron made a hideout in the attic of her parents’ home and there she began to develop her psychic abilities. She soon established contact with spirits that would tell her detailed accounts of what had occurred at the house in the past. Like a true witch, she collected black cats and would go for late night prowls alone dressed only in a nightgown.

When she was seventeen, the Great Depression was underway and Cameron moved with her family to Davenport, Iowa, a considerably larger town than Belle Plain. Again she had trouble adjusting. After the suicide of a close friend, Cameron attempted to take her own life several times, each time through an overdose of sleeping pills. Though unsuccessful, she found that these near brushes with death had further enhanced her psychic abilities, giving her a glimpse into the realm of the dead.

Mine eyes are terrible and strange but thou knowest me [5]

In 1943, in the midst of World War II, the 21-year-old Cameron joined the Navy -turning down several college scholarships. She was sent along with 3,000 other women to boot camp in Cedar Falls, Iowa. Soon she was soon selected for a high-level job in Washington, DC, where she applied her artistic skills by drawing maps for the war efforts. She was then sent to the Joint Chiefs of Staff were she once met Churchill. She had a drafting table at the head of their conference room. Later, according to the principles of talismanic magic[6] she felt that many men died in the South Pacific as a result of her drawings. She always felt a karmic connection to these men and believed that the later tragic events in her life were the result of her participation in their deaths.

Later, she worked at the photo science lab on the Potomac, also called “The Hollywood Navy.” There she met many Hollywood celebrities such as Gene Kelly. After learning that her brother, a tail gunner in the Air Force, had been shot down and injured, Cameron walked out on her job and returned to Belle Plain to see him. Eventually, Cameron was declared AWOL and was court martialed. She spent the final six months of the war confined to the base.

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THE BIRTH OF BABALON

After her release from the Navy, Cameron moved in with her family, which had moved to Pasadena, California. In January of 1946, while waiting at the unemployment office, she saw an old acquaintance from the photo science lab in the Navy. This man, whose identity remains unknown, was living at the Parsonage and told her of a “mad scientist” that she had to meet.  Inviting her to breakfast, he took her to a house at 1003 South Orange Grove Avenue in Pasadena, and there she met Jack Parsons for the first time. As she walked in, Parsons was standing in the hallway speaking on the phone dressed only in a black silk robe. They met only briefly but immediately felt a deep connection. Also living there was Jack’s magical scribe, L. Ron Hubbard. After this encounter, Hubbard and Parsons commanded the man to “go find her or we’ll kill you!” On January 19, 1946, at the climax of a magical operation that was begun by Jack and L. Ron Hubbard two weeks previously “to obtain the assistance of an elemental mate,” Cameron returned and in that moment her destiny was changed.

Cameron immediately became romantically involved with Jack and moved into the house with him.[7] Unknowingly, she had become Parsons’ sex magick partner in a ritual designed to incarnate the force of Babalon. Although Cameron was initially uninterested in Aleister Crowley or magick, Jack proceeded to instruct Cameron in the occult arts and told her of her destiny in the world. According to Jack, she was to become the vehicle for the Goddess or force called Babalon to manifest on earth. Years later, Cameron came to believe that she was in fact Babalon incarnate.

In March of 1946, Cameron witnessed a flying saucer over the Orange Grove house. She claimed that it was the “war engine”[8] that was predicted in Aleister Crowley’s Book of the Law and the “sign” that Jack was waiting for.

“ The flying saucers – the miracle! – our war machine! I saw the first one in the spring of 1946 at 1003. – Oh – my god. This is the sign (drawing of an inverted triangle within a circle) Flying Saucers – imagine!” [9]

Had she reported it publicly, this would have been known as one of the first UFO sightings in America and would have preceded, by one year, Kenneth Arnold’s infamous sighting on June 24, 1947 – the sighting which propelled the “modern UFO era.”

As the magical current become more intense at the Parsonage, things began to disintegrate. Hubbard had absconded with Jack’s former girlfriend and most of his fortune. In August, Jack resigned from Crowley’s occult order[10] in favor of his own system – “The Witchcraft.”[11] As a result, the occult lodge at the Parsonage was disbanded and guests became fewer and less frequent. Cameron soon found herself spending a lot of time alone painting in the downstairs drawing room. She convinced Jack to get her a German Shepard to keep her company. As yet unfamiliar with the nature of the magical operations going on, Cameron felt that the house was haunted, and Jack would often return to find her and the dogs freezing outside of the house, terrified to return. It is interesting to note that later, in a letter to Cameron, Jack stated that the performance of Aleister Crowley’s “Bornless One” ritual was known to cause “permanent haunting” wherever it was recited:

“I will send you the ritual of the Bornless One…It is a very ancient, potent & dangerous ritual, often used by bold magicians in the Guardian Angel Working. It is useful as a preliminary in almost any sort of work, causing a tremendous concentration of force. It is, however, liable to produce dangerous side phenomena and sometimes permanent haunting in an area where it is repeated, & is for this reason often avoided.”[12]

Finally, after numerous adverse psychic phenomena at the Parsonage, Cameron and Jack consulted the Ouji board and got the message “To Marjorie–Clean Ron’s room and get out!” They immediately did so and moved to Manhattan Beach, California.

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THE RED WITCH

In late 1947, Jack sent Cameron to England to meet Aleister Crowley. Although Crowley was skeptical about Jack’s recent experiences with Hubbard and Cameron, Jack believed that if Crowley met Cameron in person his opinion would change. Using her Navy connections, Cameron first sailed to Paris and decided to stay there for a while. She became a regular at a local pub in Paris, and there she was known as the “Red Witch” because of her unusual appearance. On the day she walked into the pub to announce that she was off to London for the weekend to meet Aleister Crowley, the locals informed her that he had just died.[13]

Cameron was heartbroken that she missed the opportunity to meet the Master Therion, and following the advice of a friend in Paris, joined a convent in Lugano, Switzerland. After three weeks at the convent, she had a life changing experience – she bathed, let her hair down on her face, got on her haunches and howled into the mirror like a wild animal. It was in this moment that she realized she was in fact the Scarlet Woman and had no place in a convent. She contacted Jack, who sent her funds to return to America. Cameron remained with Jack for the next year. Jack by this time was experiencing the darker effects of the Babalon Working. From Parsons’ The Book of Antichrist:

“Now it came to pass even as BABALON told me, for after receiving Her Book I fell away from Magick, and put away Her Book and all pertaining thereto. And I was stripped of my fortune (the sum of about $50,000) and my house, and all I Possessed.

Then for a period of two years I worked in the world, recouping my fortune somewhat. But that was also taken from me, and my reputation, and my good name in my worldly work, that was in science.”

In 1948, Cameron separated from Jack and went to study art in Mexico on the GI Bill. She did not see Jack for almost two years, and they corresponded solely by mail. However, it was during this period that she received the most serious instruction in practical magick from him. These letters still exist and are available on the Internet.

While in Mexico, Cameron quickly fell in with the famous artist colony in San Miguel—a group that included the painter David Siqueiros and the surrealist artist Leonora Carrington. Cameron felt a deep connection to Mexico and later said that San Miguel replaced in her heart her childhood home. She had met a kindred spirit in Carrington. She also met Renate Druks and Paul Matheson who would later co-star with her in Kenneth Anger’s Inauguration of the Pleasure Dome.” She had a brief romance with a bullfighter named Armando, but when he fell ill and died, Cameron was accused of witchcraft and run out of town.

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We dance a geometry of wizardry and wind the threads about our prey…[14]

Cameron returned to America around 1950 and lived with Jack once again as his wife in Manhattan Beach. Jack was then working for Hughes Aircraft and negotiating a deal with Israel to create an explosives plant as well as providing research for “rockets and other armaments.”[15] In September 1950, plainclothes men raided the Parsons’ home and confiscated Jack’s papers. Jack was accused of removing confidential documents from Hughes and was fired. An FBI investigation began, one that would last for over a year. An informant assessed the Parsons as follows:

“…the PARSONS are an odd and unusual pair in that they do not live by the commonly accepted code of married life and are both very fascinated by anything unusual or morbid such as voodooism, cults, homosexuality, and religious practices that are “different.” Subject seems very much in love with his wife but she is not at all affectionate and does not appear to return his affection, [deleted] She is the dominating personality of the two and controls the activities and thinking of subject to very considerable degree. It is the opinion [name withheld] if subject were to have been in any way willfully involved in any activities of an espionage nature, it would probably have been on the instigation of his wife.”15[

Although Parsons was eventually cleared of any wrongdoing, on January 17, 1952, he lost his security clearance. This seriously reduced his chances for employment, so Cameron and Jack began to make plans to leave the country. They were first headed for Mexico and from there to either Spain or Israel. Jack ultimately wanted to form a magical school in Israel. Jack and Cameron moved to a carriage house on Orange Grove -a few houses down from the Parsonage.[16]

On June 17, 1952, the evening before they planned to leave for Mexico, Jack was killed in an explosion when he dropped a vial of mercury fulmate in his private laboratory. Cameron was down the street fueling the car when she heard the blast. Jack’s death was ruled an accident by authorities but Cameron always believed that Howard Hughes was somehow behind it.

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We traveled Stellar webs to darker Worlds within the Lunar mirrors of Suicide.[17]

After Jack’s death, Cameron moved into friend Renate Druks’s Malibu home for six months. Druks could not withstand the heavy vibe that was Cameron and relates strange tales of Black Magic and astral attacks. Shortly after ejecting Cameron from her household, Druks claims to have been woken by a strange astral figure floating over her bed. Described as a sort of alien creature that appeared as a bright neon-colored brain with a tail that resembled a spinal column, it increased in size as it came at her and then suddenly disappeared. Overcome with terror, she consulted with their mutual friend, Jane Wolfe. Wolfe stated ‘That was Cameron -–how naughty of her!” and instructed Druks in the banishing ritual of the pentagram to protect herself.

Exiled from Druks’s home and still deeply affected by Jack’s death, Cameron withdrew into complete isolation in the desert of Beaumont, California. There she lived in a house in an abandoned canyon that had no water or power.

During this period Cameron found a new magical teacher in Jane Wolfe and their correspondence remains as a sort of magical diary. Cameron began to see her life increasingly from a magical point of view, analyzing her experiences in terms of a life-long magical ritual or initiation. This was also her darkest period, she writes to Jane:

“I am approaching the darkest hour of the abysmal night furthest from the sun. This is the fateful hour in which I drink the cup of poison to its dregs –- eat the tainted apple -– feel the sting of the terrible dart in the core of me. Know the fang of the deadly serpent in my heart. And thereafter I shall plunge down into the abysmal horror of madness and death –- or I shall walk upon the dawn -– golden with the golden kiss upon me. This hour is far beyond the return. The turning back point was Sunset of year. My farewells were made long ago. No –- this is the hour when I approach the terrible rendezvous when all my gods shall declare themselves – when I shall call upon the secret name – open the final door.”[18]

Cameron realized that she must face this ordeal alone:

“If you have tried to contact me you have no doubt found the going hazardous – I seem to be pyramiding a mountain of fear that is closing all doors to me  — now Renee’s[19] –.

It amounts to this – in the case of each they reach a barrier of fear over which they cannot pass to follow me. And since I can show no pity – since to do so is to pity myself – I am rapidly eliminating my companions on the journey to completion. I had not expected this – as you know– the only comfort left me– is the knowledge that I have the courage to do that which no one else seems to have.  This is indeed the luxury of Kings – but I had tried to bring joy and not fear into the hearts of others. What happens from now on – I do not know. I can only remind myself constantly in this period of aloneness and dryness that which I have known from the beginning.”[20]

It is in these letters to Jane that Cameron fully divulges her feelings and candidly describes her own rituals. Most interesting is a magical working which she began shortly after Jack’s death in 1952. This ritual included some of the same people who later appeared in Kenneth Anger’s film of an occult ritual Inauguration of the Pleasure Dome. According to Cameron, this working was to bear fruit in the summer of 1953. By this operation, some say that Cameron intended to create a “magical child” or “wormwood star” sired by Jack from beyond the grave.

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“This is the star which was calculated for me to give it birth. Jane– Jane– This is the star by which I shall behold him and in that union shall he be born– he whose name shall be wonder. His magnificence cannot be foretold and this is my star the Wormwood Star which will be born this summer Solstice of the year 1953.”[21]

Cameron goes on to explain the technical details of the operation based on the seven pointed star of BABALON:

“The points of the star are seven but it produces eight. It consists of the quadrupled union of four pairs of opposites. The eighth of this is not apparent until the four unions are completed. Now when each union is made the word of god must be uttered. Do you know this word? I asked for this word of Jack in March of 1949. It was given to me with no account of the cost. I carried it with me in great secrecy, not ever daring to dream of the miracle it concealed. This word I will only give to you in great secrecy.[22] With the right combination – which is my star [Star of Babalon drawn here] this great word creates — and since there is death in all birth there are four opposites destroyed – but their destruction is absorption and here again another face of the four square miracle!”[23]

She further elaborates on the formula of the operation:

“This opposite must always be the sublime whole of the opposite of the invoked. Such as in this invocation the opposites all destroyed will be pure aspects. Here is the meaning of debauchery as sacrament – the sublime follows between the six and eight of the Tarot.[24] This is the sacrament. The exquisite edge of growth and decay and this is absorbed like the fruit, the wine of the season on the dying cycle of the year. This destruction or absorption will be done each time to the union of the 8 opposites occur.”2[this footnote seems to have been lost]

She then describes the function of the unknowing participants or “elementals” in this strange working:

“Each male in this invocation is an Elemental god and these five gods will be the five fathers of the god. Each is a perfect revelation of the four represented in the Universe card of the Tarot- the Dance of the Star and the Snake. The holy 22. The kether, the Crown, the god. These four are represented as the Bull, the Lion, the Hawk and man sublime angelic – man revealed as god. I plan to write these into four commentaries – or songs – for each of the Elemental gods in a miraculous revelation. When the star is completed and the god born, these elemental gods will be known to their voices and the whole damned union will be complete and magnificent.” 25

Cameron states that she is pregnant but not with a human child:

“The pregnancy, as you understand — was not the actual growth of a human child — but the spiritual child of a psychic union – and in the case of Cupid and Psyche – this child — was a female — called Pleasure — or the birth of Babylon — which is a symbolical — but most real birth of the age of the Goddess of Pleasure — being the union of the mind and body.”[25]

After her extraordinary experiences in the desert, Cameron moved back in with her parents in Pasadena and was considered catatonic for a time. Still in isolation and confusion, she painted a series of works that she called “the parchments.” These pieces received a lot of attention, including an offer from a psychiatrist to publish them with a commentary (which she refused). She believed that through these works of art, she literally “painted herself out” of her situation. Renewed, she emerged as a “real force” in the artistic and occult communities.

scarlet2

Death has been thy lover. Is there else to fear?[26]

In December of 1953, Cameron walked into another situation that was to alter both her destiny and that of those around her. This time it was the home of the eccentric and warlock, Samson Debreir, on Barton Avenue in Hollywood, California. Underground filmmaker Kenneth Anger had begun casting for his occult film, “Inauguration of the Pleasure Dome” and the stage was once again set for the Scarlet Woman. The famous erotic writer Anais Nin was to the star until Cameron appeared, upstaging her by the mere power of her presence. The rivalry between the two became a driving force behind the film.

When Anger met Cameron, she introduced herself as “the Scarlet Woman.” And Anger replied “That’s obvious… I have been waiting to meet you for a thousand years.”  By this time, she had developed a very powerful countenance, and it was this that struck Anger. He vividly recalls, “[She had] Flaming Scot red hair…real emerald green eyes that could also turn into sea mist grey according to her mood…and suddenly Anais Nin shrunk…in front of the majesty that is Cameron because Cameron wiped her out.” Cameron had a profound effect on Kenneth Anger and was a sort of mentor to him. Soon, they were living together. Anger relates many strange stories of UFOs, levitation and astral visions, and he still considers Cameron one of the most important women of his life. 

The film, in which Cameron plays herself “The Scarlet Woman,” was well received among both magical initiates and the art world. Cameron believed that this film was proof to the world that she had manifested the force of Babalon on earth.

Up the swirling scarf of smoke rise our invocations.[27]

By the late 1950’s, Cameron was living in Malibu and hanging out with a crowd of Beat artists that included the likes of Dennis Hopper, Wallace Berman, Bruce Conner and assemblage artist George Herms. In 1957, Wallace Berman’s show at the Ferus Gallery was closed by the vice squad for pornography after he displayed one of Cameron’s drawings. This drawing depicted a woman, possibly Cameron, being taken from behind by an alien creature.

That same year, experimental filmmaker and her Inauguration of the Pleasure Dome co-star Curtis Harrington directed a film that featured Cameron and her artwork called The Wormwood Star.  The film opens with titles drawn by Paul Matheson over an extreme close-up of the Seal of Solomon. “Concerning the knowledge and conversation of the Holy Guardian Angel as revealed to: Cameron.”  Introduced through a series of composed still frames, rather surreal in juxtaposition and symbolic props, Cameron is then shown seated, looking into a mirror as if in a trance. After a few minutes of this rather abstract portraiture, the film then shifts to a study of Cameron’s paintings that illustrate a desert procession of angels.  In the background Cameron recites a solemn invocation to her Holy Guardian Angel:

“Dark Star, I seek you in all the endless rooms of the universe

I have entered the maze of chaos and searched the promise of no end and no fulfillment

But I have seen your helmeted head flashing gold from the bloody triumphs and sunsets of the world

I have heard your voice singing lovely songs of desire in the world womb

I remember the artistry of fingers that held the rose in wonder

Your musical flute sounding the hymn of love seeking since the birth in the crashing star nebulae

Singing limbs of muscle and star-foam pursued and pursuing

Radiant Warrior, how long?

Beloved God, how long?

How long, how long?”[28]

Cameron later burned all of the paintings seen in The Wormwood Star while living with her second husband Sherif Kimmil, who was said to be the inspiration for the R. P. McMurphy character in Ken Kesey’s One Flew Over the Cuckoo’s Nest, and was by all accounts insane. Kimmel and Cameron had been up for several days on speed and formed what Cameron called a “suicide club.” Kimmel went to the bathroom and slit his wrists.[29] In turn, Cameron symbolically committed suicide by throwing her paintings in the fire. According to Kenneth Anger, Cameron’s paintings were in reality magical talismans and had to be destroyed lest they turn and destroy the creator. He states, “She was doing art for the sake of magick and her soul. She never sold her paintings.”

In this hour I decide between nothingness and creation…[30]

By 1960, Cameron had transcended her darker period and emerged as an individual. She began to have a greater understanding of her life’s pattern. From her diary entry of October 22, 1960, she writes:

“I sense the approaching end to my years of exile. Some inner knowing prepares me for the return to the world in my just position. In the years of exile I compounded a state of mind that philosophically remains balanced regarding the continuity of my present state of existence or to finally win for myself a gracious and rewarding end to life. Ultimatums are impossible for one who has witnessed the broad sweep of existence. Yet I am tempted to sum up the experience for I fear already I have lost the vast majority of my impressions. I have lived frugally but I have squandered dreams and visions as only the spend thrift does – sowing wide golden plains.”

In 1961, Cameron appeared in the film Nite Tide. Directed by Curtis Harrington, this film also featured Dennis Hopper’s first staring role. Cameron played a mysterious figure that is seen prowling the beach in Santa Monica. In the film she has a strange, compelling presence.  On October 3, 1964, the Cinema Theatre in Los Angeles presented “The Transcendental Art of Cameron,” which featured slide projections of her paintings while she read from her journals.

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By the late 1960’s Cameron moved to Santa Fe, New Mexico. A short experimental film from this period (1969) by John Chamberlain entitled “Thumbsuck” still exists. It shows Cameron as a striking figure with long red hair and piercing eyes. She is applying makeup to her face in a sort of Kabuki style while her daughter Krystal and two other children are seen playing in the background. Cameron ignores them while staring into the mirror, smoking a joint.

And the Hag with lizard eyes embraces shadows…[31]

As Cameron grew older, she took on the image of an old witch or crone with long, straight white hair. She lived in a small house on North Genesee in West Hollywood and could often be seen practicing Tai Chi in Bronson Park. Her last art show “The Pearl of Reprisal” was held at the Barnsdall Art Park on April 8, 1989. Here she exhibited a haunted series of pen and ink drawings titled “Pluto Transiting the Twelfth House.” “Inauguration of the Pleasure Dome” and “The Wormwood Star” were shown. Cameron also gave a reading of her poems by candlelight. The same year Cameron edited Freedom is a Two Edged Sword –a compilation of the writings of Jack Parsons published by New Falcon.

Cameron died of cancer on July 23, 1995. A magical rite was performed at her bedside at the VA hospital. A wake was held at the Beyond Baroque bookstore in Los Angeles where her poetry was read by friends and her paintings were exhibited, including the “Black Angel” painting of Jack Parsons as an angel with a sword.

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[1] Cameron magical diary September 1962.

[2] Babalon is the companion of the Beast 666 in Aleister Crowley’s Thelemic pantheon. Crowley first wrote extensively about this in Vision and the Voice which documents his experiences with the Enochian system of magic and his own initiation. After the magician crosses the “abyss” that separates the spiritual world from the rational or mental world, he is greeted by the goddess Babalon, the great mother who resides in Binah on the Qabalistic tree of life, which is the spiritual  home of those who have achieved the grade of Magister Templi.

[3]Cameron magical diary June 21, 1964.

[4] Cameron letter to Jane Wolfe December 26, 1952.

[5] Cameron from the film The Wormwood Star 1957.

[6] Cameron considered all of her drawings to be magical talismans that had very real effects on the world.

[7] On October 19, 1946 Cameron and Jack were married.

[8] Liber Al Chap. III v7: I will give you a war-engine.

[9] Letter from Cameron to Jane Wolfe Jan. 22, 1953.

[10] Despite numerous attempts this order has yet to be revived by a competent group of magicians in America.

[11] See Jack Parsons, Freedom is a Two Edged Sword (New Falcon)

[12] Letter from Jack Parsons to Cameron Jan. 10, 1950.

[13] Aleister Crowley died on December 1, 1947.

[14] Cameron magical diary January 21, 1962.

[15] FBI file on Jack Parsons.

[16] Although the Parsonage was destroyed, Cameron believed the house to be eternal on the astral plane like Crowley’s Boleskine in Scotland.

[17] From the book “The Black Pilgrimage” by Cameron 1964. Privately published.

[18] Letter to Jane Wolfe, dated December 6, 1952, 6:00am.

[19] Renate Druks.

[20] Cameron letter to Jane Wolfe April 7, 1953.

[21] Camron letter to Jane Wolfe Dec. 26, 1952.

[22] This word not here revealed. The present writer has however obtained it.

[23] Cameron letter to Jane Wolfe Dec. 26, 1952.

[24] Atu VII of the TARO is the Chariot. The formula contained in this card is one key to understanding this working.

[25] Cameron letter to Jane Wolfe August 23, 1953.

[26] Cameron magical diary March 11, 1962

[27] Cameron magical diary September 1962.

[28] Cameron from the film The Wormwood Star 1957.

[29] While writing One Flew Over the Cuckoo’s Nest, Ken Kesey worked as a janitor in the psychiatric ward of the VA Hospital in Palo Alto, California (often under the influence of LSD). It is possible that it was there that he encountered Kimmel, who was committed to the VA Hospital for several months as a result of this suicide attempt.

[30] Cameron letter to Jane Wolfe January 22, 1953.

[31] Cameron magical diary June 21, 1964

Brian Butler

Brian Butler

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Babalon Diaries: No !! Casting

Babalon Diaries # !! Casting

Our Lady Babalon

Our Lady Babalon

This is Part 11 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

Babalon Diaries No.!!

Babalon by Paul A. Green
Voices and Characters

Jack: John Whitesides Parsons – educate Californian, Frater 210 of the OTO

Ed: Ed Forman – technician at CIT – Californian, Life long friend of Jack

Crowley: Aleister Crowley, Baphomet, Frater Perdrabo 666, Master Therion,The Great Beast, Supreme Caliph of the Order of Oriental Templars etc etc. In this last phase of his life, Crowley suffered form severe asthma. A 1930’s recording of his inimitable voice survives.

Freida: Lady Freida Harris – artist, wife of Sir Percy Harris, Bart.  Crowley’s loyal pupil and patron. In her 60’s Patrician English

Smith: Wilfred T. Smith. In his 50’s. suave Anglo- American. Frater 132. Crowley’s original OTO representative in California

Helen: Helen Northrup Parsons, Jack’s first wife. Californian

Betty: Sara Elizabeth Northrup, Helen’s sister. Later Jack’s mistress

Ron: Lafayette Ronald Hubbard, author, explorer, religious teacher. Mid-West
Founder of Scientology

Cameron: Marjorie Cameron Parsons, aka Candida or Candy, artist and vessel of Babalon

Police Officer/ FBI Officer/ Radio Announcer/

and Young Crowley

Alison Rockbrand

Director, Alison Rockbrand as Babalon in a prior incarnation

Casting

It’s about time for another installment of the Babalon Diaries. That Mercury Retrograde in September was a real blooper. I was so scattered I forgot to blog. Imagine!

One thing I learned hanging around the Thelemites involved with Babalon, is that many Magicians are not psychic in the least. This came as a surprise to me because I am not sure I would have been a Witch if I was not a Faery Seer, and I would not have been a Faery Seer if I wasn’t psychic. So, I wondered what drew these people to magic? Was it anything more than an intellectual, or academic interest? I think not because they were practicing magic to get results in alignment with their True Will.

“Do what thou wilt shall be the whole of the Law. Love is the Law, Love under Will” 666

That is all well and good, but if you can’t “see” the effects of your magic, how do you monitor it? How do you gauge what is happening in the Unseen? How do you know what the spirits you are summoning are doing?

It is a very dangerous activity as those of who can “see” can attest. Even Crowley, and John Dee long before him,  employed clairvoyants to capture the visions and channel the spirits. Without a Seer, Magick is a case of the blind leading the blind down a dark alley in a storm.

These Magicians are all Londoners, city dwellers. My magical personality is totally tied up with nature, and nature is where the original psychic openings happened for me, and it was in nature that portals opened out into the Otherworld. When I asked about this, I was told that in cities, people are into Lodge Magic. That is why the Ceremonial Magical traditions like the  Golden Dawn, and Thelema, are based in Free Masonry — it is all Temple Magic done indoors with elaborate altars and trappings like the Catholic Church was before Vatican II.  This type of magic may not require psychic abilities because the rituals themselves hold the appeal, and the power that is promised is gained through study and the practice of Magic for certain results. Ceremonial Magic has much more formal rituals, very stately and beautiful ones that do indeed create atmospheres of great potency that can induce trance states and visions. In contrast, Witchcraft, and Faery Seership especially, are more spontaneous and don’t really need anything more than clairvoyance to participate in their  Mysteries.

Downloading A Goddess

So, there were difficulties.

It is too easy for me to mediate deities. I did it as a dancer, and as an actress when doing Shakespearean roles. I shift into other consciousness streams when I do readings and healing work for clients. I learned very early on, in the late 1970’s, to blank my mind with meditation so that “messages” could come through from the spirit worlds and I could know it was not my imagination, or fantasy. I was taught the importance of “slaying the ego” in order to become a vessel for the gods.

So, very shortly after I began working with my Babalon script, I was moving into Babalon’s current, and it would not be long before She would be coming through.

Trouble is, that on my side of issue, I am still me. I have simply allowed Babalon to take space in my consciousness and being, and to express Herself through me. But I do I do not have multiple personality disorder. On the contrary, I am highly aware that I am still me. I just now have emotions and forces moving through me that are not quite mine — but they are also, in the sense that these emotions and forces belong to all of us, not alien.

It seems in retrospect that some of my cast members did not understand this.

The Wiz came to rehearsal smelling of roses and working the eye contact with me/ She.
I,  of course was not able to separate myself from Babalon and wondered why he was attempting such an obvious seduction, as if I wouldn’t know what he was up to.
This would all play out in a rather unfortunate and somewhat silly way later on.

Babalon is a Love Goddess, and also a Goddess of Destruction, very much like Lillith.
She is red roses and blood, sex and transformation through the power of sexuality. Try to live in the world with this volatile cocktail of forces moving through you and you can easily court disaster, especially when She has Her own agenda.

BABALON

A Speculative Fiction for Radio
concerning the life and death of Jack Parsons (1914-52)

This conceptual synopsis and complete script of BABALON is copyright© Paul Andrew Green 1998/2005, who asserts all rights of authorship and intellectual paternity under the 1988 Copyright Act. It may not be reproduced , developed, adapted, performed, or broadcast in any form or medium or format whatsoever without the express written permission of the author or his agent. A staged version was performed by Travesty Theatre at the Gielgud Studio Theatre, RADA, London WC1 on 16 December 2005.

The live recording is now on-line at Radio QBSaul VOICES Angela Morrow Marjorie Cameron George Sieg Jack Parsons

Anthony Lewis Ed Forman/AleisterCrowley/Harbourmaster/FBI Agent Elizabeth Daily Lady Frieda Harris/Helen Parsons/Mrs. Crowley David De Blank Wilfred Smith/Warden/ Thomas Crowley/Announcer Marysia Kay Betty Northrup

Joe Murray L. Ron Hubbard/Police Officer VISUALS Sara Mulryan SOUND Georgi Georgiev/Paul Green DIRECTOR Alison Rockbrand

See how they try to hide…

Treadwells Bookshop

Treadwells Bookshop

How We Met Each Other

I went to a read through at Treadwells and Alison wanted to cast me. At that point, my American accent and acting experience made me a desirable choice to play Cameron/Babalon. I didn’t want to do, especially after the incident when, script in pocket, I went to the corner shop in Highgate where I lived, and bought a few items that totaled up to 6.66. Crowely’s Magical personality as the Great Beast was, of course, 666!

I hadn’t made up my mind. Though I was attracted to the project, I was scared. I didn’t want a Goddess of Destruction coming through. Suddenly, one day when I was home, it felt like an earthquake ripped through the flat. Emotionally, I became unstable, almost crazy with anxiety. I couldn’t sleep that night and somehow got on the phone with GG, (we had just become friends) and he was very kind and supportive, but I must have been  nightmare to deal with because I was basically freaking out.

A few days later, I was approached again by Pharaon about being in the play. I agreed to do it, ignoring my sense of foreboding…

A group of quite wonderful actors were assembled. But it was impossible to cast Crowley! It was weird. Here we were in the middle of London working out of an occult book shop, and we couldn’t find a middle aged to old, bald headed magician to play Aleister Crowely! The original plan was that, since the play had been written by Paul Green as a radio play, that only Crowley and Frieda Harris would be on the stage, along with a Cameron/Babalon, while the rest of the cast would be in hooded robes speaking from a gallery that runs along the top of the stage at the John Geilgud Theatre. Since Cameron/ Babalon didn’t come on until Act 2, this left the stage bare for half the play.

Cameron as Babalon

Cameron as Babalon

Weeks went by, still no Crowley. I asked my young shaven headed Goth friend to it — he would have been great because he was flamboyant, and funny as Hell, as was Crowley, but even he refused. Nor could we find an old lady to play Freida Harris.

Alison had no choice but to cast a couple of twenty somethings who were good for the roles but visually totally wrong for the parts, and keep them offstage. Anthony   Lewis,   who did the voice of Crowley  during the rehearsals was an amazing Crowley. He found recordings of Crowley’s voice, and really nailed it. He also gave the character of the Great Beast tremendous wit and charm.

The Darkness Thickens

We initially assembled upstairs in Treadwells, in the middle of the bookshop, because another theatre group, Foolish People, were rehearsing down in the “crypt”…I remember looking out the windows at the streets and the restaurants thinking how dark it was. It was now October and night fell early all of a sudden.

I remember how ghostly it was that year. One day, my room mates, P.& K. who were Goths, had gone to Highgate Cemetery. They had met at the Whitby Vampire Festival 10 years before and were inseparable from that moment on. They were really into horror films and vampires and death and all that good Goth stuff.   That night, I had a dream that some shadowy figures crept silently onto the flat and went into their bedroom. They had attracted ghosts into the house. Things were moving in a very murky direction.

The days grew darker. GG was the sound effects man. He was having trouble making it to rehearsals and the Babalon part of me was getting upset. I am not sure if I would have been unhappy about it on my own, or if the magic that was being done behind the scenes was too strong for me to take. Pharaon, who was playing Jack Parsons,  also had trouble getting to rehearsals on time, and the Wiz was frequently ill with asthma — Crowley’s malady at the end of his life. As a former professional actress and dancer, I was appalled that actors would be late for rehearsals, but I also sensed that there was stuff going on among the Thelemites that I, as an outsider, was not privy to. Things would get very much weirder before I found out.

And of course, if you want to listen to podcasts of our December 16, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

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Babalon Diaries #10. Podcast Interview with Author Paul A. Green

Babalon Diaries # 10. The Author: Paul A. Green

This is Part 10 to a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…

Directed by occultist, Alison Rockbrand, Babalon was performed on December 16, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

Do you ever wonder what it would be like to be a powerful Magician?

Rocket Scientist, Jack Parsons, was one.

Author, Paul Green, tells his story in the play Babalon and in the interview below.

Click the button below to stream Part 1. This is an mp3 of 1 hour and 5 minutes and is 30.1MB

Winterspells Interview With Paul Green: Part 1

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Interview With Paul Green-Part 1.mp3

Stream Part 2 ihere: This mp3 lasts about 20 minutes and is 18.9MB

Winterspells Interview With Paul Green: Part 2

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On this interview Paul discusses his discovery of Jack Parson’s story, bits of history about Jack Parsons, Aleister Crowley, L.Ron Hubbard, and Marjorie Cameron.

Also putting in an appearance: Montague Summers,  Kenneth Grant, Kenneth Anger, MacGregor Mathers and Paul Green’s dad.

I hope you enjoy this fascinating interview.

Babalon Radio Podcast at Radio QB Saul

If you want to listen to podcasts of our December 5, 2005 performance of Babalon, the links are just below.

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

Some of the books that Paul mentions in the interview can be found below. Just click the widget. It will take you to Amazon.


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Babalon Diaries 8: The Search for Babalon


This is the eighth in a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…(as if one has choice…)

Directed by occultist, Alison Rockbrand, Babalon was performed on December 5, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

Babalon Dairy 8. Search for Babalon

Research is an important part of creating a character, especially if it is an historical figure. I was embarrassed to say that I had never heard of Marjorie Cameron, but then again, I was never a Thelemite. I had heard of Jack Parsons a long time ago, in some distant connection with the Manson murders, perhaps to do with the Hollywood location, and through this, I knew he was known for performing rites of black magic with L.Ron Hubbard, founder of the Church of Scientology. I later found a reference to Parsons in a book by Kenneth Grant, a magician who seems to combine Crowely’s teachings with the Cuthulu mythos created by H.P. Lovecraft. In discussing Crowley, and the atom bomb, Grant mentions the rocket scientist, Jack Parsons, as an early American devotee of the Great Beast.

But Cameron was completely new to me, and it was she I had to become…

I was also not very familiar with the internet in those days. I had to be tutored by Sara, the graphics designer for the play, on how to find images on google. She also told me about wikipedia. What I read there was so astounding that I will just reprint it here because if it ain’t broke, don’t fix it! (I had to edit some of it, I found to my chagrin, after this post was published…)


Marjorie Elizabeth Cameron (23 April 192224 July 1995) was an American writer, painter, actor, and occultist

Biography

Cameron was born in Belle Plaine, Iowa, the eldest of four children. Her father, Hill Leslie Cameron, was a Scot from Illinois who worked with the railroad. Her mother, Carrie V. Ridenour, of German and Dutch decent, was a native of Iowa. The night of Cameron’s birth was surrounded by chaos; there was a terrible thunderstorm and her father got drunk and attempted suicide because he thought his wife was dying. Her grandmother, a staunch churchwoman, believed Cameron to be a child of the devil because of her fiery red hair.

As a child, Cameron began to have strange and powerful visions that were so vivid, she could not be sure if they were real or imaginary. One night from her bedroom, she saw a ghostly procession of four white horses float by her window. Later she would recall these dreams in detail and was able to capture this in her artwork and poetry. In a letter to magician and Aleister Crowley associate Jane Wolfe, she mentions finding a “hole to hell” in her grandmother’s backyard:

“I remember always a tree on my grandmother’s property from which hung an old, old swing where my mother had played as a little girl. Near this spot I recall a well which I always believed was the hole to hell – also the blue Bachelor Button flower grew near this spot. Herein I find again a new concept of the 4 elements and the name of god – the tree, the well, the swing (water’s life) and the flower – which is seed.”

When she was 17, the Great Depression was underway and Cameron moved with her family to Davenport, Iowa, a considerably larger town than Belle Plaine. Having trouble adjusting after the suicide of a close friend, Cameron tried to take her own life several times by overdosing on sleeping pills. She claims that these near brushes with death further enhanced her psychic abilities, reportedly giving her a glimpse into the realm of the dead.

In 1943, in the midst of World War II, the 21 year-old Cameron turned down several scholarships to join the Navy. She was sent along with 3000 other women to boot camp in Cedar Falls, Iowa. Soon she was selected for a high-level job in Washington, DC, where she applied her artistic skills by drawing maps for the war efforts. She was then sent to the Joint Chiefs of Staff where she once met Winston Churchill. She had a drafting table at the head of their conference room. Later, she felt that many men died in the South Pacific as a result of her drawings, Cameron considered all of her drawings to be magical talismans that had a very real effect on the world, she always felt a karmic connection to these men and believed that later tragic events in her life were the result of her participation in their deaths.

By the late 1950s, Cameron was living in Malibu and hanging out with a crowd of artists that included the likes of Dennis Hopper, Wallace Berman, Bruce Conner, and others. Wallace Berman’s show at the Ferus Gallery was closed in 1957 after displaying one of Cameron’s drawings which depicted a woman, possibly Cameron, being taken from behind by an alien creature.

Cameron also played the role of a ‘sea witch’ in experimental avant-garde film directed by Curtis Harrington. This 1960 black and white supernatural thriller, Night Tide, starred actor Dennis Hopper and Linda Lawson. This film was shown at the Venice Film Festival in 1961, and released in the U.S. in 1963.

Hmmm. With all the visions I was having, I felt an sense of coincidence to be playing Cameron. But my visions were not so dark, but sublime, and beautiful. I was not a dark person, but a nature loving witch, and healer. The sense of foreboding returned as I wondered how deep I was going to have to go into this whole Babalon thing….where was it going to take me?

The Scarlet Woman

When rocket propulsion researcher and occultist Jack Parsons met Marjorie Cameron, he regarded her as the fulfillment of magical rituals he had been performing as the beginning of the Babalon Working, roughly, an attempt to incarnate, in a physical body a divine entity, a living Goddess, that would usher in the Aeon of Horus ,and change the course of history.

Parsons wrote of Cameron in a letter to his mentor Aleister Crowley in 1946:

Jack Parsons

Jack Parsons

“The feeling of tension and unease continued for four days. Then on January 18 [1946] at sunset, whilst the Scribe and I were on the Mojave Desert, the feeling of tension suddenly stopped. I turned to him and said ‘it is done’, in absolute certainty that the Operation was accomplished. I returned home, and found a young woman [Marjorie Cameron] answering the requirements waiting for me. She is describable as an air of fire type with bronze red hair, fiery and subtle, determined and obstinate, sincere and perverse, with extraordinary personality, talent and intelligence. During the period of January 19 to February 27, I invoked the Goddess Babalon [a particular aspect of the Egyptian goddess Nuit] with the aid of magical partner (Ron Hubbard), as was proper to one of my grade.”

They termed this incarnation the Moonchild. Writes Aleister Crowley on the subject:

“The Aeon of Horus is of the nature of a child. To perceive this, we must conceive of the nature of a child without the veil of sentimentality – beyond good and evil, perfectly gentle, perfectly ruthless, containing all possibilities within the limits of heredity, and highly susceptible to training and environment. But the nature of Horus is also the nature of force – blind, terrible, unlimited force.”

The Babalon Working was allegedly successful.

After her husband Jack Parsons’ death, Cameron starred in Kenneth Anger’s 1954 cult-film Inauguration of the Pleasure Dome, which also featured Anais Nin. Both Cameron and Anger believed that this film was proof to the world that she had manifested the force of the Goddess. “She was doing art for the sake of magick and her soul. She never sold her paintings.”

Cameron burned most of her paintings in the late 1950s in a symbolic suicide performed with her second husband Sherif Kimmil. They had been up for several days on speed and had formed what Cameron called a “suicide club”. Kimmil slit his wrists in the bathroom while the paintings were burning.

Cameron’s two brothers, her sister, and her father worked at JPL, the company co-founded by her husband, Jack Parsons. She was a protege of mythologist Joseph Campbell.

Marjorie Cameron Parsons Kimmel died of cancer on July 24, 1995.

Alison Rockbrand is also a highly creative person who fuses her art with occult workings. I am still not sure exactly what was going on behind the scenes, but there was an enormous energy at rehearsals. It was unsettling for me, destabilizing at times, and yet created a wonderful spell of bright darkness  that is very hard to describe to someone who has not experienced it. Alison and I both resonanate with Cameron/Babalon. She more consciously than I.

To listen to the Radio Show, Babalon, click here:

Babalon: Part One

Babalon: Part Two

Please leave comments. For updates of the Babalon Diaries, subscribe to my RSS Feed or my email list. There is more to come…

Fossil Angel by Cameron

Fossil Angel by Cameron

Below, I have posted some books and DVD’s from Amazon that I used to study these incredible people. Among them Kenneth Anger’s Inauguration of the Pleasure Dome from which most photos of Marjorie Cameron are pulled.


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Babalon Diaries: The Audition

Babalon Diary 666

This is the sixth in a series of posts about my adventures during 2005, leading up to the performance of Paul Green’s play Babalon. The story is full of cloak and dagger, initiatory strangeness, chaos, and hysteria. It shows what can happen on the Magical path if one is not careful…(as if one has choice…)

Directed by occultist, Alison Rockbrand, Babalon was performed on December 5, 2005, at the John Gielgud Theatre at the Royal Academy of Dramatic Arts to a sold out audience of London’s finest occultists and magicians. If you want to listen to it, click Radio QBSaul: Archives: Babalon. I played Marjorie Cameron/Babalon. I am called Angela Murrow because I had to hide my identity.

Pharaon was the constant companion of a gentleman who will henceforth  be referred to as the Wizard, or the Wiz if I get lazy.  When I first saw the Wizard, and he saw me, we were attending a talk by Gareth Knight at Treadwells.  Gareth Knight is one of the great Western Mystery magicians of Britain, author of many books on Arthurian material and the Goddess. This was the second time I heard him speak, the first being shortly after I arrived in London in 1998 when I went to Wales for a Holy Grail Conference starring most of my favorite teachers and authors. Gareth Knight is a shy, quiet man, so to have seen him speak twice is a privilege.

Anyway, Pharaon and the Wiz were sitting together, as always. The Wiz was looking at me, and I had the strange sensation of energy bouncing back, or reflecting back as in a mirror.  I didn’t like this feeling. Perhaps he had psychic protection up, but I sensed the vibe had a manipulative undercurrent that was being blocked by me. It is still a mystery…He put me on red alert anyway.

After I gave the Grimoire to Kallistratus, we all met up at the famous Goth Pub, the Devonshire Arms, (now the Hobgoblin)  in Camden Town.  (This pub used to scare me before I found my Dark Side. It is full of Vampires. The owner, Robin, painted all these Tarot images along the walls that are very cool. He shows the most amazing old films and has the best music I heard in London where James Blunt had taken over the airwaves as an alternative to constant HipHop. I have outlined a Vampire novel that begins in the Devonshire Arms if I ever get to it…)

Devonshire Arms

Devonshire Arms

My friend/ Tarot client, Katy, came along as well. Pharaon took a fancy to Katy and decided she was a natural Sorceress. Kallistratus, expecting the author of such a powerful little book to look like Anton LeVay,  decide Pharaon looked like a milkman.  I mention these people because they all have their parts to play in my near demise…

Vampire meeting at the Dev

Vampire meeting at the Dev

Cutting to the chase!

I had arranged a meeting newteen Pharaon  and Kallistratus at the Dev because he was looking for  actors to audition for a play called ‘Babalon’ to be directed by Alison Rockbrand. I thought Kallistratus might make a good Aleister Crowley. If  not,  the Goth scene in  general, would be a good place to find someone to play Crowley — the most difficult role to cast. Pharaon came with a few fliers calling for auditions. As he was putting one up on the wall, he mentioned that they needed someone with an American accent to play Marjorie Cameron. I told him I had a lot of theater experience, but I was uneasy about getting involved.

“Magic has a very disruptive effect on me. I am writing a novel. I don’t need any horrible upheaval just now.”

“Well, just come read for it. It will be fun. Jack Parsons is my favorite magician of all time.”

“I bought a Grimoire from a milkman…I can’t believe I bought a Grimoire from a milkman…” moans Kallistratus to himself.

“I don’t know…”

“Please, just come an read for it so we can get a sense of it. You can say ‘no’ later.”

“OK.” I didn’t want to admit I had no idea who Marjorie Cameron was, though I had heard of Jack Parsons in passing as someone who was a follower of Crowley and done Black Magic with L.Ron Hubbard.

Alison Rockbrand as Babalon

Alison Rockbrand as Babalon

Later that week:

That evening at Treadwells, I was sitting in a circle with other hopefuls clutching a script handed to me by Alison. This was the second time I had met her. This time she was dressed in office clothing having come straight from work, looking very professional and capable.  As we read the through the script, I played Marjorie Cameron, called Cameron, with my usual sense of irony, for laughs.

I did not want to to be in this play! At that point the kind of Magick these folks were into scared me. But I am fearless and a fool sometimes, so I let Alison talk me into taking the script home and at least giving it a good once over.

Script

This was the first page of the script I got. It has a little information about these characters.

SYNOPSIS -CONCEPT & BACKGROUND

Jack Parsons (1914-1952) pioneered the rocket-fuel technology that culminated in NASA’s Apollo missions and Space Shuttle flights. He was also the Californian head of the Order of Oriental Templars, an esoteric group founded by the occultist Aleister Crowley (1875-1947)
who was his mentor and inspiration.

By 1946 Crowley, prophet of the turbulent Aeon of Horus, was slowly dying in an English seaside boarding house. With the assistance of the writer L. Ron Hubbard (1911-1986) and the artist Marjorie Cameron (1922-1995), Parsons performed the notorious “Babalon Working”, a magical experiment allegedly intended to invoke a new entity who would re-focus the energies of the Aeon.

The Babalon Working transformed the lives of the main participants -notably Parsons himself, who suffered a series of personal and career crises, ending with his death in a mysterious explosion -another episode which has been the focus of much speculation.

I’ve done extensive research into the source materials -which are often obscure or contradictory, particularly for the period 1947-52. So BABALON is not a definitive “drama-biog” of Parsons’ life. It is rather a dramatic exploration of the Parsons myth, in all its mysterious paradoxes. The story time covers the years 1938-52.

VOICES & CHARACTERSJACK : John Whiteside Parsons -educated Californian. Frater 210 of the OTO.

ED: Ed Forman – technician at CIT -Californian. Life-long friend of Jack.

CROWLEY: Aleister Crowley, Baphomet, Frater Perdurabo 666, Master Therion, the Great Beast, Supreme Caliph of the Order of Oriental Templars etc etc. In this last phase of his life, Crowley suffered from severe asthma. A 1920s recording of his inimitable voice survives.

FRIEDA: Lady Frieda Harris -artist, wife of Sir Percy Harris, Bart. Crowley’s loyal pupil and patron. In her sixties. Patrician English.. .

SMITH: Wilfred T. Smith. In his fifties. suave Anglo-American. Frater 132. Crowley’s original OTO representative in California.

HELEN: Helen Northrup Parsons, Jack’s first wife. Californian

BETTY: Sara Elizabeth Northrup, Helen’s sister. Later Jack’s mistress.

RON: Lafayette Ronald Hubbard, author, explorer and religious teacher. Mid-West

CAMERON : Marjorie Cameron Parsons, aka Candida or Candy, artist and vessel of BABALON.

POLICE OFFICER/FBI OFFICER/RADIO ANNOUNCER

and YOUNG CROWLEY

666: Number of the Beast

In those years I was living in Highgate in a wonderful flat ten minutes walk from Highgate Cemetery and about two minutes from the Highgate Tube Station (a very important consideration when renting a flat in London.)

I went home on the tube and read the script, full of inner conflict. The script was really good. So good in fact that I felt I would miss out if I didn’t participate. But I had determined NOT to engage in other peoples’ magic. It just wasn’t safe. I rolled the script up and put it in my bag.

I had to pick up a few things at the corner shop. Squeezing in between the loaded shelves in the tiny store owned by very nice  brothers from Sri Lanka, I picked up a few bits and headed for the checkout. Imagine my surprise — NO! Total shock at the amount of my purchases. Up on the face of the old fashioned cash register, big white and shiny, were the numbers 666!

Aleister Crowley

Aleister Crowley

***

Foolish People

Foolish People

BABALON – A Fable of Rocketry, Sex and High Magick Mystery Theatre of the Aether and 93 Fm present Travesty Theatre’s production of BABALON – A Fable of Rocketry, Sex and High Magick  on FRIDAY DECEMBER 16 at 8.00
in the Gielgud Studio Theatre  at RADA, Malet Street, London WC1
£7.00

On Friday December 16th at 8.00 in the Gielgud Studio Theatre at the Royal Academy of Dramatic Art , Mystery Theatre of the Aether presents Travesty Theatre’s production of Babalon.

***************************************************************************************************************

Paul Green’s play, originally written for radio, explores the enigmatic life and mysterious death of Jack Parsons (1914-52),  pioneering American rocket scientist,  disciple of the magus Aleister Crowley, and passionate devotee of Lady Babalon,  the Scarlet Woman of the New Aeon.   Alison Rockbrand’s highly stylised production  reinforces the resonance of the text with soundscape and visual projections to create  unique moments of ritual theatre. There are also elements of dark farce and tragedy as Parsons’ apocalyptic vision is subverted by hostile forces.

Paul Green’s plays include: The Dream Laboratory, The Aleph (CBC Radio Canada); Ritual of the Stifling Air (BBC Radio 3); Powerplay, (Capital Radio); The Mouthpiece (Resonance FM); Terminal Poet (New Theatre Works)

Alison Rockbrand founded Travesty Theatre  and  the  Dead Dolls Cabaret in Montreal.  Her productions include the collective creation Mumbo Jumbo: King Leopold’s Opus  and a rendition of Macbeth including stylised dance gestures based upon the Kathakali  dance tradition in India.  In February 2006 she is directing Stuart Draper’s Departure Lounge in the Prompt Corner at the South London Theatre Company.

Tickets for Babalon can now be reserved via  the RADA Box Office on 020 7908 4800.

Posted by John Harrigan on December 02, 2005 at 09:39 PM in Magick, Occult, Theatre

To listen to the Radio Show, Babalon, click here:

Babalon: Part One

Babalon: Part Two

Subscribe to my email for updates of the Babalon Diaries. The plot thickens….


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