"Odd name for a theatre," Suzie said finally, her voice echoing loudly in the quiet. "What's a Styx, when it's at home?"

"The Styx is a river that runs through Hell," I said. "Made up from the tears shed by suicides. Sometimes it bothers me that I know things like that. Maybe the theatre specialised in tragedies. We may be in the wrong place, Suzie. Look around you. No-one's disturbed this dust in years."

"In which case," said Suzie, "where's that music coming from?"

I listened carefully, and sure enough, faint strains of music were coming from somewhere up ahead. Suzie drew her shotgun, and we crossed the lobby and made our way up to the stage doors. The music was definitely louder. We pushed the doors open and stepped through into the theatre proper. It was very dark, and we stood there for a while till our eyes adjusted. Up on the stage, in two brilliant following spotlights was Nasty Jack Starlight with his life-sized living rag doll partner, singing and dancing.

The music was an old sixties classic, the Seekers' "The Carnival Is Over." Nasty Jack Starlight sang along cheerfully, stepping it out across the dusty stage with more style than precision. He was dressed as Pierrot, in a Harlequin suit of black and white squares, and his face was made up to resemble a grinning skull, with dark, hollowed eyes and white teeth painted on his smiling lips, all of it topped with a jaunty sailor's cap. He was tall and gangling, and he danced with more deliberation than grace as his voice soared along with the melancholy song.

He danced a fiercely merry two-step with his partner, a living rag doll costumed as Columbine. She was almost as tall as he was, her arms and legs amazingly flexible as she danced, without joints to get in the way. She had a sadly erotic look, in her patched dress of many colours, and her face of tightly stretched white satin had garishly painted-on features. Her movements were disturbingly sexual, her dance provocative in every lascivious movement.

Pierrot and Columbine capered across the whole stage, making the most of the space, dancing and leaping and pirouetting in the two spotlights that followed them faithfully wherever they went. I looked back and above me, but there was no sign anywhere of a source for the spotlights. They just were. The music also seemed to come from nowhere. It changed abruptly to "Sweet Little Jazz Baby, That's Me," a staple from the Roaring Twenties, and Pierrot and Columbine came together and Charlestoned for all they were worth. Their feet on the stage made no sound at all. The music had a distorted, eerily echoing quality, as though it had had to travel a long way to get there and lost something of itself along the way. And for all the effort Nasty Jack Starlight and his partner put into their performance, it all had a dull, flat feeling. There was no appeal to it, no charisma or emotion. But the packed audience was in ecstatics, sheer raptures of emotion.