Fantasy intersects reality through this engagingly written rendition of the evening's-lengthed theatrical performance Tangled in the Wire. Adapted from a pair of staged dramatic readings with a short story intermission, plus a bit of additional plot work to weave a complete spoken-word tapestry. Concerning one Michael-Eli Long, an itinerate expositor of the lessons of Zackery Crighton Whitewulf. The ancient philosopher/poet and outspoken frontman for The Keepers, a group of omniscient entities who have forever somewhat directed the human condition from behind the scenes. We are privileged to the unique experience of following Michael-Eli after he is plucked from his place and time to be dropped into our Here, with scant details of this displacement. He clings only to his life-long mission of offering insight into becoming better at giving love in interpersonal relationships, therefore becoming more open to reciprocally being better loved. A timeless message, still relevant for today given these troubled times. Zackery - chosen by The Keepers to share seminal insights due to his longevity and total recall, added to by being an innumerable-years-old canine who in his own words is: "... a wolf impersonating a dog pretending to be a man ..." guides initiates including Michael-Eli thorough a series of practical exercises termed The Journeys. His intent is not to shame or reprimand about how we conduct ourselves, but instead to remind us of concepts already known but parked in forgotten memory files. These liberally sprinkled with comedic or touching object lessons drawn from his own escapades. Michael-Eli having persisted in the study of this knowledge to the Present, becomes our foremost proponent of being tangled in that wire which is The Magic of Love. We witness another millennium passing while his scripts and stage skills are encouraged to fully mature into a defense of the possibly last romantic realm. During which some members of his most current enterprise, The Wulfsgate Players acting company, make life-altering discoveries about the nature of several of their own relationships. Tangled is witty, clever and droll while it enlightens and entertains. Along its winding way it dares to defy theatrical conventions by not only pushing through the fourth wall of speaking directly to the audience, but shattering the mystical fifth wall of letting the actors break character while onstage. Ripe with poetical language and rich in literary inferences, it is a definite must have in the collections of the most discriminating readers.