If you were to make a shortlist of the types of subject matter that typically lend themselves to adaptation as musical theatre, the tale of a tortured political activist imprisoned with a flamboyant gay window-dresser might not exactly spring to the top of the list.
On the one hand, they seem like the father-daughter double-act least likely to be a father-daughter double-act. On the other, ironically, it's hard to imagine any two people could be better-matched than the inimitable, incredible Dick & Christa Hughes.
The MFO stands loud and proud as a jazz force to be reckoned with. Compositionally, orchestrally, live and recorded, they manage to get down a whole new sound.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.
Following the unedifying edict that "there's a sucker born every minute", the show skewers the modern self-improvement economy in a piss-take parody of today's 'gurus' and snake-oil salesmen.