Schmid's satire on 19th-century class relations is also a thinly veiled commentary on the failure of the 1968 political revolution. Once a year, an aristocratic Austrian family holds a traditional feast at which masters and servants trade places. A troupe of actors (including cult cabaret artist Ingrid Caven) are hired to entertain the guests, performing fragments from the "cultural scrap heap": GONE WITH THE WIND, Madame Bovary, Tennessee Williams, Swan Lake. The decadent proceedings take on a dangerous edge when the actors incite the servants to revolt against their masters-but is the Revolution also part of the act?