Russell’s composer biopics were usually labours of love. This was the opposite: he regarded Strauss’s music as 'bombastic, sham and hollow', and despised the composer for claiming to be apolitical while cosying up to the Nazi regime. Strauss is depicted in a variety of grotesquely caricatured situations: attacked by nuns after adopting Nietzsche’s philosophy, duels with jealous husbands, literally batters his critics into submission with his music, and glorifies the women in his life and fantasies.

The assistant stage manager of a small-time theatrical company is forced to understudy for the leading lady at a matinée performance at which an illustrious Hollywood director is in the audience scouting for actors to be in his latest "all-talking, all-dancing, all-singing" extravaganza.