AND, IN A VERY REAL sense, that's what FSTO has been about all along: Can trash television and grand opera be brought into a similar equivalency, in a way that's more than a one-note joke?
Which brings us to another bit of received wisdom that FSTO does its best to debunk: the idea that British composers and lyricists aren't very good at writing Broad-way-style musicals.
Like all powerful metaphors for the way we live now, the one at the center of FSTO shows us where we're heading, even if we're not quite there yet.
Springer's show thereby provides FSTO with a devastatingly accurate image of the way in which serious political debate in this country has degenerated into white noise.
But the strangest, most remarkable and ultimately moving thing about FSTO is that it ultimately doesn't point an accusing finger at Jerry, the U.S.