Things start simply enough. A brother, a sister and their spouses are clearing out the house of their deceased father when they come upon a painting. Might it have some value? From this relatively basic premise, playwright Marius von Mayenburg spins a Swiftian satire that has a myriad of targets: basic human greed, the values of the art market, the cult of celebrity, the enduring appeal of the political far right and even the incest theme in Norse mythology. Along the way the play raises some knotty questions about all of these issues, while also challenging its own theatrical premises with some wonderfully surreal moments. Von Mayenburg's characters are instantly recognisable, the quarrelsome siblings, the long-suffering spouses, the icicle of an art dealer and the wealthy neo-Nazi, and the author squeezes lots of humour from them. However, his trenchant dialogue questions everything, including the audience's own easy presumptions about subjects as wide-ranging as history, art