the play follows a young go-getter named Philip (Kevyn R. Harris) as he stumbles along the path of corporate greed. Eager to please his money-hungry boss, the Chief (Bryan VanCampen), in his search for the new "pot noodle"-an invention that creates money from nothing-Philip comes up with an air-purifying machine that will eventually destroy humanity.
Much of the action takes place in the Chief's office, which could double for the reception room in hell. It's here that Philip explains the principle behind the Suck and Blow: it sucks air in, cleans the oxygen molecules, then blows the pure air back out again. One nasty drawback to the machine's widespread success is that people begin to stockpile oxygen, grossly depleting the amount available for public consumption. Parts of the world are turned into oxygen-free wastelands as Lockheart Holdings snatches up all the molecules it can, selling the air back to the consumer.
As Philip makes the dizzying climb to President of the Air Division, he also carries on somewhat of a flirtation with Kirsten (Heather Forsythe), the leggy non-nonsense ad wizard behind the Suck and Blow's success. He is nowhere near as competent in matters of the heart as he is in matters of business, which, as he confides in the Chief during an executive steam session, makes it very hard to unload one's cherry. Unfortunately, Kirsten is attracted to his slimy second-in-command, Sandy (Mike Davie). This ego-smashing blow leads to a drunken binge, which Harris portrays with an amusing unsteadiness and childlike petulance.
Though the first act could be a little slow-moving at times, Sapio charges the production with a sardonic humor, the visual equivalent of Elton's typically British, tongue-in-cheek style. Maura Stephens and Sean Kimber provide comic relief in a number of supporting roles. Kimber is hilarious as the spine-cracking masseuse with a torturous touch. Stephens delights the audience as a twittering English matron of a weather lady and as a cocaine-snorting nun. VanCampen is positively evil, but in a slightly stodgy, likable sort of way. Forsythe exudes masses of sexual energy and amour proper as the hard-nosed businesswoman. Overall, the play offers a deliciously funny look at the consequences that loving money over humanity can bring.