Two hopelessly out of their class con-men attempt to pull off the largest bank heist of the 19th century — by gaining the enmity of the most famous bank robber in the world and the affection of a crusading newspaperwoman.

A bumbling government employee accidentally destroys a small fortune and decides to break into the US Mint to replace it, but before long everyone wants a slice of the action - and the money.

Arthur loses his fortune for staying with Linda, right as the two were preparing to adopt a child. As their marriage suffers, Arthur plans for a way to get his money back, but first he must sober up and get a real job.

Anna Hart was always an odd child, a genius, a shoplifter, desperately afraid of flickering lights, with strange prophetic dreams. Simultaneously, several strange things begin to happen. A strange, mysterious neighbor, by the name of MacKayla moves in next door to the Harts. And, most frightening of all, Anna sees her exact double on the television one night. As her investigation of the other Anna, Anna Smithson, progresses, she begins to learn the truth. The truth about a woman named Anna Zimmerman that has been dead for twenty years, and most importantly, the truth about herself

第一幕
二戰將近，德國，一間小酒店裡，主持人歡迎我們的來臨。("Wilkommen")美國作家克里夫來到，發覺艾朗斯介紹的酒店差強人意，地主茀蘿蓮要他別對此要求太高。("So What?")克里夫無奈接受，在找尋靈感的時候他遇到吧女莎莉，她的表演極為精采。("Don't Tell Mama")二人一拍即合，("Telephone Song")莎莉更搬到了克里夫的房間。("Perfectly Marvelous")二人被主持人介紹兩個女人，帶出一段匪而所思的故事。("Two Ladies")茀蘿蓮被猶太水果商赫爾追求，("It Couldn't Please Me More")然後主持人和侍應們唱出一段對祖國的詩歌。("Tomorrow Belongs to Me")
此時克里夫被莎莉影響，開始走上歪路，同意犯法，對他而言這就像發夢。("Why Should I Wake Up?")主持人出現，向所有人說著錢的可愛之處。("The Money Song")赫爾和茀蘿蓮結婚，看來好像有些轉機。("Married")可是艾朗斯卻認為這不是一個好結果，他一直在留意外面的動靜。("Meeskite")
第二幕
(Entr'acte")
主持人又出現，在酒店裡和一個女人共舞，並指出金玉其外敗絮其中的道理。(If You Could See Her")果然艾朗斯的預感中了，茀蘿蓮把婚禮得到的禮物都退回並不結婚了，因為她知道和一猶太人一起會使她生意難做。("What Would You Do?")克里夫也開始害怕納粹德軍，並和艾朗斯鬧翻。他要莎莉和他一起離開去美國，可莎莉已經在酒店裡不能自拔，於是決意把二人的孩子打掉。("Cabaret")落寞的克里夫一人在回程火車上沉思，並開始借此經驗寫書。主持人出現，把兩個空間連接，酒店的荒唐氣氛提示了我們：煩惱還陸續有來。("Finale")

Garry Trudeau's classic characters (Mike Doonesbury, Zonker, etc.) examine how their lifestyles, priorities, and concerns have changed since the end of their idealistic college days in the 1960's.