‘No Self Pity is the motto of an unusual trio in a rather exceptional type of home for the aged, whose inmates, in their heyday, were all celebrated stars of the English opera stage. If the average person finds it problematic to adjust to such an environment, how much harder is it for opera singers, whose legendary eccentricity is not without foundation. Those accustomed to the applause of thousands will not willingly allow themselves to be cast aside – an excellent topic for a charming comedy.

Cecily “Cissy” Robson, Reginald “Reggie” Paget and Wilfred “Wilf” Bond, friends and former colleagues, have more or less come to terms with their new conditions of life. Their days are filled with music, literature, erotic daydreaming and stubborn conflicts with the staff. They keep strictly to the above mentioned motto and also to the ban on such questions as “How are you?” or “What are your plans for today?” And although they indulge in recalling memories of the past from time to time, they have learnt to live in the present and to enjoy the smaller pleasures of their new life.

This feeling of contentment ends abruptly when it is announced that a newcomer has been admitted. It happens to be Reggie’s ex-wife Jean Horton, whose arrival throws Reggie, normally a reserved, self-controlled gentleman, into a state of utter consternation. However, with Jean’s presence, the former legendary quartet from Rigoletto is together again, and soon the idea is born of performing the piece at the annual celebration of Verdi’s birth.

But no one had reckoned with Jean’s vehement refusal to take part in such a “grotesque” performance; despite the passing of the years, she has retained the manner of a prima donna. At the same time, her objections raise a fundamental question: should one, out of zest for life, go so far as to make oneself ridiculous because of the unavoidable inadequacies of old age? Or should the priority be to uphold one’s reputation, even if it means foregoing new experiences?

Jean’s hyper-sensitivity stems however from problems that she is unwilling to reveal to the others and Reggie also conceals the reason for the break-up of their marriage. Finally an unusual compromise for the performance is found and rehearsals for the quartet begin. Stimulated by this new venture the four find closer contact to each other through conversations – partly amusing and partly touching and finally realize that they have nothing to lose but everything to gain.