The play, as the title suggests, Is an outrageous musical extravaganza. It explores the burqa as a dramatic device and uses it as a metaphor. Burgavaganza is also a story of love in the time of jehad. It is the story of young lovers who are determined to defy the hypocritical values of an ultra-conservative society. Like all lovers, they want to spend time together only to be interrupted and harassed by the moral police and the stick-wielding burqa brigade. The love blooms with the help of popular film songs and under various forms of bumps, while the world outside Is falling apart because of the war on terror and a search for Burge bin Batin. It is a world where lovers are persecuted and terrorists worshipped, where new technology is used to promote outdated and retrogressive ideas. In a society like ours, Burqauaganza was bound to land into trouble under an intolerant and retrogressive regime wearing the burqa of enlightenment. In April 2007, a month after its premiere in March, five burqa-clad MNAs belonging to MMA raised the matter in the National Assembly and the Culture Minister promptly announced a ban without any of them having watched them play. But Ajoka and its devoted audience refused to be cowed down by such cultural terrorism. The play was performed in defiance of the ban.