Lofta is a single-scene chamber opera requiring little scenery other than old computer workstations for the chorus (and paper-covererd screens ad lib.).
Following the sound of a car-crash, the Chorus welcome the mezzo-soprano Lofta to what turns out to be pre-Hell, where the bad dead are judged. Lofta’s extreme self-righteousness is praised. Eventually she realises that she might not be with her ex-friends (if she ever had any), but is piqued not to be seeing “God the Mother”. At that, the Devil appears. The Devil complains that if God is female then so is the Devil – this is blasphemy against Hell, so Lofta must be given the opportunity to suffer. As the Devil moves towards Lofta, he is seen to be joined to his female counterpart – these two aspects seldom have the same text (although often the same rhythm) – the essence is that while they question Lofta, they do not always make sense: the logic of which Lofta had lived is of no use. Eventually, the female part of the devil summons up a female seductress (non-singing mime) to assault Lofta. Lofta and the Seductress grow to like each other; so the combined Devil turn on the gas and the fire burns for Lofta as she is carried into the flames.