Star rating: *** When Ines Wurth left Croatia to become an actress in Los Angeles, the East-West divide couldn't be more marked. The country she left was still called Yugoslavia, President Tito was calling the shots and her homeland was a kind of economic no-man's-land. By the time she returned, Tito was dead, and travelling through Kosovo and Serbia's full-on warzones to be reunited with her aging mother was a drama in itself.

Somewhere in all this, Wurth developed a love of musicals, and this autobiographical solo play, co-written with director Mark Soper, reveals the link between much-loved stage school knees-up Oliver! and the evils of western capitalism. Throw in a smidgen of Chicago reinvented as a bump'n' grind paean to the glories of a one-party state and all that jazz, and the double bluff of the play's title becomes the signpost for a touching prodigal's return, as Wurth learns to hold on to her identity, even as she has to say goodbye to her past.

First seen on these shores during the Edinburgh Festival Fringe 2005, rather than some exercise in feel-good nostalgia a la Goodbye Lenin, I Miss Communism may initially look like some cheer-leading pageant, but ends up taking a far more serious view of Wurth's journey.

If there are inevitably indulgent slabs of fantasy-wish-fulfilment in terms of Wurth's one-woman chorus line, it's worth signing up for the grand finale alone. As socialist anthem The Internationale is reinvented as a rinky-dink showstopper, complete with bright red feather boa, the orchestrated audience participation clap-a-long that follows puts the spin-doctors of any reactionary regime firmly in the shade.