This is the story of three Londoners who have decided to take on the West End musical mafia to prove there are living alternatives to Sir Andrew Lloyd Webber; to fight the recession with one of the great palliatives, escapist entertainment; and to spend the money of one of them in so doing. The unlikely trio are Alan Davies, ex-docker turned auctioneer, John Asquith, spiritual healer and breathing teacher, and Jesse Carr-Martindale, former infantry officer and erstwhile owner of London’s first floating nightclub.

It all started in 1989 with John and Jesse writing a musical called Convention and peforming it a deux in the sitting room of Richard Branson’s former house in Spain. John then performed it in its entirety to Alan in the back of his car on the way back from Maidstone, and Alan decided he had a hit on his backseat. So Alan, who had never done anything like this before and cannot afford to indulge in a spot of financial ruin, emptied his pockets in the pursuit of fame, fortune and a West End transfer. It will cost £2 million to put on the full musical, and he’s met all the costs of his dream to date. ‘How much have I put into it?’ says Alan. ‘‘There’s ‘no stopping. It’s all ‘going now.’

Extraordinarily, he has paid £30,000 to hire The Bloomsbury Theatre tonight and tomorrow to do a showcase when they look for angels. (It has capacity for 600 people which he’s nearly filled.) But he has met other costs inventively. Having received a quote of £19,000 for scenery, they decided to make their own. ‘It’s all hands ‘to the pump,’ says Alan. ‘Before you go can you help us paint a car for the stage?’ Meanwhile John has enticed a cast of 35 ‘mostly West End’ professionals (including P.P Arnold, who sang formerly with Tina Turner) and 15 helpers to offer their skills free for a month. And they have been rehearsing small scenes in the flats of the cast, scattered round London. ‘Mobile rehearsals, a moving studio,’ says Jesse, pucker voiced.

What’s it about? Convention is a love story which takes place during the sales meeting convention for a multi-national life assurance company. ‘A romance with complications,’ adds Jesse, who wrote Dempsey and Makepeace and much of The Bill, and created the story.

John, who breathlessly describes himself as a dancer, stage technician and voice trainer who has written 19 pieces for the stage, produced, choreographed, directed shows and worked in cabaret, wrote the music and lyrics.

He is also a chairman of the National Federation of Spiritual Healers. ‘The healer becomes attuned to a higher energy source. You can call it white light, healing energy or God’s love,’ he says. ‘It’s like putting a jump lead on a car so that the patient gets a boost.’

Still, it’s a tricky business producing a hit musical. Why do they think they are in with a big chance? ‘Because it’s better than anything I’ve seen in the West End,’ says Alan. The others nod vigorously.