Receive Weekly Email and Text Message Updates:
Sign up for latest info on concerts, dining, promotions and more!
Go!

Related Stories ...

Most Popular

National Features >

  • City Pages

    Michele Bachmann, Unmuzzled

    You don't need to read Sarah Palin's book to hear the ravings of a mad woman.

    By Matt Snyders

  • Miami New Times

    Pimp Daddy

    The rise and fall of a chubby sex-cult leader.

    By Natalie O'Neill

  • Riverfront Times

    Babe 'n' Arms

    Tom was a hot-tempered cross-dresser with a garage full of guns--and then he became Rachel.

    By Nicholas Phillips

  • Dallas Observer

    The Fight for Texas

    Rick Perry and Kay Bailey Hutchison are locked in a battle over the soul of the GOP. They're also running for governor.

    By Sam Merten

We Won't Pay! We Won't Pay!

This production of a classic protest play fails to capture the original's mania

Share

  • rss

By Michael Scott Moore

Published on September 25, 2002

Dario Fo's classic protest play about Italian housewives who ransack a supermarket because all they can afford on their husbands' wages are dog food and birdseed has played locally two or three times since Fo won the Nobel Prize in 1997. It is, of course, funny. It even has something in common with the American political slapstick of John Guare (see above) and Jules Feiffer. It's notoriously hard to do right, though, because Fo has an irrational peasant energy that sends his comic situations spinning away like wild rockets. The lies his rebellious housewives tell in We Won't Pay!, and their consequences, need to be played with a mixture of deadpan bafflement and fierce conviction. Andrea Day, unfortunately, isn't quite up to the job (as Margherita), and Katja Rivera hits the right groove only sometimes (as Antonia). Clive Worsley has an easier time as Antonia's conformist husband, Giovanni, and Kevin Kelleher is versatile as sundry clowns (two ridiculous cops and an undertaker). A scene involving birdseed soup and rabbits' heads is hilarious, and the one involving a corpse in the closet comes close, but most of Rebecca Novick's production never quite captures the mania that Fo seems to have had in mind.