Theater Review: Chaos, Comedy, and Capitalism - A joyfully unruly “They Don’t Pay! We Won’t Pay!”

They Won’t Pay? We Won’t Pay! (New adaptation)

By Dario Fo

Adapted by Deborah McAndrew

Directed by Brad Wrenn

Venue: Floyd and Delores Jones Playhouse

4045 University Way NE, Seattle, WA 98105

Performances: Friday and Saturday December 12-13, 2025 at 7:30pm

Purchase tickets here

Theatre Review by Kindle Carpp

Dario Fo’s classic Italian political comedy may be more than forty years old, but in Deborah McAndrew’s lively adaptation, They Don’t Pay! We Won’t Pay! feels utterly—and hilariously—of the moment. 

The production thrives on sharp wit, breakneck pacing, and a generous dose of fourth-wall mischief, creating an atmosphere where chaos is not only welcome but expected.

The full cast of the UW Drama production of 
They Don’t Pay! We Won’t Pay!

The first half is focused largely on fallout from a spontaneous supermarket uprising. Anthea (Eloise Maguire), unemployed and struggling to make ends meet, fills her bags full of food. Anthea wrangles her neighbor Maggie into the increasingly convoluted effort to hide the haul. 

With the police going door-to-door in search of the supermarket thieves, Maggie’s inventive attempts to hide the pilfered goods cause increasing levels of chaos.

The second half races ahead with equal energy—perhaps even more. From a fake “hidden pregnancy” to a 1974 Italian ambulance, the plot veers gleefully off the rails in ways that heighten the absurdity without ever losing its charm. 

McAndrew’s adaptation keeps Fo’s political backbone intact while infusing the story with contemporary rhythms, sharp dialogue, and a buoyant silliness that keeps the audience laughing throughout.

Cast chaos - planned and unplanned - adds to the hilarity

Even the unscripted moments add to the fun. A rogue crockpot leaps from a cabinet, a tote bag entangles itself in Anthea’s hair, and an audience-participation bit goes suddenly awry—yet the cast rolls with every surprise. 

Their quick recovery not only keeps the story moving but showcases the resilience and flexibility of this young ensemble.

Eloise Maguire brings a wonderfully unhinged imagination to Anthea while grounding her desperation in reality. She balances humor with hardship, giving the character depth beneath the absurdity. 

Osaze Asuen’s Maggie, meanwhile, is more than a foil; with impeccable “yes-and” instincts and a gentle bemused smile, she becomes the audience’s representative in a world rapidly spinning out of control.

Osaze Asuen and Eloise Maguire

Maurice Parker’s Jack mixes rigid moral conviction with impeccable comedic timing—so much so that every one of his jumps could cue the Super Mario “boing” sound effect in the audience’s mind. 

Katahdin Fasani’s Lewis' gentle encouragement allows Jack to relax his moral convictions to a more reasonable flexibility. Katahdin's delivery humanizes the real life compromises people have to make in difficult situations.

Katahdin Fasani and Maurice Parker

Ella Avital may have only two hats, two mustaches, and four outfits, but she turns them into five distinct characters. Her physicality, timing, and sheer versatility give the production some of its biggest laughs.

Across the board, the cast delivers with precision, warmth, and fearlessness. Their timing is sharp, their energy unwavering, and their commitment to the comedy absolute. Sitting close to the stage feels like being in the splash zone of a narrative that revels in its own mayhem—in the best possible way.

It’s joyful, chaotic, and wonderfully human—everything great theater should be.

--Photos by Christine Mitchell, permission granted to use by the University of Washington, School of Drama

--Side note: Hayley Berkman, Assistant Stage Manager is a Shoreline native.