No Pay? No Way! Political Farce at the Royal Exchange

by Sacha Crowther

Rising food prices have led to an uprising in the supermarket. Refusing to accept the newly inflated cost, local women “liberate” the groceries. But the buzz of rebellion comes at a price. As their husbands and the local police begin to suspect that something’s awry, the women tangle themselves in a farcical web of excuses. In the simultaneously surreal and relatable world of the show, there really is no such thing as a free lunch.

First written by Italian playwright, Dario Fo, in the 1970s, No Pay? No Way! has been reimagined by Marieke Hardy for the 21st century. Sadly the economic troubles of 70s Italy are not only still relevant, but arguably only getting worse.

Hardy’s script is liberally scattered with pertinent gibes: the police, the establishment, the royals, the government, the train companies, and the infamous ‘retrain in cyber’ campaign all come under rightful attack. Between these timely references, the original 1970s setting echoes throughout. There is a distinctly dated framework that houses the whole production. Think 1970s bedroom comedy meets 90s children’s television.

The set is akin to an overgrown children’s playground, as pipes, periscopes and a winding slide weave around the central apartment space. Cécile Trémolières’ design is undoubtedly playful and certainly memorable, albeit entirely unexplained. I was willing the set design to come into its own, or to have a ‘ta da’ moment of realisation. But, as the narrative gathers momentum in the second act, it begins to feel like the very static set rather gets in the way.

The five-strong cast are tireless as they maintain a high-paced, high-pitched tension throughout. Samantha Power, as Antonia, is a strong leader, directing the action from on-stage and carrying the narrative. Her charming northern-ness dilutes what could easily become quite an overbearing role. Balancing Power’s fizzy energy, Roger Morlidge plays her husband, Giovanni, as a loveable, well-meaning fool.

A fairly static first act takes place in a single room, punctuated by entrances from policemen who are straight out of the Village People. It’s full of silliness and comfortably predictable. Topical references scattered throughout add bite to the otherwise fairly repetitive writing.

The show gives way to a lively second act fuelled by physical comedy. Breaking free from the tiresome gender divide and “clueless husband” stereotypes, the two halves of the cast each follow an adventure arc of their own, before colliding once again. Director, Bryony Shanahan, has shaped the piece to crescendo towards its final, lasting message.

The pinnacle of this political comedy comes when the farce falls quiet and Margherita (Katherine Pearce) bursts forth with an impassioned rant. Flippant commentary and political ad libs make way for this overdue outburst against the myriad of causes that we are all rightfully angry about. This is the moment that sticks with the audience above all else.

No Pay? No Way! certainly offers up an enjoyable evening of entertainment. The crowd roared with laughter and cheered throughout. Underpinning the laughs, the cast and crew make a valiant effort to address the full gamut of societal issues. The show tackles gender dynamics, systemic corruption, intolerance, hypocrisy, and economic crisis, all wrapped up in a fairly basic plot formation and a fake pregnancy.

As the audience whoop and holler at every leftist reference flung their way, it feels as though the pertinent economic commentary is somewhat diluted. Restaging this production in 2023 is a timely choice for the Royal Exchange and an important topic to spotlight. But perhaps this political comedy would carry more gravitas if it broke free from its bygone farcical format and targeted a sole cause with all its might.

The UK premiere production of No Pay? No Way! plays at the Royal Exchange Theatre, Manchester, until 10th June. For tickets and more information, visit the RX website.

Photo credit: Johan Persson