In the anarchic realm of master provocateur Dario Fo, satire and slapstick are never mutually exclusive, as witnessed by "The Devil With Boobs." In its West Coast premiere at Open Fist Theatre Company, this 1997 allegory weds commedia-inflected hysteria to savage observation, with exceptional results.
Written by Fo for his wife, Franca Rame, the title, as translated by Jon Laskin, indicates the narrative thrust, barely. Set during the Renaissance, "Devil" concerns how a master devil tasks his dim apprentice to possess an honest jurist and turn him to debauchery. Except that the judge's loyal housekeeper ends up in the wrong place at the wrong time, sending the plan madly askew. Further details would blunt Fo's knee-slapping mix of scatology and hilarity and possibly make my head fall off.
Under Tom Quaintance's superb direction, "Devil" traverses designer Adam Rowe's set like a demented tarantella between Brecht and John Waters at Pasolini's summer villa. Christina Wright's costumes and puppets are as witty as Charles Otte's lights and violin licks are tensile. Musical director Alex Wright's compositions and sound design keep the comedy from precocity, the comment from obviation.
The ensemble, cavorting in Diana Wyenn's choreography, is magnificent. As hapless Pizzocca, Katherine Griffith goes the distance, working her entire being in every direction. Michael Winters brings skewed gravitas to the judge; Phillip William Brock exudes sardonic frivolity as his nemesis. Weston Blakesley's scabrous cardinal, Herschel Sparber's devilish underling and Pilar Alvarez's key witness in the expository case are but three standouts in a superlative group effort.