By the early 'eighties, Dario Fo seemed to have achieved a unique place in British theatre, with both Accidental Death of an Anarchist and Can't Pay? Won't Pay! enjoying long West End runs, while he himself retained the respect of the alternative and fringe community for his radical politics and championship of popular theatre forms. Yet although he was subsequently awarded the Nobel Prize for Literature, interest in Fo's work seems to have gone into a steady decline in Britain. This is only in part attributable, argues Marco Ghelardi, to a less favourable political and theatrical climate: it has also to do with the topicality and adaptability which is integral to Fo's approach to playwriting, and more especially with an acting style apparently inimical to British traditions – a style based in the collective and the situational rather than the individual and the psychological. Marco Ghelardi is a young playwright, director, and producer whose career has involved him in both the British and Italian traditions. He has also been an assistant director in opera (notably at Covent Garden), and with his theatre company, Outlaw Theatre, he has recently managed to bring a Fo production, Johan Padan and the Discovery of America, back to the Riverside in London, where it opened in May of this year.