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Pierpaolo Spollon, Fatherhood Explained Very Badly
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April 2026 | ||||||
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DILF (Dad I Like to Fuck) is the acronym that most represents the figure of the father in the socio-cultural context in which we are: it undermines the sexism of “mom” and makes it decidedly sexier than the old-fashioned father, not making him lose manhood at all, but, indeed, making him acquire it. And Pierpaolo Spollon is a full-fledged DILF: father of two full-time children, certainly inadequate and lost, but more than determined to plead the cause of this inevitable change of course of the father figure.
By comparing three generations (his, his father and grandfather's) Spollon gives life on stage to a funny, self-ironic, pungent, how thoughtful monologue he talks about fatherhood both horizontally, and vertically, emphasizing how the change of the figure of the father inevitably passes through a real change in the figure of man.
What is to be expected for the future? Will our children be even better fathers?
Program and cast
Teatro dal Verme
The Teatro Dal Verme is a theatre in Milan, Italy located on the Via San Giovanni sul Muro, on the site of the former private theatre the Politeama Ciniselli. It was designed by Giuseppe Pestagalli to a commission from Count Francesco Dal Verme, and was used primarily for plays and opera performances throughout the 19th and early 20th centuries. Today, the theatre is no longer used for opera, and is a venue for concerts, plays and dance performances, as well as exhibitions and conferences.
The original 3,000-seat theatre, surmounted by a large cupola, was constructed in the traditional horseshoe shape, with two tiers of boxes and a large gallery (or loggione) which alone contained more than 1000 seats. It opened on September 14, 1872 with a production of Meyerbeer's Les Huguenots and soon established itself as one of Italy's most important opera houses. During its "golden years", the theatre saw the world premieres of Puccini's Le Villi (May 31, 1884); Leoncavallo's Pagliacci (May 21, 1892) and I Medici (November 9, 1893); and Cowen's Signa (November 12, 1893). It also saw the Italian premiere of Lehár's The Merry Widow (April 27, 1907).
By the 1930s, the theatre was mainly being used as a cinema. It was then severely damaged by American aerial bombardment during World War II, after which its magnificent central cupola, which had survived the bombing, was stripped of all its metal parts by the occupying German army. It was partially rebuilt in 1946, and for a period in the 1950s it was used for the performance of musicals. It then reverted to a cinema and a political conference hall.
In 1991, the theatre's interior underwent a major restructuring and renovation project which was completed in 1998. It now has a large modern auditorium, the Sala Grande, with 1420 seats, a smaller performing space known as the Sala Piccola, with 200 seats, and a space for exhibitions and conferences, the Sala Terrazzo. Since September 2001, it has been administered
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