Goldstar

• 3.0
• Written on May 26 2009

I'd never seen or read any of Moliere's work before so I wasn't sure what to expect, although I was aware that 'Tartuffe' was generally considered his masterpiece. The play was originally staged in 1664 and caused an almost instant uproar, with the Archbishop of Paris threatening to excommunicate anyone who saw, acted in, or read it. To engender a reaction like that, you know it has to be good.

The titular Tartuffe is a scheming huckster posing as a pious nobleman who claims to have bankrupted himself through acts of charity. He insinuates himself into the good graces and household of Orgon, a wealthy landowner who is awed and obsessed by Tartuffe's apparent righteous fervor and selflessness. When Orgon's family tries to tell him that Tartuffe is a lying hypocrite who censoriously denounces everything enjoyable or pleasant as sinful and wicked while secretly indulging in his own appetites, he rebuffs their criticism as being driven by envy and takes their 'persecution' of Tartuffe as further evidence of his righteousness.

In short order, Tartuffe convinces Orgon to disinherit and exile his son, break his daughter's engagement, and provide Tartuffe with the deed to his entire estate, his daughter's hand in marriage, and possession of a box of incriminating letters. It is only when Orgon catches Tartuffe attempting to despoil his wife in Act II that he finally sees the sanctimonious mountebank for what he is. When he throws the rascal out, Tartuffe goes to court to obtain an eviction order against Orgon and turns the box of letters over to the king, who sends an officer to arrest and imprison the duped landowner.

Will wickedness triumph? Will Tartuffe's treachery be rewarded with wife and wealth? I'm not going to spoil the ending for you, in case you want to brave the threat of excommunication and see or read it for yourself. The play is very good, although the fact that it is written entirely in rhyming couplets does take some getting used to. The character of Tartuffe is the theater's most thoroughgoing scoundrel this side of Iago and the play's skewering of self-righteous hypocrites who denounce in public that in which they delight in private remains as timely today as it was 445 years ago.

Journeyman Theater's production does justice to Moliere's writing. The set, although minimal, is effective. The costumes are good and although the actors stumble over some of their lines, the performances are all quite good as well. In particular, the actress portraying the sharp-tongued servant girl Dorine who attempts to bully some sense into a family of senseless fools stands out among the cast.

Really, the only off note associated with this production is the fact that the Church Street Theater lacks air conditioning or other meaningful ventilation and, as such, the atmosphere can be pretty stifling. Apart from that, this production gets solid marks all across its report card.

• 4.0
• Written on Jun 15 2009

The director did a good job filling any void left by the text. The play was written for an audience of 17th Century French nobility but it's relevance as well as undeniable entertainment value for a 21st Century American audience is quite astonishing. The acting was high quality, the period flair in decor and costumes was well thought out and finely executed. All in all, highly recommended

• 4.0
• Written on Jun 15 2009

Great performances and staging. An absolute delight! Hurry and see it before it closes!