As my French professor husband (and other knowing attendees I talked to after this production) said, "I feel as though I didn't see Tartuffe." Here's a renowned satire on religious hypocrisy, written by a 17th century master of the French theater, in a unique European, 18th century court venue but with affinity to the earlier age. The play's subject matter and attitude caused a furor in its day (think about the riots over the pastor who burned a copy of Islam's holy book) and nearly made Moliere fall out of the king's grace and him out of favor by clergy.
Director Wes Grantom here directs Tartuffe as mainly a sex farce in the centuries-later French tradition. It's more Feydeau than Moliere. What else explains moving the play to 1912? Well, Grantom, in
a publicity release, says, "The early part of the 20th century was a time of great change -- in art, fashion, and religion. With so much change going on, it's very easy for Tartuffe to slip into people's lives and take advantage." Sounds as if someone doesn't know 17th century French history. Or the really big religious changes in France of the 18th. And wasn't 1912 in Europe concerned over possibilities of war? No evidence here.
There's less emphasis by Grantom on Tartuffe's hypocrisy than on his lechery. There are also hints of sexual repression in Orgon's mother, Mme. Pernelle's strict admonishments to his wife about her dress (Katie Cunningham convinces in the part). Head-of-household Orgon himself seems to have an almost sexual fixation on Tartuffe rather than on his demeanor as inspired by true religion. Playing these roles accordingly, are Tony Stopperan, obviously too young, and Geoff Knox, alternating between indifference and lasciviousness.
Perky, pretty Ashley Scallon as Orgon's daughter Marianne, whom he wants to marry Tartuffe, loves Benjamin Boucvalt's Valere. His appeal quickly turns her demeanor from hard-to-get to ready and willing. On their side is Orgon's brother Cleante, sweet and handsome but sing-songy Jon-Michael Miller.
Luke Bartholomew strongly vents Orgon's son Damis' resentment and dislike of Tartuffe. Perspicacious Megan Delay holds her own onstage as the often-rightfully manipulative maid Dorine. Gretchen Porro makes the most of comic bits. As Orgon's wife Elmire, though, Summer Dawn Wallace commands the stage whenever on it. Her routine of exposing herself to Tartuffe in an effort to expose him to Orgon is the production's high point.
The production shows Conservatory students not yet all well versed in prosody and making rhymed couplets seem as natural as possible. With the time shift to 1912, they are also denied the chance to practice (learn?) a distinctive early acting style and in costumes of Moliere's time. I don't mean not to praise the attractive costumes and set but rather to say that working in a period so different than the last century from ours could have -- even should have -- been a better learning experience.
