The Actor’s Gang production of Tartuffe is as fresh and imaginative as is it uproariously funny. They have taken one of the classic comedies and made it exciting and accessible to a modern audience without abandoning or dumbing-down the original text – rhyming couplets abound like dandelions in an untended yard. The set is appropriately 16th century French, containing only pieces that are absolutely necessary for the action. Everything else is pantomimed to such excellent effect that the audience can easily imagine the big double doors that are carefully closed for privacy or extravagantly flung open for a grand entrance. The four windows that are open and closed throughout the play – complete with actor-provided sound effects – are particularly funny, as is the moat.
It is largely the amazingly talented cast that is committed to not only this larger-than-life world but also their larger-than-life characters – characters that could easily have fallen into the realm of caricatures in less talented hands. Marianne, played by Hannah Chodos, yo-yos from a wailing child flinging herself on the ground in agony to a self-composed woman of marrying age with such dexterity that it’s hard to imagine a mate to match her. That is until her betrothed, Valére, played by Jeremie Loncka, enters the scene with his 1980s rock-star hair and demeanor. A better match could not have been made in heaven.
Heading up this crazy family, is the even-crazier Orgon, played by P. Adam Walsh. Walsh’s eccentric mannerisms and timing are captivating and brilliant. The physicality he brings to the role says as much as the lines he delivers. He is at once the head of the house and filled with such naiveté that it is no wonder he falls trap to Tartuffe’s machinations. Sabra Williams shines as the mostly obedient maid, Dorine, who in reality is the one who keeps the whole house running. She is the only character to openly and defiantly question Orgon’s love of Tartuffe, and for her trouble is threatened with a beating.
The major blemish on an otherwise magnificent production is the play’s namesake, Tartuffe, played by Pierre Adeli. Adeli stands out from the rest of the cast in appearance and mannerisms. While the rest of the cast is dressed in beautifully foppish and elegant French fashions, Tartuffe looks like he borrowed his fashion sense from India, only without the bright colors. While he is supposed to be pious and reject material things, the habit of a monk would have made a lot more sense than the layered, flowing white satin he wore. Also in stark contrast to the outrageous wigs donned by the majority of the cast, Adeli sported his own hair, slicked back with so much product that I feared for anything that came into contact with his head. Yet despite the over abundance of product, his hair still continually fell into his face. However, more than looks, Adeli stood out from the rest of the cast in his mannerisms. While the rest of the cast seemed to embody a fabulous live-action cartoon, Adeli seemed to be channeling the late comedian Chris Farley, complete with plumbers crack, but without the youthful charm. Yes, Tartuffe is supposed to be an outsider from the rest of the family and he is supposed to be a slimy, nasty guy. However, he should still exist within the world of the play and slimy should be a personality descriptor, not a physical descriptor.
Despite this, the Actor’s Gang has assembled a play that should not be missed. Don’t arrive late or you’ll miss Steven M. Porter’s pre-show speech, which is uproariously funny, even if you don’t speak French.
