Vicki Paris Goodman
Culture Writer
Not exactly a morality play, Moliere’s Tartuffe could still be considered instructive in dealing with the most mulishly pigheaded of personalities— or, more precisely, how not to.
Written in French, and in a particular rhyming meter to which each and every line of the play strictly adheres, one might think the dogmatic form might constrict expression. Factor in Richard Wilbur’s English translation, and one might expect all finesse and flow to be lost. Happily, neither is true. Wilbur’s translation, which does hold fast to the same poetic form as the French original, is elegant and engaging with not a single awkward syllable.
Equipped with Wilbur’s winsome words and costume designer Donna Fritsche’s drop-dead gorgeous 18th century garb, director Phyllis Gitlin’s talented cast has a lot in its favor. They make the most of it.
Tartuffe makes a mockery of gullibility. And there is none so thoroughly trusting as wealthy Orgon (Cort Huckabone), who must have been in need of a teen idol or other subject of worship growing up. The subject of his unconditional adoration is house guest Tartuffe (Tom Juarez), a not wholly unattractive but thoroughly insincere example of purity and piety who doesn’t fool Orgon’s family one bit. They know he is a con artist and a fraud of the most conniving kind.
The one exception is Orgon’s elderly and reason-challenged mother, Madam Pernelle (Teri Ciranna), whose trembly, high-pitched scolding monologue gets things off and running and sets the farcical tone for the amusement to come.
As for the rest of Orgon’s relations, their loathing of Tartuffe condemns them to the head of the household’s reprisal. Young son Damis (Raymond Mau) courageously speaks up and is duly banished from the house and his inheritance. Orgon rips daughter Mariane (Hayley Jackson) from the arms of her beloved fiance Valere (Kyle Gallagher) in favor of her wedding the detested Tartuffe.
Mariane’s clever and outspoken maid Dorine, played ever so brightly by Loren McJannett-Taylor, fearlessly defies Orgon’s rebukes in an all-out effort to persuade him. Nothing doing.
Finally, Orgon’s wife Elmire (Brenda Kenworthy), the true subject of Tartuffe’s lust, must put up with all manner of indignity in executing a cunning scheme to expose Tartuffe for the imposter that he is.
The late-play appearance of the bailiff (Douglas Seagraves), who provides legal representation for Tartuffe, is yet another highlight. His fiendish cackle brought down the house.
Director Gitlin has guided her actors well. Every line of verse has received the proper expression to avoid sounding like lines of poetry. Movement and gestures heighten meaning and impact.
It all deliciously plays out on Greg Fritsche’s stunning set, which comprises a portion of the family’s house and garden in Paris.
The only weakness is the introduction at the end of the character of a police officer, whose dialogue could have been articulated with better expression. But it is a mere hiccup amidst an otherwise outstanding production.
Tartuffe continues on the Long Beach Playhouse Mainstage through May 5. General admission tickets are $24; $21 for seniors. Student tickets are $14 with valid student ID. Performances are Fridays and Saturdays at 8pm, with Sunday matinees at 2pm. The Long Beach Playhouse is located at 5021 E. Anaheim St. Call (562) 494-1014, option 1, for reservations and information. Tickets are also available online at lbplayhouse.org .
