Reviewed by James Karas
The Stratford Festival has scored
the season’s grand slam with its production of Tartuffe at the Festival
Theatre. Chris Abraham has directed a staging that crackles with energy, inventiveness,
impeccable attention to detail and performances that are simply hilarious.
There is no doubt that the
biggest credit for the success of production must go to Abraham. First he sets
the pace and the tone. He sets a robust pace without making it frenetic as if
it were a farce. He wants a lively tone and there is no character who delivers
lines simply because they are in the text. Every line must and is delivered at
full force, taking advantage of every nuance in the rhyming couplets.
Members of the company in
Tartuffe. Photography by Cylla von Tiedemann.
Rhyming couplets can drag the
pace down sometimes and even sound artificial. There is no such dangers in this
production. Ranjit Bolt’s translation is colloquial and highly spirited and the
cast delivers its lines with vigour and aplomb. In the modern dress production
Abraham does not hesitate to add some Trumpisms such as fake news and
alternative facts. The play was no doubt chosen for production before Donald
Trump was elected president but he proved a fine target for humour and
ridicule.
The cast was first rate but I
will give high praise first to Anusree Roy who plays the maid Dorine. This
petite lady becomes a spitfire in the role. She delivers her lines with category
5 force and vivacity but she also adds physical comedy that enhances everything
she does. When Tartuffe suggests that she cover her breasts so they will not
offend his delicate morality, she shakes them, contorts her body and produces
hilarious comedy.
Graham Abbey plays the foolish
Orgon, the dupe who falls for Tartuffe’s unctuous hypocrisy and gives him all
his property and his daughter. We get a bravura performance by Abbey, again
full of energy and marvelous touches of humour invented by Abraham.
Maev Beaty as Elmire and Tom Rooney as Tartuffe in Tartuffe.
Photography by Cylla von Tiedemann.
Maev Beaty as Orgon’s wife Elmire
gets to display her considerable comic talents especially when Tartuffe tries
to seduce her and she wants her husband to witness his friend’s depravity.
Again Abraham does not allow any lines or physical action that can produce
humour go to waste and neither does Beaty.
The lovers Mariane (Mercedes
Morris) and Valere (Johnathan Sousa) have a
spirited spat and she tries to stand up to her hopelessly deluded father, all
with verve but no effect. Orgon’s son Damis (Emilio Vieira) does the same with
same lack of success. Michael Blake is in an even tougher position as the
reasonable Cleante. Fine performances by all.
Tom Rooney is a fine Tartuffe but
I would have preferred him to be a little more sanctimonious. He was sporting
some type of accent which he did badly and is unnecessary. Accents are not
Rooney’s forte and he should skip them. Rod Beattie was wasted in the minor
role of the bailiff.
The set by Julie Fox consists of
a modern living room with a bar and serves the production well. The opening
scene is converted into a party out of which the censorious Mme Pernelle storms
out. The scene is not particularly funny on paper but Abraham with Rosemary
Dunsmore in the role makes it very amusing.
It is a production that is
brilliantly directed, superbly acted and provides a great night at the theatre.
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