Tartuffe: Born Again

Reviewed by Holly Bartges

Because Moliere scrumptiously could turn a sharp eye toward contemporary “moralic” behavior with a double sword sharpened pen, in the 1600s, he could smartly turn blatant hypocrisy into funny. Not always appreciated, because undoubtedly, he was understood, Moliere rode out the created tension as one of France’s top-flight playwrights. When he went after religious hypocrisy under the guise of Tartuffe in 1664, Moliere could not perform it in public, although he provided several performances at court. The church called him a “demon in human flesh.” The Archbishop of Paris promised excommunication to any one who acted in it, saw it, or even read it.

Tery Brunsed as Cleante and Suzanna wellens as Elmire in Germinal Stage Denver’s production of Tartuffe: Born Again.

Playwriting may have changed drastically since the 17th Century, but human nature seems to revolve around the same patterned sphere.

Hypocrisy remains today as blatantly as it did in the 1600s. Moliere set his play in the middle of Paris. Germinal Stage Denver’s current production of Tartuffe: Born Again resides in the middle of the Deep South.

Brilliantly adapted for the stage by actress, playwright Freyda Thomas, director Ed Baierlein skillfully brought together a stunning cast who understands Moliere, who develops their characters with strength and power, and at the same time balances the “Molieresque” rhythm and rhyme Thomas captured. Giving rhyme substance and allowing it to sound normal is no small trick. This cast masters every nuance.

Michael Shalhoub gives such a masterful presentation of Tartuffe, he could replace any of the current TV evangelists at any given moment, and no one would be able to tell the difference. He is that good. Well, he could replace them until the moment Elmire, stunningly played by Suzanne Wellens, succeeds in getting Tartuffe’s juices running so wildly he strips to his boxer shorts right there in front of God and everyone to take advantage of Elmire’s seemingly innocent come hither take me now demeanor.

Dressed in con white from head to toe, the slick Tartuffe mesmerizes Orgon, owner of television station WGOD, and his elderly mother, Mrs. Pernell. Tartuffe will turn the evangelistic world on its head, and put WGOD on cloud 9 in the ratings. These two just know it. Lawrence Allen embodies the gullible Orgon with quadruple enthusiasm. Peggy Miller carries Mrs. Pernell with the weight of perplexed confusion except she has been completely bamboozled by the magnetic charm of Tartuffe. Orgon grabs the future with precision. He promises his daughter’s hand in marriage to Tartuffe along with his television assets sending Mary Ann into a frightened whirlwind. Mary Ann doesn’t want to marry Tartuffe. She loves Valere, a loose as a goose smoked out hanger on in a sleeveless leather vest and rumpled hair. Kristina Denise Pitt handles Mary Ann with delightful dignity even in her most frantic moments. Even though Valere’s ambition remains questionable, Luke Terry allows him to be comfortably loveable.

Charismatic Jennifer Ann Forsyth dressed as a rock star ready to tear up a stage with a heavy metal band, as Dorine, Orgon’s strong assistant commands center stage wherever she is. Smart as a whip, Sassy Dorine caters to every Orgon whim while soothing Mary Ann and Valere’s ruffled feathers with a plan to entice Tartuffe to “disrobe” his true colors. Not afraid to stand up to Orgon, her smart mouth constantly gets her in trouble. Intimidated she is not. Part jester, part moderator, part dance instructor, part director, Dorene knows how to use her smart mouth as a deterrent knowing how to orchestrate Tartuffe’s downfall. Even when Orgon verbally slaps her down, Dorene remains in control.

The beautiful Elmire is just the piece of eye candy strong enough to coax Tartuffe into a compromising position. They can’t just tell Orgon about Tartuffe’s indiscretion, they have to show him. One hysterical moment leads to another. Elmire pours on coquettish sexual illusion to Tartuffe; until his physical hunger pushes his con artist mastery out of the way, and he can’t get his crisp white suit off fast enough. Hidden under table, Orgon misses his cue from Elmire out of shock from what he hears.

While the shimmer of hypocrisy glimmers in the spotlight, hilarity dances through every line proving once again truth can be revealed with boxed in humor.

Elmire’s brother, Cleante having just returned from a fishing trip sits in quiet solitude part of yet separate in philosophical musings. Terry Burnsed with all kinds of fishing gear and superfluous objects hanging from his clothes, including a wine glass, gives Cleante memorable space. Even when he tinkers with television equipment, one can see the gears in Cleante’s mind in full whirl. He doesn’t miss a trick.

Catapulted to present day, Tartuffe: Born Again begins with a chuckling Prologue by Stephen R. Kramer dressed in 17th Century garb. He warns he will return later, which he does dressed in the stylized manor of an FBI agent down to dark sunglasses.

Even when Tartuffe’s con artistry is revealed with white shorts sporting red hearts, Orgon’s television industry straddles shaky ground. Tartuffe thinks he has won the game and the television empire because Orgon’s blindness led him to a quick and quirky decision.

Appearing briefly, Melissa Pear takes brief control of the out of control situation as Ms. De Salle, a real estate agent. Her brief moments on stage rock Orgon and family to the core, and Pear thrills with her all too brief performance.

Sallie Diamond designed the costumes with wild imagination and a finite sense of the inner makings for each of the characters, bringing almost as many giggles from the audience as the rhythmic down to earth lines living in contemporary times with a Molieresque overture.

Tartuffe: Born Again begins Germinal Stage Denver’s 32nd season with a down to earth Moliere script that ties him to the reality of the 21st Century, an awesome cast providing every character strong identity to shine, with precise determined direction, demonstrating 31 years of expertise behind GSD. It’s a masterpiece of theatrical experience that tickles the imagination, sets the mind probes into action, and entices honest laughability. Once more solid religiosity gets put soundly in its place.