Review: Rollins College's TARTUFFE is Fun, but Thin Comedic Classic

What if instead of encouraging Jay Gatsby to find the greatness in his true self, Nick Carraway had led his rich friend down a path of phony-spiritualism that brought him to the brink of bankruptcy? That is the premise behind the Jazz Age-inspired production of Molière's TARTUFFE running at Rollins College's Annie Russell Theatre through November 21st. Directed by John Christopher Jones, a veteran of 15 Broadway shows, including the 1990 revival of Molière's THE MISER, the production makes great use of a uniformly delightful cast to create a whimsical evening of classic theatrical farce, even if it they never seem to get the most out of the more than 350-year-old text.

Though Moliere wrote the play in 1664, it has survived the centuries because of one tried and true comedic principle, people love laughing at the stupid things that their relatives do. Despite his immense wealth, Orgon (played by Casey Casteel) has fallen under the spell of the seemingly pious, homeless demagogue Tartuffe (Matthew Striegel). Other than his mother, all of Orgon's friends, family, and servants see through Tartuffe's virtuous façade and set out to open Orgon's eyes before the scoundrel irreparably takes advantage of him.

Of course, the more Orgon's loved ones try to convince him of Tartuffe's deceit, the more convinced he becomes of his holiness. It also doesn't hurt that Tartuffe is a master manipulator, managing to weasel his way into Orgon's home, before laying claim to anything and everything that he wants inside of it.

On a gorgeous set designed by Molly J. Finnegan, the cast works like a well-oiled machine. Using Richard Wilbur's 1967 translation, the entire play is performed in rhymed 12-syllable couplets. Despite the intricacy of the show's poetry, without exception, each actor pulls off the unique task well, making it believable that they naturally speak in verse.

As the title charlatan, Striegel is a greasy snake-oil salesman that can make you shudder with one sideways glance. While he is always seedy, and quite convincing when embracing his misdeeds, he never fully displays the charm required to pull off such a massive con on someone as accomplished as Orgon. For his part though, Casteel meets him halfway, playing the master of the house as a gullible, yet overly stubborn man. The two are at their best when Striegel is leading his benefactor astray without Orgon ever noticing it.

The rest of the cast is wonderfully entertaining, led by Chloe Brewer as the maid Dorine. She is absolutely hilarious, especially with the monumental task of serving as a de facto Greek chorus, providing both monologues of exposition and commentary for nearly the entire first quarter of the play. As compellingly as she plays the character, it makes you wish that Molière had written a separate play with Dorine at the center. Haley Benson is also extremely charismatic and cunning as Orgon's wife Elmire, who becomes the object of Tartuffe's unrequited desires. Along with Lily E. Garnett, who is a lot of fun as Orgon's frustrated in love daughter Mariane, the three women provide a refreshing balance to the show's nefarious and naïve leading men.

Nicolas Petersen-Gyongyosi (Cléante), James Blaisdell (Damis), and Bernard Farquharson (Valère) are also very strong as they attempt to get Orgon to see the light; and though she never speaks, Anneliese Moon is fantastic while subtly stealing scenes off in a corner of the stage as Flipote.

While the play is always entertaining, it never feels as if it has reached its utmost potential in terms of either humor or drama. TARTUFFE has withstood the test of time because Molière has crafted a story and characters that undoubtedly work on multiple levels. In the show's program, Jones admits that they have decided to eschew the comedy's commentary on religious hypocrisy, and to focus on its very personal, familial drama. However, by playing to this point, we lose a bit of the show's stakes, because, despite their present differences, Orgon's family appears to be one that truly loves one another. So, while any potential financial disaster would be disappointing, it never feels as if it would be completely ruinous. Therefore, it feels a bit like a two-act, French sitcom, where the happy ending is never truly in doubt.

Although I thoroughly enjoyed the pre-show and intermission music of rearranged and/or instrumental versions of Beatles' tunes, I'm still not exactly sure how they fit into the Jazz Age setting. However, the costume and hair designs by Angelica Trombo were beautiful and perfectly suited for the era.

Molière's TARTUFFE runs on the campus of Rollins College in Winter Park through Saturday, November 21st. To purchase tickets to this classic French comedy, visit the Annie Russell Theatre's website or call 407-646-2145.

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Were you taken in by that scoundrel Tartuffe? Let me know what you thought in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter by using the buttons below. You can also chat with me about the show on Twitter @BWWMatt. If you want to follow along with my "366 in 366" articles, you can check out #BWW366in366 on Twitter.

Banner Image Credit: James Blaisdell, Casey Casteel, and Matthew Striegel in TARTUFFE: Rollins College

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