Moliere’s Tartuffe the Hypocrite

The campy, cartoon-like romp that is Justin Fleming’s new version of Tartuffe provides a wonderful swan-song as artistic director Kate Cherry departs from Black Swan.

Set on a beautiful, clean, modern multi-level revolving set by Richard Roberts (who also designed the costumes), - this translation, with its clever, if sometimes amusingly forced rhyme, is up-to-the-minute and unmistakably Australian, yet loyal to its French parentage and origin.

A rambunctious party of a production, it is pacy as well as pretty, with tight team-work and admirable performances.

Jenny Davis shines as opinionated matriarch Madam Penelle, Tessa Lind is a sweet and sympathetic Mariane, Hugh Parker is a solid Cleante (who impressively doubles some minor roles), James Sweeny is a handsome Valere (with another clever appearance), Steve Turner gives credence to the misguided Orgon, Alison Van Reeken is sexy and strong as Elmire and Alex Williams owns the impetuous Damis.

Darren Gilshenan is suitably slimy as he embodies the title role, earning good natured boos at the curtain call. Emily Weir as Dorinne, came close to stealing the show, mastering the Moliere maid, she was sexy, sassy and smart and a clear audience favourite.

A wonderful blend of old and new, very tightly presented, Tartuffe was a wonderful close to the Kate Cherry Era at Black Swan and a fabulous way to end 2016.

Kimberley Shaw

Photographer: James Grant