Tartuffe

Tartuffe or The Imposter was first performed in its original French in 1664. This translation, by Timothy Mooney, uses modern language, but imitates the original style, written in alexandrines or 12 syllable rhyming couplets.

The style of the show means that the sentence structure is sometimes unnatural in order to force the rhyme, and the fact that the lines need to rhyme means that actors must be absolutely word perfect. These requirements make modern, naturalistic performance style very challenging, yet that is how most of this show is performed, with occasional deliberate moments of melodrama and overplay.

This production is set in modern times, but in “no particular place” although the beautiful set by Dave and Gwen Browning and its views of an azure ocean (gorgeously painted by Ursula Kotara) suggest either the Australian West Coast (accents and style) or perhaps Nice in France (from the uniform of the police officer). The deus ex machina climax incudes a reference to a King, but by then we have ceased worrying about where we are.

This cast work hard. Great dedication from Andrew Govey in the central role, duped by his seemingly pious, but deceiving friend Tartuffe, despite the objections of his family – his wife Elmire, a sincere and lovely Elinor King, son Damis, well-played by Jake Libbis and daughter Mariane, Ffion Bishop in an interesting and modern interpretation.

Gordon Park has fun in the title role, looking a little like an evil Kel Knight, and including the audience in his duplicity. Karen Tropiano is strong as Madame Pernelle, another deceived by the con.

Jason Pearce is solid as Orgon’s brother-in-law Cléante, our voice of reason and sense, while Mutiara Libbis makes one of the best debuts of the year, making the most of cheeky and clever maid Dorine, in a well fleshed and layered performance. Jack Riches is earnest as lover Valere, with RJ Smolders and Lorraine Jones completing the cast.

Despite decent performances and high production values, this show is not for everyone, with a notable exodus at interval (although to be fair, the evening I attended there were issues with the toilets and the trek to a nearby tavern may have been too much for some). The modern language (and some of the lines are shockingly funny) doesn’t seem enough to make this show meaningful and worth the investment for many of today’s theatregoers.

Definitely worth a look for lovers of a classic play, Tartuffe is a beautiful looking and well-prepared production.

Kimberley Shaw