Tartuffe

When Molière’s ribald satirical play was first produced in the 17^th century (then promptly banned) the playwright couldn’t possibly have foreseen that 400 years later, Brisbane audiences would be in hysterics at his scripted antics. The fact is Tartuffe – sometimes known as The Hypocrite – is an hilariously funny play written entirely in rhyming couplets that doesn’t get nearly as many productions as it should.

The Queensland Shakespeare Ensemble is just the company to bring the play to life. Whilst their energy far exceeds their production budget, there’s a genuine love of the wit in the words on display throughout.

For those who don’t know the story, the QSE/PIP synopsis tells you all you need to know before the lights dim.

“Orgon is a man who has it all: wealth, influence, happy children, and a doting wife. But when he falls under the spell of Tartuffe, the charismatic spiritual guide (or hypocritical fraud, depending on who you ask), he begins to lose his grasp on it all. Can his family save him, or will he be completely tartuffified?”

“Tartuffified” may be a grammatical liberty, but it’s not the only liberty taken in adapting the play for a 21^st century audience. There is contemporary music and dancing (well-choreographed by the director herself, Rebecca Murphy) and enough comic “business” to give Seinfeld, or even Benny Hill, a run for his money. The result is a clear winner for theatregoers as the audience cheered their approval on opening night.

The Ensemble is also a training ground for new actors, and so there was some disparity in the level of acting ability, but certainly no-one could be accused of not giving their all to the play.

Rob Pensalfini might have been born to play Tartuffe (when he’s not making a feast out of Falstaff or Bottom). A charismatic actor with stage presence in spades and fine diction, he makes us wish that we didn’t have to wait so long for the character to appear, but he quickly takes control once he does.  Angus Thorburn is a worthy foil as Orgon, husband and father who is willingly duped by Tartuffe the conman. A little tentative at first, he really established his bumbling authority in Act Two.

The young lovers Mariane (Leah Mustard) and Valere (Scott Mair) are utterly charming whenever they appear, and it’s doubly impressive that Scott is only a first year apprentice with the company. He moves with confidence and, if there were any first night nerves, he certainly didn’t let them show. Leah Mustard is delightfully naïve and comic as the daughter desperate to marry her young lover.

But it’s Rebekah Schmidt (credited as Bek in the programme) who owns the stage at every entrance and brings so much presence to Dorine – the sassy maid who acts as a quasi-narrator within the play. Her comic timing is excellent; she is suitably sassy and brash, and her diction and projection are excellent throughout, something that some other cast members could possibly work on.

Whilst the set and costumes are serviceable, it would have been an added bonus if there had been more budget to dress the stage and the cast a little more luxuriously, in keeping with Orgon’s wealth.

If you have never seen Molière, you really should, and now…thanks to QSE, you can.  His talent with words is timeless, and his humour is as fresh today as it was 400 years ago.

Plus, there is the added bonus of the PIP theatre itself. Just two years old, it’s a delightful space boasting 100 seat theatre, an excellent well stocked bar, and a very special mezzanine where you can mingle in the interval.

Another great edition to Brisbane’s theatre scene.

Coral Drouyn

BUY THE PLAY SCRIPT