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TARTUFFE
by
Molière, translated and adapted by Ranjit
Bolt
Watermill Theatre Tour to 27 May 2006
Runs 2hr
20min One interval
9 May 2006 Lyceum
Theatre
Written
by Paul Tyree
http://www.paultyree.co.uk/
For anyone who came to Tartuffe unaware of what it is
(and there must be some) it no doubt may have seemed a very
strange fish indeed. A play spoken entirely in rhyming
couplets is a very noble exercise for any dramatist and for
the most part in this production it is successful. By that I
mean it tells the story well, keeps the action flowing and is
gently amusing at times whilst rarely laugh out loud funny. As
though the classics had been rewritten by Pam Ayres. Unhappily
it’s also a constraint which means that too often
we’re left with the basest of rhymes and laughs instead
of the subtle and affecting piece this might hope to be. It
does also sometimes appear to be rhyming for rhyming’s
sake, like a bad poet thinking that they’re cleverer
than they are.
The
basic storyline, famously borrowed for the Hollywood movie
‘Down and Out in Beverly Hills’ (which
isn’t that funny either), gives us Tartuffe wheedling
his way into a wealthy man’s house and affections and
through a façade of religious piety ends up very nearly
destroying the man’s family and running away with his
fortune.
On
the plus side of this production, the design is simple,
elegant and effective – with three doors, two chairs
and a table somehow giving the audience an impression of
opulence. The costumes are equally effective and
impressive.
Also
all of the actors perform remarkably well, especially Tartuffe
himself Adrian Schiller. Largely spoken of for the first third
of the play but never seen Mr. Schiller’s first
appearance is something of an anti-climax on the back of all
the hyperbole spoken about him. However, he deftly and
magnificently becomes the most watchable person on stage,
which is no mean feat in this largely excellent
cast.
The
evening also moves very quickly indeed which is always a good
sign in the theatre.
My
only remaining quibble would concern the ending of the play,
which to modern day audiences will no doubt feel too
convenient, too tacked on, as though there should have been
another 30 mins in which to properly unseat Tartuffe. Of
course this is not a criticism of the actors or even the
person who adapted this production Ranjiit Bolt. I suppose it
would also be unfair to criticize Molière, given that this
play was written nearly 350 years ago. However, it may be one
reason why audiences may be left with a slightly
unsatisfactory taste in their mouth (considering that even
Hollywood
managed to come up with a better ending, and Shakespeare
certainly would have done).
However,
those minor quibbles aside this production is well worth the
price of admission and it was certainly a privilege to see a
company of actors all unencumbered by fear and playing the
piece for all it was worth. In that sense it was a rare treat
indeed.
Damis:
Joseph Chance
Mme Pernelle: Marty Cruickshank
Dorine:
Patricia Gannon
Monsieur Loyal/Violinist: Tom
Jude
Elmire: Catherine Kanter
Orgon: Des
McAleer
Cleante: John McAndrew
Laurent/Kings Officer:
Chris Porter
Flipote/Violinist: Maria Rallings
Mariane:
Sophie Roberts
Tartuffe: Adrian Schiller
Valère:
Matthew Spencer
Director: Jonathan Munby
Designer:
Mike Britton
Lighting: Oliver Fenwick
Composer: Dominic
Haslam
Movement: Katherine Taylor
Tour:
9-13 May: Sheffield
Lyceum
16-20 May: The Lowry Salford
23-27 May: Oxford
Playhouse
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