Steve Turner, Darren Gilshenan and Alex Williams in Molière’s Tartuffe The Hypocrite presented by Black Swan Theatre Company. Photograph by Daniel James Grant.
WA’s Black Swan Theatre, in its time, has provided some reworked classics – expertly using humour to draw their audience in droves. This version of Molière’sTartuffe has been rewritten by experienced Molière translator Justin Fleming and brilliantly directed by Kate Cherry in her company farewell before moving on to NIDA. This version brings biting satire to the fore with the hypocrisy of Tartuffe’s pious concern for the poor shown to be an elaborate charade.
Preserving the original structure of the text whilst incorporating modern Australian language, the rhyming verse starts out somewhat bemusing to the viewer (evoking nursery rhymes) but grows on you. The occasional interruption to the rhyming is provided by appropriate swear word interjections! Writing in the second half of the 17th century, Molière asked the King for permission to write this play: ‘..if I wrote a comedy which exposes these hypocrites by putting on public display the extravagant mask and the hidden trickery of these charlatans of devotion, whose aim is to trap people with fraudulent zeal masquerading as sophisticated piety.’ Thus mankind ever stays the same, as this work is just as relevant to today’s contemporary society where people manipulate, connive, and pretend at sincerity to gain status and money. The ending of this work involving media and cameras is just laugh-out-loud funny and stunningly clever; kudos go to all who devised this brilliant ending with its ‘typical bias of the ABC – uber at the gate; this is where you end up when you make religion a sport’ references.
The cast were a joy to behold in their fluid teamwork and well balanced casting. Awarded West Australian actor Jenny Davis as matriarch Madame Pernelle sets the tone right at the beginning embracing the role with her finely honed control of the situation and biting wit. Emily Weir as the maid has a significant career ahead of her, if this debut is anything to go by. Weir had total command of the role of Dorine – in fact she stole the show! As illustrated by the audience’s rousing applause for her at the conclusion of this performance. In her company debut this talented young actress showed a compelling range of earthy humour, vivacious acting and focused engagement in her wide use of the stage and dexterity in performing with the other actors. Tessa Lind’s debut with Black Swan as Mariane was masterful casting. Her naiveté and simple loyalty to her father Orgon are exemplified and her confusion over his directive against her intense passion for Valere (passionately played by James Sweeny, a recent WAAPA graduate) create a convincing misunderstanding which indicates that Mariane will follow her father’s wish and marry Tartuffe. Lind’s comedic timing and expressive face were lovely to watch. Other standout performances included Alison van Reeken vamping it up as Elmire – the wife of Orgon – who is obliged to set a scene that shows the extent of Tartuffe’s lecherous intentions. Steve Turner as Orgon was convincing as he ensured his simpering devotion to Tartuffe was not too unbelievable. Alex Williams as Orgon’s son Damis was the hot-tempered young man defending his family with a James Dean scowl and hair obsession to die for; again a thoroughly convincing portrayal that showed the range of strengths of this young actor. Hugh Parker does a sterling job as the wise brother-in-law.
It takes some time for Tartuffe played bv Darren Gilshenan to appear, and his religious devotion balanced by his neediness to manipulate are clearly signalled by the actor. This ‘ickiness’ is apparent to all but Orgon who is told by his son ‘if you force her to marry a sod, you will answer to God’. As the second half opens, our warning bells are indeed going off as Tartuffe suns himself on the deckchair drinking cocktails whilst served by the maid; his status has changed. The performance revs up with the earthy humour of Dorine playing a key agitating force with lines like ‘you simply must press on’ as she gyrates her pelvis and claims Mariane has been ‘Tartuffed’! The sing song rhyming verse has settled and seems to take on its own life. Another hilariously memorable scene with Orgon and Tartuffe results in the visual image of the stuffed pig – apple in mouth and all!
The set design by Richard Roberts was both fun and visually stimulating as it took your gaze all over the stage. The shiny contemporary architecture and modern Australian house design clearly indicated an upmarket suburb of a well-to-do family. Keeping our attention, the house set revolved to reveal the interior house to exterior house including balcony. The scene ala Romeo and Juliet where Mariane over-dramatically tries to kill herself because her best friend Dorine isn’t supportive enough about her impeding arranged marriage, is sidesplittingly funny. As the play concludes the space transforms itself in front of our eyes with astute lighting by David Murray enabling actor-ly silhouettes in the setting sun.
This great work, bypassing some of the lengthy philosophizing of the original Molière, has been brought vividly to life in a modern Australian context by a fantastic cast and director with clever rewriting by Justin Fleming and a playful set. Highly recommended to catch Tartuffe if you can – especially to experience the audience booing at Tartuffe at curtain call!
Rating: 4 1/2 stars out of 5
Moliere’s Tartuffe The Hypocrite
Director Kate Cherry
Written by Moliere – a new Version by Justin Fleming
Set & Costume Design Richard Roberts
Lighting Designer David Murray
Sound Designer Tony Brumpton
Performed by the Black Swan Theatre: Jenny Davis, Darren Gilshenan, Tessa Lind, Hugh Parker, James Sweeny, Steve Turner, Alison Van Reeken, Emily Weir, Alex Williams.
Heath Ledger Theatre at State Theatre Centre of WA
22 October – 6 November 2016
