By Antero Garcia
Daily Bruin Senior Staff
“Tartuffe” isn’t just the average play about a
smelly, dirty man stealing another man’s wife, daughter and
property. No, this one’s performed in rhyming couplets
““ Dr. Seuss style.
This new translation of Jean Baptiste Poquelin de
Moliere’s tale of religious farce, sex and family bonds
performed by the Pasadena Shakespeare Company at the Fremont Center
Theatre in Pasadena retains enough comedic situations to keep the
audience at least mildly amused.
Taking place over the course of one day and in the same room,
“Tartuffe” is striking because the plot seems to unfold
in real time.
Though not quite as steamy or controversial as when it premiered
nearly three centuries ago and was banned from stage for five
years, “Tartuffe” still rings a note of
familiarity.
The play takes place in the 1800s in a small home in France. The
patriarch Orgon, after being convinced by his mother Madame
Pernelle to give shelter to the poor and humbled Tartuffe, quickly
takes a liking to the seemingly pious gentleman.
Despite his feelings, the rest of Orgon’s family is
displeased with Tartuffe’s stay. Not only is the visitor
terribly odorous, but he also seems to be a sinister charlatan. As
the audience learns quickly, not only is Tartuffe trying to have
sex with Orgon’s wife Elmire and blackmail the family, but he
is also going to marry Orgon’s daughter Mariane.
One of the only aspects that keeps the story one level above
blandness is the humorous quirks all of the characters have. For
example, Orgon’s brother-in-law Cleante attempts to be
genteel and well-mannered. However, he often resorts to violence
when trying to explain to the rest of the family the need for
passivity.
Contradictions of words and actions such as this one seem to be
the driving force behind much of the play and its comedic impact.
Even the positions of power within the family are distorted and
mixed up. Often it is the family’s maid, Dorine, who comes to
vicious disagreement with Orgon over his kinship with Tartuffe.
Besides the odd characters in “Tartuffe,” another
appealing factor of the play is the fact that the translated
version of the play is still in rhyming couplets, much like
Moliere’s original French script.
Though the rhymes are cute and give the play a song-like
quality, they also get cheesy quickly. The main problem is that
some words are used repeatedly in the two-hour play. Lines ending
with “delicious,” “malicious,” and
“vicious” get old fast.
On a similar note, never has the word “thesis” been
used more often in a two-hour block ““ with the possible
exception of UCLA’s English 4 discussion groups.
Besides the odd word choice, repeated rhymed words and the fact
that the show really isn’t that funny, the only other major
problem with the play is the music.
Though only played while patrons are waiting before, after and
during the intermission of the show, the mix of electronica and
Bach isn’t what audience members would expect during a French
comedy. It’s music like this that makes Michael Bolton sound
good.
As for the theater itself, it’s quaint, holding no more
than 50 guests, which gives the show an intimate and personal
feeling. Being such a small venue, there really isn’t a bad
seat in the entire house.
The costumes are stunning and the set, depicting one room in
Orgon’s house, is detailed and appears to be historically
correct. At least the audiences’ eyes can be pleased while
their ears go through hell.
"Tartuffe" Info: Sept. 1-30. Fridays and
Saturdays 8 p.m. Sunday 3 p.m. $18 general admission, $15 students
and seniors. 1000 Fremont Ave, South Pasadena. For reservations and
more info call (626) 564-8564 or go to www.pasadenashakespeare.com.