Classic French farce gets a contemporary makeover

Tartuffe by Moliere, An adaptation by Louise Fox
Directed by Shane Bosher
Silo Theatre at Q
November 3 - 26

In this new translation and reworking of Tartuffe, Silo Theatre has created a riotous farce set in contemporary New Zealand which shows that human beings are as naive, deceitful, hypocritical and vain as they were 350 years ago.

Moliere’s “Tartuffe” or “Tartuffe the Imposter” written in 1664 was rarely seen at the time as it was banned by Louis XIV under pressure from the clergy.

This witty critique of class, piety and the aristocracy was seen as an attack on the church rather than an insight into the gullible nature of human beings.
Orgon and his mother Madame Pernelle (both parts played by Cameron Rhodes), have fallen under the spell of Tartuffe’s holiness and zeal.
His children and the maid Dorine see through the imposter but Orgon will not have a word said against his friend. He even announces that his daughter who is in love with Valere will marry Tartuffe.
Damis, overhears Elmire, Orgon's wife, being seduced by Tartuffe but when he tells his father of Tartuffe's proposition, Orgon thinks his own son is evil in trying to defame Tartuffe's good name and he immediately disinherits him
Eventually Elmire convinces Orgon to eavesdrop on her next encounter with Tartuffe who again attempts to seduce her making declarations of love to Elmire but also derogatory comments about Orgon.
Orgon orders him from the household but Tartuffe then reveals that legally he is now the owner of the house, since Orgon has signed over all his property.
News arrives that Tartuffe is having the entire family evicted and Tartuffe brings with him the authorities who then announce that it is Tartuffe they have come to arrest. Orgon and his family return to their life of indulgence
The traditional; French theatre had a number of conventions for theatrical works – they should be of five acts and they subscribed to the unities of time, place and plot and generally had major events happen offstage and only reported on.
There are still vestiges of these conventions in this reworking of the play which makes one aware of that older tradition inserted into a new format.
Some of the cast are outstanding at holding the play together. Mia Blake as the Pacific Island maid Dorine gives a memorable performance with a clever blend of comedia del arte and stand up comedian. Her asides to the audience are well judged and contribute to the plays tremendous energy.
Cameron Rhodes as the fumbling and bumbling Orgon gives the part a brilliant interpretation filling it with hyperbole and embellishments but never allowing the part to become mere caricature.
Paolo Rotondo as the slightly androgynous, religious poseur, Tartuffe, manages to combine something of the charm of the sleazy salesman and the nauseating tele-evangelist.

Sophie Henderson gives an animated performance as the daughter torn between marrying for love and marrying the man chosen for her by her father.

Theresa Healey plays Elmire, lurching between the coquettish and the chaste with a bored casualness which hides a keen mind.

Tavai Fa’asavalu is entertaining in a range of roles including the dog who defecates into the pool.

The set and costumes by John Verryt and Elizabeth Whiting add an extravagant and plush look to the play with lots of fake fur and the large swimming pool which most of the characters manage to find their way into it, after the turd has been removed.

Warning! Don’t buy tickets in the two front rows next to the swimming pool