A modernisation of Tartuffe, on now in Auckland, does Molière proud.
Tartuffe, photo/Patrick Reynolds
In its time, Tartuffe – Molière’s satirical broadside against hypocrisy and the abuse of religion – was so effective that after its first performance in 1664 it was immediately banned. With causing such calculated offence as a benchmark to aspire to, Silo’s modernisation does the original provocative playwright proud. It’s an R-rated romp: deliciously tasteless, foul-mouthed and very, very funny; a pantiless pantomime, if you will.
Updated by Louise Fox for an Australian theatre company several years ago, the text has been further tweaked by director Shane Bosher and company to include topical New Zealand references. A skewering of the lives of the rich and feckless, the story revolves around the machinations of the title character (played by Paulo Rotondo with the oily charisma of a televangelist) as he sets about divesting devout but morally bankrupt mother and son Madame Pernelle and Orgon (both played by an excellent Cameron Rhodes) of all their worldly riches. With their less-gullible dependants intent on thwarting Tartuffe’s plot, comedy inevitably ensues.
As instantly established by Elizabeth Whiting’s on-the-money costumes, the characters are all comic archetypes. Taking their cue from the improvisational commedia dell’arte school of Italian comedy that influenced Molière’s work, Bosher and his nine-strong cast inject proceedings with a great deal of comic business that although strictly superfluous is also inspired.
Thus unburdened of the need for naturalism, the actors seize the opportunity to leave no part of the scenery ungnawed (an observation that in no way should be viewed as a criticism), with Rhodes, Mia Blake, Nathan Whitaker and Sophie Henderson particularly enjoyable on opening night.
In keeping with the highly stylised performances, set designer John Verryt makes inventive use of the flexible space offered by the fabulous new Q theatre, placing the audience on three sides of a rectangular stage area that’s dominated by white shagpile carpet and a long shallow swimming pool that’s still a great deal deeper than the pointedly superficial characters on display.
As the production progresses, musical numbers add to the sense of decadent delirium until the hysteria reaches such stratospheric heights that the cheerfully insouciant blasphemy that brings the show to its end seems like the only reasonable conclusion. In short, prudes should steer clear, while punters exiting without grins are advised to check their pulses for signs of life.
TARTUFFE, by Molière, adapted by Louise Fox, directed by Shane Bosher, Silo Theatre at Q, Auckland, until November 26.