Jordan Wright
June 9, 2015
Special to The Alexandria Times
“Epic Bromance Upends Noted Family” might be the modern-day header for the tale of Tartuffe and Orgon, the paterfamilias of a 17th century, bourgeois family. Or it might read, “Priest and His Slimy Sidekicks Fake Poverty to Con Pernelle Clan – Maid Claims Teen Daughter Was Used as Barter”. I can’t resist one more. “Phony Preacher Tricks Prominent Businessman Who Nearly Loses His Entire Estate”.
Suzanne Warmanen (Dorine), Lenne Klingaman (Mariane), Sofia Jean Gomez (Elmire), Gregory Linington (Cleante,) and ensemble members Stephanie Schmalzle, and Maria Leigh. Photo by Scott Suchman.
In Molière’s timeless story of piety and politics the con artist, Tartuffe (aka “The Hypocrite”), brings down one of the town’s most prominent families with his fire and brimstone brand of religious fervor. As slick as a whistle, the devious flimflammer insinuates himself into the home and gullible heart of Orgon (Luverne Seifert), despite protestations from his household who see right through the hustle. “He has made me a new man without friendships or emotion,” Orgon boasts to his family, dismissing their pleadings and offering up his betrothed daughter, Mariane (Lenne Klingaman) as sacrificial lamb.
In the second year of the Shakespeare Theatre Company’s Comedie Française repertory series, Director Dominique Serrand has brought us a supremely elegant production of the play, one that is guaranteed to make your hair curl and your funny bone twitch. Serrano is also the Co-Scenic Designer with Tom Buderwitz, and the two have created a divinely muted set for the comic drama using as inspiration the symmetrical Palladian architecture of Paris’s Hôtel des Invalides, and the exterior design of the Église Saint-Gervais to evoke an aura of piety.
Lighting Director Marcus Dilliard uses the one-day timeline of the play by moving the lighting across the stage from east to west, coloring the set with the pale, cool light of day with rays of light pouring in through tall windows, and culminating in the honeyed amber tones of sunset. It is very effective and lends a compelling air of urgency to the family’s dire circumstances.
Sofia Jean Gomez (Elmire) and Steven Epp (Tartuffe). Photo by Scott Suchman.
Steven Epp plays the convincingly, deceitful Tartuffe. With his tight-as-a-drum body and spare priestly garments, he looks like an Anderson Cooper version of a Calvin Klein model recently sprung from a torture chamber. Epp’s riveting portrayal of the holier-than-thou, priest-without-a-conscience is enhanced by his ability to quickly morph from insinuating charmer, who proves his devotion through self-flagellations and submissive prostrations, to backstabbing villain. Seifert, as the duped husband and father Orgon, in thrall to the machinations of Tartuffe, gives a commanding performance infused with bluster and swagger.
Luverne Seifert (Orgon) and Sofia Jean Gomez (Elmire). Photo by Scott Suchman.
But amidst all the guile and terror inflicted on the family by Tartuffe, let us not forget what a card and social commentator Molière is. The circumstances he devises are as dark as the comedy is light – – and Suzanne Warmanen as Dorine, the wise and sassy servant, renders it brilliantly. When accused of defaming God by using a handkerchief as a bookmark between the pages of Elmire’s bible, Dorine replies, “If a handkerchief can insult God, God needs more confidence!” Oh yes! She has his sanctimonious number straight out of heaven’s gate.
Elmire (Sofia Jean Gomez), the clever wife of Orgon, has her own way of handling the impostor. In one sexually charged scene designed to prove to her husband that Tartuffe is nothing more than a fraud, she calculates an elaborate seduction to which Orgon is witness. Gomez is electrifying bringing both fire and ice to the character of Elmire.
Not to be ignored are Tartuffe’s henchmen led by Laurent (Nathan Keepers). The duo lends a deliciously evil air to the entire proceedings, lurking around corners and perching above the action, all the better to eavesdrop or threaten.
Sonya Berlovitz informs the costuming with a freshly, spare modernity by eliminating the distractions of heavily ornate brocades and embellishments and creating clothing that takes on meaning and symbolism, at the same time reflecting hilarity (as in Valere’s floral pajamas), solemnity (Orgon’s newly adopted priestly raiments and the plain, grey garments of Tartuffe) and social import (Elmire’s lavish blue gown and billowy red silk robe). The result lends more power to the story and drama to the players.
Highly recommended.
Through July 5th at the Shakespeare Theatre Company’s Sidney Harman Hall at 610 F Street, NW, Washington, DC 20004. For tickets and information contact the box office at 202 547-1122 or visit www.ShakespeareTheatre.org.