author: Leonard Taube
Few plays in world history are mired in as much controversy as the one being currently produced by Silver Spring Stage (Silver Spring, MD). In 1664 France, a delightfully funny yet extremely controversial three-act play by French playwright Moliere was performed titled Tartuffe. While received well by the public, it immediately sparked conflict amongst certain groups who did not take too well to the portrayal of someone who is outwardly pious but fundamentally deceitful. So much was the pushback to this play by the church and upper crust members of French society that, shortly after it was performed, it was suppressed by King Louis XIV (although it is said that he, himself, was a supporter of Moliere), under pressure from the Archbishop of Paris Perefixe, who issued an edict threatening excommunication for anyone who watched, performed in, or read the play. Interestingly, this version was never published and no text survived. Moliere himself tried to pacify the church officials by rewriting the play but to no avail. His “new” version of the play, a work in progress, was initially five acts and called L’Imposteur (The Imposter). Like Tartuffe, it had only one performance in 1667 after which performances were again censored. It is said that the original version could not be played publicly but could be given privately; however, the completed revision finally debuted in 1669 and was highly successful. This version was published and the one that is still performed in modern times.
Shying away from all this controversy and embracing a work that some consider one of the greatest classical pieces of theatre, Silver Spring Stage is tackling this most ancient, yet contemporary at the same time, of plays. Rest assured, it makes for some hellishly (excuse the expression in the context of the show) good comedy that is a wonderful way to spend a couple of hours and, fear not theatregoers, the play is now only two acts. Director Jacqueline Youm has yanked the production out of the stuffy French drawing room and inserted it into 21st century modern times, complete with modern dress. She also punched up the religious aspect of the play which, while traditionally there in the background and conveyed through dialogue, comes through loud and clear under Youm’s direction. Youm takes the audience to church in her production and, while it makes for some laugh-out-loud comedy, it also skillfully accents the main themes of the play in a world where religion is used to deceive, and no one is immune. As Youm states in her Director’s Note: “People have been using religion to lead others astray for as long as God and gods have existed.”
Set Designer & Master Carpenter Douglas Becker has put together a simple yet effective set on Silver Spring’s unique stage setup (audience seating is on two sides of the stage). A sofa, chaise, liquor table, a large set of French (what else?) doors for entering/exiting and a smaller closet door complete the look for the family’s living room.
Lighting Designer Steve Deming does a good job of lighting the cast and the setup is not a complex one, nor does it need to be. This is not one of those shows that calls for mood lighting changes. Deming understand this and lights the stage appropriately so that all actions can be seen.
Costume Designer Oliva Bender has outfitted the cast in modern attire and, from the dresses on the ladies, and suits on the gents, for a play that has been suctioned out of the wig and tights French days of yore it makes for a delightfully refreshing take.
Right off the bat, this play is written entirely in 12-syllable lines of rhyming couplets which you will notice almost immediately. While one might think that would get tiresome after a while, it doesn’t and soon your brain will start to recognize certain rhymes and not notice others. It’s a very clever concept and adds to the unique charm of the show.
Orgon (Joseph Coracle) is the patriarch of the family, a man who has fallen under the spell of his houseguest, a former vagrant named Tartuffe until he was taken in by Orgon, and a man blinded by Tartuffe’s piety. Coracle, dapper in his suit and tie, scurries about the stage with fluttered awe, a man deeply taken by Tartuffe so much so that even his own family has taken a back seat and holds no sway with him. There is just no talking to Orgon, for all roads lead back to Tartuffe. An especially comedic moment comes when Orgon is trying to appease Tartuffe after Orgon’s son, Damis, speaks out against him and, while Tartuffe pretends (in the name of all that’s holy) that it is divine intervention that he should leave the house, Coracle, desperately trying to convince Tartuffe to stay, flings himself down on the couch in flustered exasperation and breathlessly declares “I can’t live without you!” He’s fun to watch transition from a bedazzled admirer to an enlightened and vengeful soul once the veil of Tartuffe’s deception has been lifted.
The man himself, Tartuffe (Mike Kroboth), is first seen in a pantomime preaching scene which opens the show, most assuredly Youm’s brainchild. Picture stereotypical church scenes with a fiery preacher and the congregation “feeling the spirit”, complete with arm flailing, high fist praising and, for good measure, some soul saving with forehead taps by the preacher causing much falling and rejoicing. Kroboth walks around with his Bible always clenched in his hands, quoting scripture to suit the situation and always with his sidekick/servant, Laurent (Maggie Murphy) who brings Tartuffe’s statements to life with mimic, facial expression, body language and such energy and comedic prowess that one can almost not picture one without the other. This dynamic duo is enough reason to see the show. Their antics, even though the audience sees through what Orgon can’t, are hysterical and might take you back in memory to the church of your youth, with the minister preaching the word of God while all the while several others on the pulpit are crying out affirmations with zeal and passion. Praise The Lord!
Valere (Justin Meyer) is the suitor of Orgon’s daughter, Mariane. Tall, blonde and handsome, Meyer’s frenetic forays onto the stage are dramatic comedy at heart. His comedic timing is impeccable and, while not on stage a lot, makes the most of his time and his character. Watch for his and Mariane’s “tiff” and his declaring that he is going to leave…or is he…many, many times. Meyer will make you smile as the young lover who is caught up the midst of his hopeful future bride’s family issues.
Madame Pernelle (Tracye Brewer) is the matriarch of the family, and equally as duped by Tartuffe as her son, Orgon. Brewer ponces around stage with stately mannerisms, complete with some deft hand-held fan swishes & swooshes, rhapsodizing whimsically about Tartuffe’s wholesome and good soul while simultaneously chastising the rest of the family for not embracing him. We see the good mother again towards the end of the play and each time she appears with a servant, Flipote (Megan Hinton, played by understudy Kimberly-Elise Recas at the performance this reviewer attended), whom Yocum has given voice much as she did with Tartuffe’s servant. This Madame/Servant combination is equally hilarious as the Tartuffe/Laurent one, with Flipote wagging her finger and shaking her head as she interprets and drives home her master’s fiery words. Add in some classic church-style screaming and fainting at the end of Act 2 and you’ll want to throw up your arms and faint with laughter too.
Elmire (Erin Gallalee) is Orgon’s wife, and Gallalee plays the role with such great physical comedy that it’s hard not to look, laugh and laud her performance. What a treat to sit back and guffaw as she romps, careens, fights, struggles and paws her way around skirmishes such as with her stepson Damis or Tartuffe. I give due credit to Fight and Intimacy Director Julia Rabson Harris for fine tuning such physically intimate bits which, while hilarious to watch, and equally fun to perform, can be daunting when you’re running around grappling with another actor while making sure you don’t fall or sustain any injury, much less grasping someone you’ve never worked with let alone know. Even if she’s just standing primping in a doorway, the audience roars and for good reason. Gallalee is a master at physical comedy and, as the wife who tries to get her husband to see Tartuffe for what he is, her efforts are comedically on target. Watch her facial expressions and scene with Tartuffe when she and he are alone (well, almost alone).
Cleante (Chevell Thomas) is Elmire’s brother, and Orgon’s brother-in-law. Well, if you weren’t sure if you were in church before, there will be no mistaking it once Thomas takes stage. Youm continues her vision of accenting the religious aspect of the play and converts Cleante’s speeches into sermons worthy of a Sunday, and, at one point, even has a podium brought on stage for him to use as if he were up on a pulpit. But it’s when Thomas produced a handkerchief to wipe his brow (think preacher yelling and praising and sweating up in that aforementioned pulpit) that I lost it. Thomas is a good soul, trying his best to get his brother-in-law to recognize Tartuffe for the hypocrite he is, but his rather long-winded advice does tend to ramble a bit, and this makes for some good, what else, comedy as well. And Thomas does look the part. Check out his shoes. Praise!
Dorine (Jacqueline Youm) is silly, sassy and wise. Yes, the same Youm that directed this show takes part in the fun as well and take the role of the family’s housemaid and makes it her own. Dorine is saner than the whole lot of them, and she knows it. There is a certain old-soul quality to Youm’s interpretation. She doesn’t simply play the part for comedy, although she does have some great comedic moments. Dorine sees through not only Tartfuffe’s façade, but into the soul of man and is able to recognize him for who he is and what he represents. She is a woman who loves fiercely and would do anything to see justice prevail and happiness abound, even though her outspoken nature confounds and frustrates Orgon. Youm understands this character’s complexity well and, as a result, she is a joy to watch as she tries to mend frayed relationships, save perilous engagements and rid the house of hypocrisy.
Damis (Joshua Prescott) is Orgon’s son, a smartly dressed young man with a cane who, like the rest of his family, wants to rid himself of the Tartuffe disease that has overrun the household. However, Damis is a bit of a hothead and, thus, gets himself into trouble. Damis has quite the physical (and funny) scene with Elmire when he overhears something he perhaps should not have and tries (several times) to barge into the room all the while being repelled by Gallalee’s Elmire. Full of muster and bluster, Prescott’s Damis protests and pontificates, full of family pride and the zest of a young man trying to rid the house of the man who has become the subject of his father’s adoration, much to his chagrin. Another actor who has been blessed with the gift of comedic timing Prescott is oodles of fun to watch as he pleads, entreats, barks, tussles and goes a tad unhinged.
Marianne (Syd Johnson) is the ever-suffering daughter of Orgon, beloved of Valere yet destined for marriage to Tartuffe due to an overbearing father who wants to solidify Tartuffe’s status in the family by marrying him off to his daughter. But Marianne wants no part of it, and Johnson is sufficiently weepy and teary when called for, fiery and testy when needed, and positively sympathetic to a fault. Johnson makes you feel for her character, and her crying to/begging her father not to force her to marry will tug at your heartstrings. This is not to say that Johnson does not have some funny moments herself, but it’s the downtrodden maiden who yearns for her handsome lover (Valere) but must contend with a father who thinks he knows what is best for her that will cause her to win you over. You can’t help but feel sorry for her, and her depth of emotion and facial expressions are sufficient to convey the angst Marianne feels deep within her.
Rounding out the cast are M. Loyal (Zach Shields) and Police Officer (J.J. Shode, played by understudy Megan Hinton at the performance this reviewer attended). Shields plays the bailiff who has come to serve the family with an eviction notice towards the end of the play’s tumultuous climax. Authoritative and cold, Shields makes the most of his short time on stage. The police officer is fun because they get to turn the tables so-to-speak. No plot spoilers here, but I will say that I found Hinton’s officer to be full of wise words spoken center stage with conviction and royal affectation. There are no small roles, and these two do their best at making you remember them.
Few theatres perform this work anymore, so why not immerse yourself in Moliere’s classic play for an evening (or an afternoon matinee if that’s more your thing) and feel a bit naughty as you experience a bit of what would have, centuries ago, got you excommunicated if you had seen the show. Step into a world where morality, religion, love and values converge in a delightful, and still relevant, romp where pretenses are high, tensions are tight and hypocrisy in the name of God has a human form.
Running Time: Approximately 2 hours and 15 minutes with one intermission
Tartuffe plays through November 16th 2025 at Silver Spring Stage— 10145 Colesville Rd, Silver Spring, MD 20901. Tickets are available by calling the box office at 301-593-6036 or by purchasing them in advance online.