Saucy Satire

TARTUFFE is the story of what happens when a hypocrite moves in with the family. It is also a very funny satire directed at those who oppose 17th-century absolutism. Orgon, a wealthy and respected Parisian and supporter of Louis XIV, is infatuated by the pretended piety of Tartuffe, whom he has observed sweating blood in church. He welcomes him into his family, embracing him first as a brother, then as an heir when he disowns his skeptical son. Apparently hoping that his association with the pseudo-pious Tartuffe will create for himself a public image of God-fearing moral rectitude. Orgon out-tartuffes Tartuffe and becomes a greater impostor than the master himself. Right up until this comic situation seems on the point of becoming tragic. Orgon obstinately ignores the blinding evidence provided by his family that Tartuffe is not only duping him heartlessly, but also lusting after his wife and robbing him of all his worldly goods.

Moliere's satire on hypocrisy--the most obvious threat to the formal social structure of France under Louis XIV, where freedom and order could be mixed equally as long as everyone played fair--is given a glorious vitality by the Adams House Drama Society's cast. Where Moliere caricatures human folly to make it more obvious and more laughable to his audience (so that they might then recognize it in themselves), the Adams House cast, under the direction of James Ulmer, manages a careful balance between exaggeration and realism that is the perfect medium for Moliere's message.

BENNY BACON MAKES a repulsively snivveling, lecherous Tartuffe whom you love to hate. Licking his twitching lips and rubbing his hands Uriah Heepishly, he genuflects his way towards inevitable downfall. Bacon dilutes the inherent despicableness of this character with a strong does of the ridiculous, and his Tartuffe becomes a true figure of satire. Orgon, although the personification of another variety of folly, elicits very different reactions. Played by John Cross, he is a pathetic, even pitiable character, grossly misguided in his worship of a false idol.

But above all, it is the magnificent performance of Rochelle Crasnick as the plain-thinking, plain-speaking, all-knowing maid, Dorine, that does the most to elevate this production to its consistently high level. Like most of Moliere's family servants. Dorine is the only truly unaffected character in the play, outside society and unconcerned with formalities. Using every inch of Philip Drysdale's excellent set, curled in an oak-panelled corner of Adams House dining room. Crasnick dashes around the stage, eavesdropping on conversations, stage-managing a love affair, and rallying forces against the hypocrisy she so intuitively sees through. Crasnick's Dorine has a delightful charm and spontaneity that not only is enchanting in itself, but also acts as a catalyst in bringing other characters to life.

IN HARMONY WITH Richard Wilbur's very liberal verse translation of Moliere. Steven Corning's production of Tartuffe is a lively and imaginative rendition of a great comedy. You couldn't have missed the poster, so you ought to see the play.