'Tartuffe' is still timely and still funny

FSU/Asolo Conservatory's production of the Moliere favorite, "Tartuffe," is lively, fast-paced fun. First produced in France in 1664, the play was banned by King Louis XIV after one showing - despite its final act which pays tribute to the king - due to pressure from the Roman Catholic church. The king reluctantly demurred and pronounced that its portrayal of the religious hypocrite Tartuffe was too close to reality and might be mistaken by the masses as a condemnation of religion.

Ridicule of the false, the pompous, and especially the hypocritical has been a great staple of comedy through the ages and a very sharp weapon to wield to this day. Politics is often rife with hypocrisy and we see this scenario playing itself out today in such persons as Glen Beck, recently lampooned by John Stewart on "The Daily Show."

This production of "Tartuffe" is set in 1915. a decision made by its highly competent director, Wes Grantom, who stated, "The early part of the 20th century was a time of great change - in art, fashion, and religion. With so much change going on, it's very easy for Tartuffe to slip into people's lives and take advantage." A sentiment which applies very aptly to the early part of the 21st century, as well.

The set design by Rich Cannon is suggestively Edwardian, with clever movable walls and windows. Steve Lemke's surprising, eclectic sound design, featuring P. K. Pickens' Composition and Musical Arrangement, includes a pianist, seemingly only visible to the audience, whose playing comments on the proceedings in a tongue-in-cheek manner, and who accompanies the cast in a singularly intriguing rendition of Lady Gaga's "My Poker Face," as a curtain call.

The second-year Conservatory students were terrific. Tony Stopperan skillfully reveals the evolution of Orgon, the father who jeopardizes the welfare and happiness of his entire estate and family through his blind idolization of the supposedly pious and worthy Tartuffe, and slowly changes as the veils are lifted from his eyes, and he becomes a real, if somewhat wobbly, person again.

Katie Cunningham is shrilly accurate as the Grande Dame, Orgon's mother, whose holier than thou attitudes have long been in place. Dorrine, the most reasonable voice in the house, although the maid, is commandingly played by Megan Delay, who is both endearing and annoying to her bosses. Also ably representing the voice of reason is Jon-Michael Miller, the brother-in-law.

Orgon's daughter, who has the most to lose from her father's sudden devotion, is charmingly played by Ashley Scallon with just the right mixture of innocence and fretfullness. She and her fiance, Valere, played by Benjamin Boucvalt, stage a marvelous reproduction of an eternal lover's quarrel in which both sides are too stubborn to admit their feelings first.

The title character of Tartuffe, played by Geoff Knox, was a little too understated for my taste. I felt the first act would have benefitted from an oilier, more blatantly sanctimonious choice. The second act seduction scene with Summer Dawn Wallace, wonderful as Elmire, Orgon's wife, on the other hand, is riotously delivered by both actors. Orgon's disinherited son is well played by Luke Bartholomew. Gretchen Porro delivers as both Flipote and M. Loyal and Jake Staley nicely brings up the rear as the Officer.

Other contributions to the production were made by June Elisabeth Taylor, costume design; Victoria Jones, stage manager; Patricia Delorey, voice and speech coach; Tony Lawrence,technical director; Michelle Hart, hair and make-up design; Erin Whitney, assistant stage manager; Jesse Dornan, light board operator; Sarah Brown, sound board operator; Kelly Campbell and Lindsay Tornquist, costume crew; and Jacob Cooper, house manager.