Prenzie Players Present : Tartuffe by Molière
Ranjit Bolt translation
The wealthy merchant Orgon has naively become the benefactor of the religious zealot Tartuffe. Orgon’s household is convinced that Tartuffe is a phony and has swindled the merchant. So completely, that Tartuffe may end up driving out the son, marrying the daughter, seducing the wife, and imprisoning Orgon himself.
The show is directed by Jeremy Mahr, who last helmed the Prenzie production of Taming of the Shrew.
Performance dates are Dec. 2, 3, 4, 9, 10 doors at 730pm with curtain at 8pm.
Our only matinee Sunday, Dec 11 doors 230pm curtain 3pm.
We are spending our entire season in the District of Rock Island! Please join us for Tartuffe at Skellington Manor 420 18th St Rock Island, IL
Tickets: $10 are available at the door or email: email@example.com. The reservation line is up and running too! Just call (309) 278-8426 if you want to reserve a ticket. Seating is limited.
Orgon, a merchant
Mariane, his daughter
Damis, his son
Elmire, his wife
Cleante, his brother in law
Madame Pernelle, his mother
Valere, betrothed to Mariane
Dorine, their maid
Flipote, maid to Madame Pernelle
Laurent, acolyte of Tartuffe,
Monsieur Loyal, a bailiff
An Officer, of the court
Parlor games pay off for Prenzie Players
QC Times Review
by David Burke
Just when you think the Prenzie Players have used every possible space in Rock Island’s Skellington Manor, you’re invited to step into the parlor.
The smaller, more intimate space is ideal for Prenzie’s “Tartuffe,” a modern-day setting for Moliere’s 17th-century comedy.
The audience – unfortunately limited to about 40 members – is a hairsbreadth away from the action, and a staircase to the unseen second level of the set goes right through the middle of the stadium-style seating.
Directed by Jeremy Mahr, “Tartuffe” is the funniest Prenzie show I’ve seen in four years of reviewing. Between slapstick comedy and clever wordplay, it never fails to entertain.
That wordplay comes, for the most part, in the form of couplets, or pairs of rhyming lines, in which the similar words are not necessarily the end of the line.
The nine-member cast never allows the script – translated by Ranjit Bolt for the Oregon Shakespeare Festival – to be sing-songy, but it serves rather as a vehicle for advancing the story.
Denise Yoder, in the title role, is one of five characters playing opposite genders. Most notably among the others is Andy Curtiss, who channels the Church Lady as the mother of Orgon (played by Jeb Makula).
Yoder, one of those performers I’ve been waiting for in bigger roles, handles the one of a religious zealot, and, ultimately, a hypocrite, with grace and ease. Although she doesn’t show up onstage until about 45 minutes into the show, she commands each scene she’s in.
Makula, in his biggest Prenzie role yet, plays Tartuffe’s benefactor with strength and allows himself to get silly while hiding for the purpose of catching his wife (Kitty Israel) seducing Tartuffe.
While the role of a maid is usually secondary in other shows, Jessica Sheridan may have the most lines in this show, full of spitfire as the sometimes-rebellious housekeeper.
Sheridan, the appealing Israel and Curtiss are among several first-timers in the cast, along with James Driscoll, a longtime veteran of several area companies who adds an air of class as Orgon’s brother-in-law.
Stephanie Moeller holds her own as Orgon’s daughter, engaged to Valere (also played by Curtiss).
Brianne Kinney is another gender-bending cast member as Orgon’s son Damis, and two of Angela Rathman’s three small roles are men.
Mahr adds some superb small pieces to the show, which is entertaining for 21st-century audiences without showing its age one bit.
False Profit: “Tartuffe,” at Skellington Manor through December 11
River Cities Reader Review
by Thom White
There are so many smart line deliveries in the Prenzie Players’Tartuffe that I could gush over each one here and still not have space for half of them. From Stephanie Moeller’s forceful proclamation “I’m timid!” to Jessica Sheridan’s delightfully wicked warning about being stuck with the unbearable title character “each day … and night …for life,” Friday’s performance had me cackling over and over again. I won’t, however, point to any more specific line interpretations, for fear of ruining the element of surprise. A large part of the production’s humor lies in hearing its words delivered in unexpected ways.
Molière’s best-known work involves a family whose head of household, Orgon, is taken in by a man named Tartuffe, whom the rest of the clan (excluding Orgon’s mother) see for what he is: a falsely pious con artist. Consequently, the family sets in motion a plan to reveal Tartuffe’s immorality by exposing his flirtation with Orgon’s wife, and while the play itself is funny, the Prenzies, under the direction of Jeremy Mahr, make it hysterical.
As is common with the Prenzies, Tartuffe features female actors playing male roles and a male actor playing a female, a risky practice that can easily come across as gender-bending casting merely for the sake of gender-bending casting. (Here, no fewer than five characters are played by actors of the opposite sex.) Yet because of the adept portrayals, none of it seems gimmicky – not even the casting choice that seemed the most likely to be: Andy Curtiss as family matriarch Madame Pernelle. Looking not unlike Dana Carvey’s Saturday Night Live Church Lady, Curtiss acts in earnest and avoids caricature. There isn’t a “nudge-nudge, wink-wink, I’m a man playing a woman” air to his performance; instead, he wisely plays the part (fairly) straight, allowing Molière’s hilarious lines to express the humor, and I think his performance is funnier for it.
Denise Yoder has the weighty task of enacting Tartuffe, and while her effort to play masculine is evident and seems to stymie her interpretation a bit, she effectively portrays her con without overt smarminess. Tartuffe’s insincere piety, presented to gain the trust (and, eventually, the possessions) of Orgon, actually seems sincere, which makes it more believable that the wealthy man could be taken in by this schemer. Rather than wearing feigned goodness so obviously on his sleeve, Yoder’s Tartuffe is subversively fake in his moral superiority.
Unlike Yoder, some of Tartuffe’s other actors appear rather enslaved to Molière’s rhymes, which affects the natural rhythms of their deliveries. None of the cast members, however, is disappointing. As Orgon, Jeb Makula struggles to make his pre-planned reactions seem organic, but delivers the emotion behind his lines with sometimes-gut-busting gusto. Moeller beautifully shades Orgon’s somewhat air-headed daughter Mariane – first betrothed to her true love, Valere (also played by Curtiss), and then to Tartuffe against her will – with efforts to be polite and respectful, mixed with undertones of nervous frustration. Portraying Mariane’s brother Damis, Brianne Kinney has an appropriately boyish look and a notable ebb and flow of anger behind her character’s attempts to defend his mother’s honor.
I’m smitten with Kitty Israel for her believably composed, demure deliveries as Orgon’s wife Elmire, while James Driscoll – perhaps best known to local audiences for his work with Quad City Music Guild – is a welcome addition to this cast, with his careful enunciation and air of class as Orgon’s brother-in-law Cleante. And Angela Rathman makes quite an impression with not one but three roles in the show, the most memorable being her Monsieur Loyal, the bailiff who arrives to remove Orgon and his family from (what becomes) Tartuffe’s house. With dramatically emphasized, accented vocals, her Loyal is brightly amusing – even though Molière himself doesn’t appear to have made him so.
It is the always-impressive Jessica Sheridan, though, who has the good fortune to tackle, in my opinion, the play’s most enjoyable role. As the housemaid Dorine, Sheridan gets to utter the work’s most coarse, shocking, and laugh-worthy lines, which she does through adept navigation of Molière’s rhymes. Acting as though Dorine speaks in rhyme all the time, Sheridan doesn’t allow the style to prevent her from natural inflections, and delivers her dialogue almost as if it were prose and not couplets.
The show’s locale within Rock Island’s Skellington Manor is also a smart choice, as the room being used already has the look and feel of a wealthy family’s living room. Yet while it’s a perfect fit for the piece, it’s also one of my few complaints about the production; the space creates a welcome intimacy, but also limits the number of audience members to about 40. That’s unfortunate, because the Prenzie Players’Tartuffe should be seen by as many theatre fans as possible. Along with 2008’s Life’s a Dream and 2010’s Pericles, Prince of Tyre, Tartuffe is now one of my all-time favorite Prenzie efforts.