The cast of Circle Theatre’s ‘Imposter! Hypocrite! Tartuffe!’ (Photo by TayStan Photography)
In her director’s notes in the program for Imposter! Hypocrite! Tartuffe!, director and playwright and Circle Theatre Artistic Director Ashley H. White wrote about the intense process that was creating this new adaptation of the Moliere classic. She holed herself up in a cabin to begin the process. Seven drafts later, the show took on its shape more and more. And thank goodness for that lengthy process, because the play was an electric masterpiece of theater.
Circle Theatre opened the world premiere on Aug. 1.
The experience happened well before the action onstage started. The cast was mingling with the audience as we all found our seats at last Thursday’s performance. While that was happening, other cast members hosted a Name That Tune game. The actors leaned in to their colorful characters getting the audience riled up for what was to come. This all created an exciting start to the show.
The show centered on the aristocratic House of Parnelle led by the man of the house Orgon and his second wife Elmire. Damis is their easily excitable adult son and brother to Mariane who has a lot to say but never the chance to. Their Uncle Cleante, Elmire’s brother, has good intentions of taking care of the family while Dorine the maid lingers about witnessing the drama unfolding if not manipulating it herself.
And then there’s Tartuffe, Orgon’s brother, a man with a despicable reputation with eyes for Elmire and the opulent residence of the family. The family’s dysfunction leads to Orgon intending to marry Mariane off to Tartuffe without anyone batting an eye to the fucked-uppery of that situation.
White’s story was cleverly written with all degrees of saltiness by the characters. Everyone of these characters were a hot mess all around, but how she wrote them to be funny, ridiculous and compelling at the same time was some kind of magic. An ideal cast certainly didn’t hurt as they all soaked up their characters’ essences. It was never hard to simply see the bigger than life characters rather than actors playing their roles.
Michael Phillip Thomas as Orgon was a never ending source of delight. As the patriarch, he was adorably despicable and served up hilarious brat vibes. His portrayal was sharp on comic timing both in delivery and physicality. Lest we forget Thomas as Orgon’s mother Ms. P, an extended SNL scene of exposition mixed with heavy laughs. While more subdued than Thomas, Chris Sanders’ Elmire was every bit the drama queen with exaggerated movements and facial expressions that worked as an ideal counterbalance to Thomas.
Kathy Trageser crafted a mouse (not mousy) of a character with Dorine. The character thrives on the sidelines and Trageser captured that slyness so well. In her more prominent scenes, she dropped rapid-fire dialogue with ease but the fun was watching her act and react when the attention was elsewhere. As the stand-up Uncle Cleante, Scott Nixon was spot on with a distinguished demeanor that offered a break from the insanity of the other characters, but also game for the frenzied action happening around him. And he took a drink to the face very well — numerous times.
As the sibs, Janina Jaraczewski and Carson Wright were appropriately spoiled as rich, entitled adult kids. Wright’s Damis was a simmering mess always waiting for a fight. He gave an impressively explosive performance. Jaraczewski’s portrayal of Mariane was tricky because her character was always silenced and she had to rely on facial expressions and gestures to paint her character. She pulled it off with reactions that were animated and still believable. When she got her moment, Jaraczewski grabbed the scene and didn’t let go.
When Tartuffe was introduced, Zak Reynolds entered the show with such brazen fire egging on the booing audience. In that singular moment, and even as the bad guy, he had the audience. Honestly, it’s hard to distinguish if Reynolds was acting or delivering a performance art piece. His Tartuffe was decidedly an arrogant fiend, but Reynolds played him with so many facets and with such a high energy that he was his own onstage whirlwind that almost felt like he was making up the character as he went along. Reynolds was simply brilliant and his portrayal felt like a once in a lifetime experience to watch.
Jessie Wallace’s costumes were a mix of punk and opulence that never defined the era of the show, but always felt fitting. Jeff Stanfield’s set was a gorgeous pink explosion but also a fully realized home with beautiful work by scenic artist Jennye James. Nikki DeShea’s lighting had strong game, painting the moods of the scenes but also gave an effective subtle transition from day to night.
Onstage, Adam C. Wright was the show’s maestro who composed the show’s music. He reacted well when the action went his way, but his piano game was both the show’s score and the punctuation to onstage action with witty notes hopping into the scenes.
The biggest problem with Imposter! Hypocrite! Tartuffe! was White’s writing, because really, how could anyone see the original Tartuffe after seeing this? Sorry, not sorry, Moliere.
The play runs through Aug. 24.
–Rich Lopez