David Long's direction of this Molière comedy infuses what could be a dusty antique with light and life

Brawl in the family: Orgon (Jamie Goodwin) tries to make his mom, Mme. Pernelle (Barbara Chisholm), see the light regarding Tartuffe.
Brawl in the family: Orgon (Jamie Goodwin) tries to make his mom, Mme. Pernelle (Barbara Chisholm), see the light regarding Tartuffe. (Courtesy of Bret Brookshire)

Mary Moody Northen Theatre, 3001 S. Congress, 512/448-8484
Through Feb. 23
Running time: 1 hr., 40 min.

The trials inherent in staging classic works make the director's job tantamount to that of a translator. In this case, even Ranjit Bolt's translation of Molière's best-known work – considered to be more colloquial and "looser" than many other versions – needs a physical guide to ferry the language across the centuries.

With director David Long at the helm of this Mary Moody Northen Theatre production, what might otherwise seem like overlong passages bogged down by antiquated verbiage are infused with light and life. In a contemporary setting, a single umbrella becomes the pièce de résistance in the annals of propdom – such a primary role it plays in a handful of masterful comic moments. Likewise, humanizing tactics such as presenting characters in various states of undress and the artful incorporation of an exercise machine and a voice-stifling vacuum cleaner put a spotlight on the extent to which the directorial touch can make or break a show.

The recorded music – impassioned string versions of rock classics from Guns n' Roses and Lynyrd Skynyrd, among others – serves as a fitting reminder of the challenges and rewards of reinterpretation.

The story revolves around a family under the spell of their boarder, Tartuffe, whose claims to be a virtuous man of God are totally fraudulent, yet the man of the house, Orgon, can't be persuaded of this. A plan is soon hatched to marry Tartuffe to Orgon's daughter, effectively masking the interloper's secret desire for Orgon's wife, Elmire.

The decision to cast a young actor, Jose Antonio Rodriguez, in the role of Tartuffe, turns out to be a good one, as it makes his seduction of Elmire all the saucier. Although very attractive, Liz Beckham's Elmire appears old enough to have mothered this cardigan-clad, iPod-adorned Tartuffe, and thus, l'imposteur comes off as a cross between Eddie Haskell and an aggro version of Dustin Hoffman's character in The Graduate.

Audience members looking for a clear connection between the themes of questionable piety that grounded the play in 1664, and the religious zealotry sometimes found in upper-middle-class living rooms like this one, may find themselves scratching their heads, particularly considering that the work is being staged at a Catholic university. Still, the attack on hypocrisy is clear (religious or otherwise).

As an entertaining night out and a showcase for the work of Long and a fine cast of actors, including Equity guests Beckham, the always formidable Barbara Chisholm (who is, full disclosure, married to Chronicle Arts Editor Robert Faires), and the subversively authentic David Stahl, the show is a fantastic success.

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for almost 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

More Tartuffe
Top 10 Reasons (+3) I Stayed in Love With Theatre in 2014
Top 10 Reasons (+3) I Stayed in Love With Theatre in 2014
Valentines to theatre and comedic craft played a large part in making 2014 a memorable year in theatre

Robert Faires, Jan. 2, 2015

Arts Review
City Theatre Company updates Molière's satire in a cheeky yet entertaining fashion

Hannah Kenah, July 31, 2009

More Austin theatre
Examining the Sins and Virtues of Hypermasculine Theatre
Examining the Sins and Virtues of Hypermasculine Theatre
When is violence in theatre too much?

Shanon Weaver, Dec. 9, 2016

Making Room to Play
Making Room to Play
Create Space Austin kicks off the drive to secure more performing venues in the city

Elizabeth Cobbe, April 15, 2016

More Arts Reviews
<i>Caste: The Origins of Our Discontents</i> by Isabel Wilkerson
Caste: The Origins of Our Discontents by Isabel Wilkerson
In her second book, the author of The Warmth of Other Suns examines and breaks down the unacknowledged social structure baked into our country

Rosalind Faires, Nov. 13, 2020

<i>Memorial Drive: A Daughter's Memoir</i> by Natasha Trethewey
Memorial Drive: A Daughter's Memoir by Natasha Trethewey
In her book, the Pulitzer Prize-winning poet is a daughter who returns to her mother's crime scene to reclaim herself

Barbara Purcell, Nov. 6, 2020

More by Stacy Alexander Evans
One With Others
Karen Sherman's surprisingly funny, moving dance and text work was poetry in motion

May 2, 2014

Romeo and Juliet
Despite some casting questions, the Baron's Men create a moving and involving version of this well-known tragedy

April 18, 2014


Tartuffe, Austin theatre, Mary Moody Northen Theatre, David Long, Jose Antonio Rodriguez, Liz Beckham, Barbara Chisholm, David Stahl, Jamie Goodwin

One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

New recipes and food news delivered Mondays

All questions answered (satisfaction not guaranteed)

Information is power. Support the free press, so we can support Austin.   Support the Chronicle