Woodson Theater Stages Adaptation Of Moliere's Classic Comedy 'Tartuffe': Cappies

By Naomi Bautista
Fairfax High School

True faith or glitzy imitation-is it possible to tell the difference? At C.G. Woodson's production of "Tartuffe: The Rhinestone Hypocrite," the answer is a resounding, and often tragic, no.

A world premiere of a "very self-important play," Woodson's adaptation of "Tartuffe" was a fresh, flashy, and modern take on Moliere's classic comedy. Set in a Texas megachurch and inspired by country-music icons, "Tartuffe: The Rhinestone Hypocrite" took the original play's intent to satirize hypocrisy, especially religious fanaticism, to a new extreme. The play follows Orgon, a wealthy senate-hopeful, his wife Elmire, and their family. The seemingly-pious hypocrite Tartuffe manipulates Orgon to gain his fortune and honor, preaching humility while living luxuriously. Orgon's family tries to expose Tartuffe, but Orgon, blinded by faith, disinherits his son, attempts to force his daughter to marry Tartuffe, and signs over his fortune and his house to the villain. In a madcap series of events, Tartuffe is exposed, the family reconciles, and laughter, music, and love triumph.

Silas Blocker inhabited the role of Orgon with southern charm and purposeful intent. With a tall, lanky frame, complete control over physical comedy is no easy feat, but Blocker's use of carriage, posture, and impactful hand gestures was almost cartoon-like and hilariously effective. Although adapted, Tartuffe's language was heightened and complicated, written in rhyming couplets. Helping to make the language more digestible, Blocker employed a vocal variance as colorful as the church's stained glass that astonished with its ability to make one laugh with a simple change of pitch or texture.

Blocker's dynamic chemistry with Aiden Brennan (the titular Tartuffe) offered moments of laugh-out-loud comedic gold and intense drama, emphasized by the contrast between Blocker's careful comedic control and Brennan's loose, flamboyant flair. Brennan was the consummate mischievous villain, with charismatic, over-the-top energy that made one love to hate him. Bursting onto the scene with a sparklingly manipulative musical showstopper, "There Will Come A Payday," Brennan's Tartuffe was a polarizing force to be reckoned with; his sardonic remarks, exaggerated thrusts, and animated asides to the audience brought the schemer to life. With a magnetic presence and smarmy smirks, Brennan exuded snake-like allure, capturing the self-interested nature of today's televangelists with frightening ease.

In the center of the chaos, Orgon's second wife, Elmire (Juliana Gurrola) was the voice of reason and a schemer in her own right. Gurrola exuded grounded energy, confidently able to play off Blocker and Brennan's heightened characters with fierce wit. Moliere's original work was heavily influenced by Commedia dell'arte, an early Italian form of theatre, and Woodson's adaptation was heavily inspired by the improvisational slapstick and stock-character archetypes. Each cast member was fully committed to their character's campy comedy, making for an uproarious production.

Tartuffe's world was brought to life by a spectacular church interior, complete with a glowing central cross and intricate stained-glass windows (Henry Green, Daniel Rothlisberger, Hiroko Rose).

In Moliere's complicated comedies, distinguishing characters can be difficult. The intricately-layered costumes (Lily Ryver, Alexander Minde, Cricket Nicholls), inspired by country-music icons (such as Elvis and Dolly Parton), established each character with a clear color scheme, unique silhouette, and subtle changes that helped emphasize defining character traits. This was particularly evident in Tartuffe's elaborate rhinestoned outfits, which switched from a more subtle cobra-like cape design to flashy snake fangs on his sequined hat. Also, Elmire transitioned from effeminate, fringed dresses to more sensible denim pants, representing her increasing grip on reason and power in the household as the show progressed.

Woodson's production was bright, bold, and full of bling. "Tartuffe: The Rhinestone Hypocrite" was fantastically funny, using contemporary parallels to shine light on the enduring nature of hypocrisy.