A Modern “Tartuffe“: Navigating Faith, Power, and the Perils of Patronage
Molière‘s “Tartuffe,” a satirical masterpiece skewering religious hypocrisy, continues to resonate centuries after its premiere.But translating and adapting a 17th-century French comedy for a contemporary audience is no small feat. The current production, helmed by Danya Stephenson and featuring a new verse adaptation by Brendan Hnath, enters a field already richly populated by masterful interpretations, most notably Richard Wilbur’s celebrated and meticulously crafted translations. While others, like David Ives, have successfully tackled verse adaptation, and some, like hatcher, have opted for prose to capture the play’s energy, Hnath’s approach presents a fascinating, if occasionally uneven, exploration of the play’s enduring relevance.
Hnath’s adaptation, working from curtis hidden Page’s 1908 translation, grapples with the inherent challenges of rhyme, sometimes leading to forced phrasing and repetition. This is particularly noticeable when contrasted with Wilbur’s elegant precision. Consider a pivotal moment where Cléante attempts to open Orgon’s eyes to Tartuffe’s deceit. Wilbur’s 1965 version offers a crisp, memorable exchange: “There’s a vast difference, so it truly seems to me / Between true piety and hypocrisy: / How do you fail to see it, may I ask? / Is not a face quite different from a mask?” Hnath’s rendering, while aiming for accessibility, feels comparatively less impactful: “It’s not hard for someone to act like they’re holy / and not actually be holy, / and actually, those I know who are holiest / are far from the showiest.” The comparison highlights the delicate balance between fidelity to the original and the demands of poetic form. A skilled adapter must not only convey meaning but also maintain the feeling of the original verse.
However, to focus solely on the verse is to miss the production’s most compelling achievement: its astute connection to our present moment. Hnath doesn’t simply update the language (though a sprinkling of contemporary slang, like referring to Tartuffe as a “dipshit,” certainly helps). He subtly re-frames the play’s central conflicts to resonate with contemporary anxieties surrounding power, wealth, and influence.
The play’s deus ex machina ending – the arrival of a royal decree from Louis XIV that unravels Tartuffe’s schemes – is particularly potent in Hnath’s adaptation. While Molière, acutely aware of his royal patron, presented this intervention as an act of grace, Hnath dares to suggest something far more cynical.He emphasizes the past context of Orgon’s past financial dealings and subtly implies a quid pro quo. The arrival of the King’s messenger,at a moment when Orgon’s potential ruin looms,feels less like divine intervention and more like a demonstration of how the powerful protect their own. This resonates powerfully with contemporary concerns about political pardons and the perception that wealth and connections can circumvent the law.
This shift in perspective culminates in a chillingly effective musical number, composed by Heather Christian.As the decree arrives,the cast sings,”We all know and we agree / We’re the good ones obviously,” the music turning increasingly dissonant,evoking a sense of unease and moral compromise – a feeling akin to the disillusionment that frequently enough follows an election night. It’s a bold move that transforms a traditionally celebratory ending into a queasy commentary on the abuse of power.
Beyond the adaptation’s intellectual strengths, the production shines thanks to its extraordinary comedic performances. Director Danya Stephenson,known for her work in the Off-Broadway experimental scene,has assembled a cast capable of bringing Molière’s characters to vibrant life. Particular praise is due to the portrayal of Mariane by [Actress’s Name]. She embodies a delightful blend of vulnerability and mischievousness, her performance a masterclass in physical comedy. her costume – a playfully extravagant ensemble featuring pink panniers – is a visual delight, and her expressive physicality, particularly her ability to contort her mouth to convey a spectrum of emotions, is genuinely captivating. The dynamic between Mariane and Dorine is also a highlight, showcasing the quick wit and playful energy that are essential to Molière’s comedy.
This production of “tartuffe” isn’t simply a revival of a classic; it’s a thoughtful and provocative reimagining that speaks directly to our current moment.While the verse adaptation may not reach the heights of Wilbur’s, Hnath’s insightful adjustments and