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Tartuffe still fresh

by Jules Becker
Wednesday Nov 29, 2017

Tartuffe, Huntington Theatre Company, Main Stage, Avenue of the Arts & South End, through December 10. 617-266-0800 or huntingtontheatre.org

There are religious leaders who manipulate wealthy benefactors or take advantage of innocent young protégés. To borrow from Moliere, such so-called spiritual mentors virtually throw the Ten Commandments out the proverbial window as they prey on vulnerable disciples.

The great 17th century French playwright's bible-influenced insights in his masterwork ''Tartuffe"-first produced in 1664-prove just as telling in an era of sexual abuse at some Catholic churches and Hassidic study houses as they must have in his own time.

Now Huntington Theatre Company artistic director Peter DuBois is giving timely fresh expression to Moliere's cautionary play in an earnest and sometimes witty translation by Ranjit Bolt-complete with eight-syllable verse and some sharp rhyming.

While a partial updating of this sharp satire-- with cellphone props, for example, and Anita Yavich's largely modern dress costume design-has its limitations, DuBois' tightrope-like attempt to move between the age of Louis XIV and the present often succeeds.

While talented Alexander Dodge ("Present Laughter") bridges very different centuries with an elegant set that calls to mind 17th century legend King Louis XIV, Moliere's play depends most on the precarious relationship of Tartuffe and easily duped wealthy gentleman Orgon.

The opportunistic title character means to ingratiate himself with Orgon and eventually marry his daughter Mariane, whose heart belongs to her fiancé Valere. Although the play's first act speaks of a society where guests babble on at parties resembling Towers of Babylon, several members of Orgon's family are savvy enough to see through double-dealing Tartuffe where Orgon does not. The most formidable opponent, Orgon's second wife Elmire, fittingly prepares to outwit Tartuffe with a deception of her own, one that will expose him as a concealed Orgon watches. That deception reveals Tartuffe's brazen readiness to violate such commandments as the injunctions against adultery, stealing and coveting.

Comedian Brett Gelman, sporting a thick beard and often wearing a large black fez and matching black attire as Tartuffe, can seem like a cross between a Middle Eastern sage and a New Age guru. Gelman may brandish a crucifix but sometimes suggests a Hassidic leader in his demeanor and gesturing.

Audience members may differ as to whether his Tartuffe is elusive enough as he fools Orgon. Still, his timing and physical comedy gifts do a lot to make his performance convincing. By contrast, strong Broadway veteran Frank Wood ("Clybourne Park," "Side Man") as Orgon has the right obstinacy defending Tartuffe but could do with more fire during his sillier moments. Talented choreographer Daniel Pelzig's (Huntington's earlier "Iolanthe") hand seems evident in Gelman's dance-like capering around Orgon.

Pelzig also enhances the moves of Orgon's blood relatives and in-laws as they react to Tartuffe, his ideas and his actions. The closing dance ensemble smartly contrasts with the opening stylized expository moves of the characters.

Melissa Miller captures Elmire's tenacity in dealing with Tartuffe's duplicity. Matthew J. Harris has Elmire's brother Cleanthe's mix of acerbic observations and brotherly caring. Paula Plum is properly domineering and suspicious as Madame Pernelle, Orgon's mother. Jane Pfitsch finds all of maid Dorine's perceptivity.

In an Orwellian age of overturned truths and doublespeak, will Elmire's first hand evidence about a predator be accepted? After all, clear video of an American sexual harasser at the highest level remains a source of contention for his trusting base. Even so, Moliere's play looks to a time when truth will overcome deception. If Huntington's "Tartuffe" is not a theatrical Paradise on earth, DuBois and company do make it both diverting and worthwhile.