'Tartuffe': Holier than thou and funny as hell

Moliere may have lived four centuries ago, but he'd give a knowing nod to many of today's figures in recent news: a politician who advocates abstinence-only sex education, even though her own teenage daughter is an unwed mother. A politician who votes against equal rights for gays yet is caught soliciting other men in an airport restroom. Televangelists who preach a strict interpretation of God's word, yet live according to a different set of rules, both sexually and financially.

Throughout the years, religious hypocrisy hasn't changed. It just wears different outfits.

"Tartuffe," one of Moliere's mostperformed plays, looks religious hypocrisy full in the face and mocks it. (Its actors also spit at the very mention of the perpetrator's name.)

Gulfshore Playhouse's production of this centuries old yet timely play is not to be missed.

Apparently, the company has saved the best for last, as this is its final presentation of the season. Unfortunately, it's a short run, ending Saturday, April 11, at The Norris Center. If you value good theater, you'll get there.

With the possible exception of a school production I might not be aware of, I don't believe any local venue has put on a Moliere play in at least the past 10 years. That's probably partially due to the area's seeming antipathy to the classics. Even the Aquila Theatre Company, whose innovative interpretations of Shakespeare and the Greek classics regularly sell out New York's Lincoln Center, fail to do so down here.

COURTESY PHOTO Elmire Fortunately, Gulfshore Playhouse demonstrates just how fun, zany and contemporary the classics can be. (Some theatergoers might be surprised to learn that, just like in opera, the plots can be risqué and the characters as dysfunctional as guests on "The Jerry Springer Show.")

"Tartuffe" tells the story of Orgon (Steve Brady), a rich Parisian who's fallen under the spell of Tartuffe (Richard

Crawford), a con man and opportunist

who pretends to be pious. He DeNomme insinuates himself into Orgon's life, acting as his spiritual guide and mentor and severely limiting the fun in the household.

In actuality, Tartuffe, a hypocrite supreme, is after Orgon's money and is young, beautiful wife, Elmire.

The family tries to warn him, but Orgon and his mother, Madame Pernelle (also played by Mr. Crawford), refuse to hear any ill word about Tartuffe.

Mr. Brady plays Orgon as an addled and doddering old fool, completely bamboozled by Tartuffe. He has some great moments of physical comedy with fruit, and he steals the scene in which he inhales snuff. And his arguments with the maid, Dorine (Anna Stone), are some of the funniest moments in the play.

But picking out funny moments from this production is difficult, because they're so numerous. It's like highlighting passages you like in a book, only to discover, at the end, that you've colored every page yellow!

Mr. Crawford's Tartuffe is devilishly self-righteous. His Madame Pernelle isn't quite as much fun (or funny) as a man in a dress can be, but his portrayal of Tartuffe hits the bulls-eye. His dark eyes are especially expressive, displaying mournful faux piety, darting about looking for a means of escape, or zeroing in on Elmire's cleavage.

Elmire (Amy McKenna) uses said cleavage and her womanly wiles to try to trap Tartuffe and convince her dim-witted husband that the man he's so gaga over isn't at all what he seems. Ms. McKenna skillfully mixes refinement with wanton behavior for maximum humorous effect.

Katrina Foy portrays Mariane, the daughter, engaged to Valere (Kevin Duda, who also plays her brother, Damis). All ruffles and banana curls, she scowls and stomps her feet petulantly when she wants her way. Her lover's spat with Mr. Duda is one of her best scenes; she doesn't know if she wants to kiss him or snub him, and grows more confused the more she argues.

Mr. Duda, coming off of his Broadway debut playing opposite Laura Linney in "Les Liasions Dangereuses," is obviously no stranger to speaking eloquently in ruffles. In this production, he portrays two men similar in age and rashness. Both are in love, and

both react strongly to having that love

thwarted by Tartuffe. Yet due to Mr. DeNomme Duda's skillful acting abilities, the two characters are clearly differentiated from each other.

Wayne LeGette (Cleante) has the thankless role of the voice of reason in this play. He performs it admirably and with style, without appearing a prude or echoing Tartuffe's false piety.

Local actor Val Kuffel, seen on stage at the Naples Dinner Theatre and the Sugden Community Theatre, plays two minor but important roles at the end of the play.

It is Ms. Stone, as the maid Dorine, who, in many ways, holds this play together. Like Cleante, she's also the voice of reason, but she expresses it in a much saucier way, freely talking back to her master. (She argues that if he marries his daughter to Tartuffe, it will cause her to stray with other men, and those sins will be on his head.) Her asides to the audience are hysterical, and it is she that the other characters

turn to for help. She knows everything

that's going on in the household, and DeNomme is not averse to eavesdropping when it suits her purpose.

Founder/Producing Artistic Director Kristen Coury has pulled together a top-drawer cast that obviously has fun on stage. At times, the show is high farce, at others, "The Carol Burnett Show."

This production uses Richard Wilbur's translation. The cast is careful not to fall into singsong with Moliere's rhyming couplets, and the dialogue sounds natural (with some lovely internal rhymes and surprising word choice.)

Ms. Coury has played willy-nilly with the clothing and music, mixing time periods, borrowing generously from several centuries' worth. And when the performers dance a can-can, it just somehow fits with the show's illogical logic.

Sean McClelland's two-level set is perfect: a composition in red and gold, with wall sconces, chandeliers, curtains, tassels and six paintings by costume designer Jacqueline Morelisse. Though the stage is small, Mr. McClelland's set seems to enlarge it, and the angle at which the side walls of the drawing room open out to the audience serves to envelop them in the action. He was careful not to make the set too extravagant, so it doesn't clash with the outrageous costumes.

The characters are adorned in powdered wigs, ruffles, ribbons, jewelry, lace, flowers, bustles and frock coats with cuffs almost a foot long. The costumes are a combination of rentals and pieces (and accessories) things created by Ms. Morelisse.

The clothing might be rococo, but the emotions and themes in "Tartuffe" are timeless: greed, deception, religious hypocrisy and man's inexplicable and almost giddy willingness to be lied to and led down the garden path.

P.T. Barnum allegedly suggested that there's a sucker born every minute. "Tartuffe" demonstrates that there will always be someone quite willing to deceive them.

>>What: "Tartuffe"

If you go

>>Where: Gulfshore Playhouse at The Norris

Center, Naples >>When: through April 11

>>Cost: $30 and up

>>Info: (866) 811-4111 or DeNomme www.gulfshoreplayhouse.org