| OCR Text |
Show T fie Tfmnderbird Monday, March 5, 1984 Page 7 Tartune cast shines in'Molieres period piece Theatre review by Fletcher Matson Any student who grudgingly attends the SUSC theatre departments production of Tartuffe simply to satisfy class requirement just might fall out of the balcony from culture shock. This show destroys the high school misconception that classic literature is boring whether printed or performed. Tartuffe is one of those spectacular jewels rarely found on the college (or Orgons wife while planning to marry his daughter and gets Orgons son disinherited for good measure. Every pious exhortation of his is a cover for an a even professional) stage a bright, funny, intelligent, nearly flawless period comedy that glows with the sheer exuberance of its spirited script and cast. French theatre Moliere, a manager, actor and dramatist, penned this witty tale of a lecherous, manipulating preacher con man and the family he nearly destroys with his greed to express his dissatisfaction with the moralists of the day. (Tartuffe) attacks the hypocrisy of religious abuse, not religion, explains Sara Solberg, the shows dramaturge, in a discourse on the play and its 17th-centu- pre-sho- author. Richard Wilburs translation of the French version captures not only the tone and freshness of the original but also the conventions of the day its set in the late 1600s with creative but rhyming verse thats easy to understand. What really makes this play come alive, however, is the diversity and energy of the cast. Director R. Scott Phillips had the great fortune to cast an acting ensemble with terrific chemistry and almost instinctive comic timing. The characters are believably human and effortlessly fun; dialogue is glibly tossed around like cushions in a pillow fight. Clearly, the audience isnt the only group having fun with this play. All the actors, including the ones in g roles, deserve enthusiastic applause, but some performances are absolutely brilliant. Kristina Fuller steals most of the first act; as Dorine, the sassy, d ladys maid who pointedly expresses her dislike of Tartuffe every free-for-a- ll high-spirite- Orgon reveals his feelings to Dorine in chance she gets. Whether antagonizing mother-in-laor her foolish chastizing employer with pokes and poetry, Dorine is a tiny dynamo that not even the villain of the piece can dislike. Darrell Phillips brings a convincing sincerity to the role of Orgon, the gullible head of the house who is always and his wig over losing is composure the trouble Tartuffe and his family cause him. Playing elderly characters is often difficult for young actors but Phillips handles the stubborn Orgon with ease. Orgons wife Elmire, played by Kristin Catherall, shines as an experienced flirt when she uses seduction to expose Tartuffe s lechery to her husband. Tami the tyrannical 17th-centur- y comedy. Aileen Massa is wonderfully funny as the grouchy grandmother, the caneswinging Madame Pernelle. Phillip Shelburne adds a nice touch of wit as Cleante, Orgons urbane, intellectual brother-in-laBernard Miller and Julianne Crofts share much comic misunderstanding as a pair of young thwarted lovers playing jealousy games. And, of course, theres the title character. Daniel McVey makes fine work of his first major role in a mainstage play as the hypocritical Tartuffe. He switches beautifully between the melodramatic humility of the penitent, martyred man of religion to the leering manipulation of the conniving criminal who lusts after ulterior motive; two seconds after his first appearance, he has his hands all over Dorine, all the while berating her for the lack of modesty in her dress. The role requires acting within acting and McVey is convincing enough to be hateful. A couple of minor articulation problems seemed to be the shows only flaws. Occasionally McVey spoke a bit too softly and Steven Saffier, who plays Damis, the son, rushed many of his lines, thus making a few passages difficult to understand. However, it didnt happen often enough to disrupt the flow of the play. The director infuses an extra dose of enthusiasm into the script with some very creative and extremely energetic blocking, enlivening what could have been rather dull speeches with lots of clever movement. In the group scenes that open and close the play this action might prove distracting just what is the maid doing behind those double doors? but otherwise it adds interesting zest to the many comic confrontations. Scenic Designer Gary McIntyre deserves a nod for the cheerful Roccoco drawing room set, built on a slanted stage that extends into the audience. Costume Designe Sandra Stiglinski has once again produced a very expressive, eyecatching costume collection. The mellow pastels and restrained ornamentation of he set harmonize with the rich vibrant clothing colors to produce a bright, glowing visual attraction. Tartuffe is ideal entertainment for both anyone suffering from quarter burnout and spring fever and those who seek intellectually stimulating entertainment. Laugh at the comedy, ponder the moral statements or do both. Either way, youll enjoy yourself. Tartuffe plays March 8, 9, and 10 on the auditorium mainstage. Performance begins at 8 p.m.; a slide show presentation of Moliere and his play begins at 7 p.m. in AU 108. Auditions are scheduled here for The Dining Room by Jay Hill Auditions for The Dining Room , a brand new play about a vanishing aspect of American family life, will be heid March 5th and 6th at Southern Utah State College. The performance is set for April Douglas Baker, assistant professor of theatre arts, will be directing the piece that opens the spring portion of the SUSC Theatre Season. Originally Baker had seated a Neil 17-2- Simon comedy to appear, but later decided otherwise. We have so many comic things in a season, I think we needed a dramatic piece that has something different in it, he said. He continued, We wanted to chose a modern piece because we have so manv period pieces, and anyway after I read it I just loved it. Baker still has not decided on the number of people to be in rhe play but said he was considering a cast of between s to eight e The artors involved will portray compositely 46 different roles, ranging from a boy to an grandfather. Baker said, because of this, Im looking for very versatile actors, with honesty and depth, with variety. Im not looking for external character changes. Auditions are scheduled, March 5 and 6 from 5 to 7 p.m. each evening in the SUSC Auditorium. Individuals ii t chested in appearing in the play must come prepared the first night with a two prepared scene. The cutting should be from a comtemporary play and show as much range in action and vocalization as possible, added Baker. The second evening of auditions will be reserved for cold readings from the play itself. Written by A.R. rurney, Jr., The Dining Room closed off Broadway just last year. Its a very popular play because of the message it conveys and because of the acting experience it offers, he said. "This play has been received very po. itiwls m the pwt. |
