Moliere's Tartuffe

Immediately censored after its first performance in 1664, Tartuffe is a contentious play which relentlessly targets figures of religious authority. But with wide-scale secularisation apparent in the 21st century, who now becomes the bulls-eye for Moliere’s attack?

Rob Messik chooses politicians. Tartuffe as the deceiver alters his temptations accordingly. Instead of a place in heaven, a conman of the present day would merely have to promise great photo opportunities or a post-ministerial career on the lucrative lecture circuit. Orgon the politician is ridiculed from start to finish through the use of slap-stick, comedic rhyming couplets and a pompous British aristocrat demeanour.

The all-pervading political environment is maintained by a chorus of papparazi who link the scenes, and characters frequently materialise from behind furniture, a feature which adds to this voyeuristic atmosphere. The scenes are superbly choreographed, with characters engaging in complex and humorous routines based solely around a pair of swivel-chairs.

The blatant campness of the male characters, coupled with the constant innuendo, do make this production a sort of "Carry On Tartuffe" however. The homo-erotic connotations in Tartuffe and Orgon’s relationship seem to be at odds with the central theme of the temptation and corruption of power.

However, such criticism does not alter the fact that this is a thoroughly amusing production. The mincing actors and their ridiculous rhymes leave an audience in constant hysterics. Simultaneously, the viewer is not left in any doubt as to the play’s message, not least by the last line of the production: “we’re watching you.”