Tartuffe -The Black Box Theatre, Galway

Writer: Molière

Adapted by: Frank McGuinness

Director: Caitríona McLaughlin

The Abbey Theatre production of Molière’s satirical 17^th-century comedy Tartuffe is currently touring Ireland and played its first night in Galway in the Blackbox Theatre to a less-than-capacity audience. The contemporary interpretation by director Caitríona McLaughlin and writer Frank McGuinness is signalled by animated modern music playing before the curtain is raised, while the various acts are bookended throughout by short dance sequences to the Pet Shop Boys, Depeche Mode and various techno-beat rhythms. Other nods to the present are the use of mobile phones, some costuming choices and the odd colloquialism (such as ‘craic’) but the overarching impression is of Molière’s original French aristocratic family setting, played gloriously over-the-top with frescoed walls, candelabra and vividly coloured silk, satin and sequined dresses, jackets and pantaloons. Set and costume designer Katie Davenport’s choices of footwear (and notably the king’s headwear) are some of the strongest comedic elements of the performance, although the set is let down somewhat by the drab room to the side of the main stage, as its usage doesn’t seem to justify its proportions.

The initial musical tempo is not reflected in the opening scenes, which are a little slow and weighed down by repetitive lines. However Pauline Hutton’s Dorine, the maid, competently moves the pace along once the scheming starts: Tartuffe, the charlatan interloper beloved of patriarch Orgon, is hated by everyone else and plans are initiated to prevent his imminent takeover of the household, including Orgon’s daughter Mariane (Emma Rose Creaner). The tempo increases further when Orgon, played with measured enthusiasm by Frank McCusker, arrives back from his travels and judiciously enquires as to the wellbeing of Tartuffe, ignoring news of his wife’s illness. After Tartuffe (Ryan Donaldson) makes his appearance and is revealed to the audience as less than honourable, the pivotal scene ensues where Orgon’s wife Elmire, played with panache by Aislín McGuckin, must expose him to her husband as the cheating hypocrite he is. Once Orgon realises he has been deceived into banishing his son, ruining his daughter’s love life and handing over his earthly belongings and wealth to the dastardly Tartuffe, the play moves swiftly to its denouement. In keeping with comedic tradition, all is put to rights at the last minute with the arrival of the King to save Orgon and his family fortune.

In this production of Tartuffe however, not quite everything is neatly tied up: the romance between Mariane and her lover Valere (Emmanuel Okoye) is ended ambiguously, and rather puzzlingly for the audience. This is emblematic, perhaps, of the choices made throughout the play where the interjection of modern technology and social media memes (selfies etc.) does not seem to have a particular message or motive to make to the audience and does not add any satirical or comedic value. Conversely the music and dance sequences are pacy and funny, a welcome break from the more formal script. The potentially farcical elements of the performance are underplayed – apart from the unfortunate serving girl who suffers constant bombardment throughout – and therefore the laughs are muted rather than typical of responses to more slapstick comedy.

This is an entertaining performance however, visually attractive and amusing. The actors are without exception engagingly warm and energetic; the script is generally sharp and humorous and the play does not take itself too seriously. An enjoyable night out!

Tartuffe (On Tour) Runs Until 13 May 2023.