Some human foibles turn out to age extremely well.
A prime and playful example — in this case, seeing a huckster gull the gullible before the fraudster gets his come-uppance — is Molière’s 360-year-old satire “Tartuffe.”
A new production at Laguna Playhouse, with spot-on giggles and guffaws well in place, is satisfying, too, in “settling” for being quite content as a very well-acted and appealing show.
Director Richard Baird hasn’t felt the need to freight a classic with misguided modernizations that tiresomely probe for religious, social and/or political relevance.
With “Tartuffe” there’s no need: the universality of Molière’s themes does well enough to stand alone, thanks very much.
In this production the setting remains lavishly comfortable in 17th century France. Period costuming is sumptuous. Wigs for men and women alike are extravagant attention-seekers.
The overall luxe set design and lighting make you feel that if this is how life could be lived in the reign of King Louis XIV, lets summon a time-travel Uber and head there now!
“Tartuffe’s” actors are especially well equipped to take the audience on another magical journey, too, a verbal one.
On its marquee in front of the theater, Laguna Playhouse touts the “Translation into English Verse by Richard Wilbur.”
That is no mean selling point. A lauded 20th century poet, Wilbur’s modern language version is joyful alchemy. Delivered in 10-syllable lines of rhyming cadences, the actors are able to lean in verbally, wit coming served with easily understood punchlines.
“… And you, his sister, seem so pure,
So shy, so innocent, and so demure.
But you know what they say about still waters.
I pity parents with secretive daughters.”
The title “Tartuffe” translates from the French as “The Hypocrite” or “The Imposter.”
The comedy uproots an upper-crust family of the period when a well-heeled father falls under the sway of an early-era influencer who drapes himself in religiosity.
It will take amusing connivances from a wise and feisty maid, a protective and thoughtful brother, a hotheaded and sword-wielding son and, ultimately, a cagey and seducing spouse to help undo the damage done.
In 1664, after a disastrous reading, Molière was forced for five years to maneuver past the censors to get his play on the stage. As a result, the toadying ending, slavishly in place to mollify that era’s royal powers, is a stumbling-block anachronism.
On the other hand, the play functions marvelously well as a performance showcase.
The title character of conniving self-interest is a star turn from actor Bruce Turk. From his grunge rock era long, stringy wig down to the dirtiest bare feet in Christendom (definitely an intermission talker in the lobby), he makes for a surprisingly reflective lout.
Turk times out the glints of his inner reprobate, most notably on display when the holier-than-thou ascetic is plunging his fingers down the maid’s decolletage or chasing the master of the house’s wife around, and onto, a table.
The other central character is Orgon, the obtuse father. Bo Foxworth, a lead encountered elevating proceedings in countless Southern California theaters, ideally fuels self-assured, bumptious buffoonery with a roaring temper.
From Shakespeare through the centuries, the role of the maid as power-behind-the-throne is well suited for Katie Karel. As Dorine, Karel manages the whole pack of self-obsessed family members with knowing assuredness, her readings of Wilbur’s couplets land with special sauce.
Melanie Lora as Elmire, Orgon’s wife and the ardor of Tartuffe’s unseemly advances, isn’t remotely a victim of anyone in the room; when push comes to shove (or grope), the actress controls the proceedings with sly intensity.
The shenanigans even extend through that intermission as Tartuffe’s opportunistic servant Flipote, marvelously mimed by Katie Rose Reynolds, is alone on stage. Reynolds methodically makes off with a painting hanging on the wall, snarfs down a snack at the communal table and throws out her back attempting to swipe a heavy gold statue.
It’s rare to hear applause during an intermission, but, across the last three-and-a-half centuries, who’s to say when it comes an eternal crowd pleaser like “Tartuffe?”
‘Tartuffe’
Rating: 3 stars (from a possible 4)
Where: Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach
When: Through May 5. 7:30 p.m., Wednesday-Fridays; 2 and 7 p.m., Saturdays, 2 and 7:30 p.m.; Sundays, 1 and 5:30 p.m. There will be added performances on 2 p.m. Thursday, April 25 and 7:30 p.m. Tuesday, April 30. There will be no performance on Sunday, May 5 at 5:30pm
Tickets: $45-84
Information: 949-497-2787; lagunaplayhouse.com