The Wabash Theater Department rang in a new season with the fall production of “Tartuffe.” The comedy by French playwright Moliére was originally condemned as sacrilege and blasphemy by King Louis XIV, but the audience on opening night had nothing but praise for the modern production. 

Upon entering Ball Theater, the audience is greeted by an elegant mansion, decorated with statues, a large doorway and a towering staircase. A pattern of light pink marble decorates the floor and stairs that is meant to resemble the original Lilly Library floors. The backdrop is set with portraits that sneakily resemble the actors of the show to envelop the audience in the household ambience. The set, designed by Technical Director David Vogel and Scenic Charge Benjamin High ’24, welcomes the viewers into the chaotic and comedic happenings of the main family. 

When the troublesome titular Tartuffe (Alex Schmidt ’27) begins his charade, the family has disagreements on how to best handle the situation. Orgon, the patriarch and father of the family as depicted by Professor of Spanish V. Daniel Rogers H’12, is in total favor of Tartuffe, praising his pious ways and religious demeanor. His mother Madame Pernelle, played by Fine Arts coordinator Julia Phipps, supports Orgon’s beliefs and attempts to influence the rest of the family to agree as well. Daughter Mariane (Isabella de Assis-Wilson), son Damis (Eamon Colglazier ’28), maid Dorine (Delada Mudd) and brother-in-law Cleante (Carson Wirtz ’26) all believe something is amiss with the supposed saint. When Tartuffe makes moves on Orgon’s wife, Elmire, who ironically is played by Rogers’ wife, Jill Rogers, she becomes skeptical of the man’s true intentions.

Things go downhill when Tartuffe pulls a fast one on the family. Monsieur Loyal (Xavier Master ’28) announces to the family that they are to surrender the power of Tartuffe. Eli Reeves ’25 barges in as Valere, Mariane’s fiancé, to urge the family to act while they still can. Their attempts are foiled by a dramatic entrance from Tartuffe and an officer of the court (Preston Parker ‘26). As events unfold, the safety of the family is up to chance.

The script of the play is outlined in a rhyme scheme that provides rhythm and a little predictability to the show. However, it is evident during some points of the play that the actors recognize the pattern as well. During some scenes of the play, emotions are lost to the efforts of the actors remembering the rhymes within their lines. Whether it was opening night jitters or the writing of the play that caused such disturbances is hard to say. 

But when the comedic moments of the show desperately needed air, the cast landed them perfectly. Dirty flirting between Tartuffe and Elmire had the crowd dropping their jaws and clinging to their chairs. The whole expanse of the stage is utilized through blocking of director James Cherry and encourages the audience to take it all in.

Do not be fooled by the seemingly ancient origins of “Tartuffe.” The Wabash cast provides a production that would have even the Archbishop of Paris on their feet. Dramatic and critical monologues paired with amorous scenes of courtly love promise theater patrons a night full of laughs and rhyming fun. Buy a ticket, and find the proof. In the next three days, go see “Tartuffe!” 

Tartuffe runs October 2–5, 2024 in Ball Theater. Free tickets can be reserved online at wabash.edu/boxoffice.