Tartuffe
at St. Stephen's & St. Agnes School

Reviewed on November 3, 2017

Elizabeth Waldt
West Springfield High School
Submitted for publication to Cappies News

Molière and Johnny Cash? St. Stephen's and St. Agnes School's production of "Tartuffe" is the perfect blend of classic French literature and Rock and Roll.

Tartuffe was written for King Louis XIV in the seventeenth century. Written to satirize religious hypocrisy of the Church, the witty play was soon banned all throughout France. After major revisions, Tartuffe could take the stage once again in 1669. Since its debut, the play has been translated into rhyming English, to give Americans a taste of this beloved French tale. Currently, this versatile comedy appears on stages all throughout the world, amusing audiences with the story of Tartuffe, the Imposter, as he attempts to swindle an innocent family out of their belongings.

As the impostor, the hypocrite, and a liar, Tartuffe (JP Payro) scored laughs from the audience from curtain to curtain. His confidence and commitment added relatable humor to a character written so long ago, even going as far as doing complicated yoga on stage. Payro showed tremendous presence on stage, drawing all eyes to him whenever he entered. Portraying the gullible and trusting head of the family, Orgon, senior Christian Corpening. His articulation and physicality helped the audience understand the intricacies of language written in the 1600's. Orgon's stern persona was perfectly crafted by Corpening as he marched around the stage, giving orders to everyone in his way. Together, Payro and Corpening showed tremendous dedication to their characters, as well as brilliant comedic timing that kept the audience laughing all night.

Portraying Mariane, Orgon's lovestruck daughter, was actress Jen Lansing, who brought a familiar, melodramatic element to her teenage character. She threw herself about stage and cried as her father told her she cannot marry her one true love, Valère (Sam Stevens). Together, Lansing and Stevens convinced the audience of their love with overwhelming chemistry. Mariane's pesky little brother, Damis, was played by freshman Jackson de Vallance, who served as hilarious comic relief in otherwise serious scenes. De Vallance maintained the audience's attention as he committed outrageous acts, such as jumping into a working fountain to spy on Tartuffe.

St. Stephen's and St. Agnes School has cleverly decided to blend this classic with something we all love-the 1950's. The production is set in the backyard of a lush 50's California home, with a detailed, running fountain. The skillfully designed set added dimensions to the show, giving the actors room to interact with the unique elements of the house. Perhaps one of the most interesting elements of this production is the creativity that St. Stephen's and St. Agnes School has injected into the show. Going along with the 1950's theme, familiar tunes such as "Blue Suede Shoes," "Hit the Road Jack," and "I Walk the Line," have been added into the show. A brilliant addition to the show, these hits will have the audience dancing in their seats.

St. Stephen's and St. Agnes School's production of "Tartuffe" was a brilliantly executed performance. With hilarious actors, intricate sets, and Rock and Roll, this Stage One production is one to remember.

Kristen Waagner
McLean High School
Submitted for publication to Cappies News 2

How does a haughty hypocrite turn a town upside down? St. Stephen's and St. Agnes School's performance of "Tartuffe," reminiscent of the beloved sitcoms of the 1950's, takes the classical French comedy into the 20th century with a spectacular set and buoyant, physical performances by the talented cast.

First performed in 1664, "Tartuffe," also called "The Hypocrite," is renowned as one of Molière's foremost comedies. The story follows the affluent Orgon and his family, who have taken in the smug holy man Tartuffe, who preaches to them of mortal sin and self-denial. Although Orgon is thoroughly bewitched by the man's charms, his wife and children know Tartuffe to be a conniving fraud, out to take their wealth for himself. When Orgon plans to marry Tartuffe to his only daughter, only mayhem can ensue.

In his performance as the gullible, self-satisfied head-of-household, Christian Corpening imbued Orgon with a fatherly spirit while upholding the comedic demands of the role. His vocal variation and emphasis indicated an adept grasp of the show's hefty English translation. As a slick foil to Orgon's naiveté, JP Payro's Tartuffe shone with an animalistic physicality, consistent through his entire body. The cunning con-man's trickery added humor and lighthearted conflict to the play.

The talented ensemble cast that made up Orgon's household each brought a distinct energy to their character, connecting to form an irresistibly lovable familial dynamic. Damis (Jackson De Vallance) was especially hilarious, maintaining integrity even when being soaked while hiding in a fountain or attempting to whack Tartuffe with a tennis racket. Loving housewife Elmire (Julia Burke) played up the physical comedy of the script with domestic grace, excelling in the second act. The chemistry between Jen Lansing's pure, innocent Mariane and her steadfast fiancée, Sam Stevens' Valère, was reminiscent of the young love between Romeo and Juliet, though these lovers received a much happier ending. Nikki Bires embodied the brazen nature of the maid Dorine, the Nurse to Mariane's Juliet, and narrated the play with an enduring vitality.

Technical elements added to the 1950's air of "Tartuffe." Set in the backyard of a realistically sized Spanish missionary-style house, the skillfully-executed, multidimensional set included details such as a working fountain, arched walkways, matching lawn furniture, and terra-cotta roof tiles. Especially creative were the student-created smooth jazz covers of 1950's hits like "My Way" and "Stand by Me." These interludes added a polished ambiance to seamless transitions between scenes, which were flawlessly orchestrated by stage management. Additionally, the music contributed to the play's sitcom-like energy, notably in the expositional "title sequence" that opened the first act.

Replete with wildly entertaining physical comedy and lovable characters, St. Stephen's and St. Agnes School's adaptation of "Tartuffe" proves that Moliere's story is as hilarious today as it was 400 years ago.

Jessie Yu
Oakton High School
Submitted for publication to Patch.com

If you love drama, frauds, and sleuths, you have to see this school's "Tartuffe!" St. Stephen's and St. Agnes School's production of this classical comedy revived and spun it into a spectacle that was easy for modern audiences to enjoy.

Originally penned by French playwright Molière in 1664, the play centers on a wealthy family being torn apart by Tartuffe, a criminal who feigns pious sanctity to win over the head of the household, Orgon. Hilarity ensues with much ado as the rest of the family scrambles to present proof of Tartuffe's true devious nature.

JP Payro took on the titular role with flair and confidence, expertly capturing the character's duality as he manipulated those around him. Payro exhibited flawless comedic timing as he snapped from a groveling, overly devout martyr to a sleazy con-artist as soon as Orgon looked away. His use of his hands made the distinction between the two clear; he pressed them earnestly to his chest with excessive frequency while acting as the former, and strutted around with his thumbs in his pockets when reverting to the latter. Payro further showcased his physical dexterity as he and Julia Burke, who played Elmire, developed an uncomfortable sexual tension that mingled intimacy with obvious ulterior motives.

Portraying the stubborn and oblivious Orgon, Christian Corpening's performance was both exasperating and entertaining as he plummeted right into Tartuffe's plans, only discovering the truth too late when his wife shoved it into his face. His animated indignation worked well with the complex blocking of the reveal scene, and the audience couldn't help but laugh as he fumed beneath the table that Tartuffe and Elmire were entangled on. Corpening was also particularly proficient in keeping the delivery of his lines natural, a genuine challenge when the entire play was composed of rhyming couplets.

The choice to set "Tartuffe" in the 1950's era of nuclear families was a brilliant decision that immediately established the chipper and melodramatic vibe of a sitcom. A comedic standout that rounded out the family dynamic was Jackson De Vallance in the role of Damis. De Vallance used his smaller size to make his character's violent tendencies more ridiculous and endearing. He created some of the most memorable moments in the show as he stomped around the fountain while spying on his mother and repeatedly hefted his tennis racket in thwarted efforts to clobber Tartuffe with it.

Every technical aspect went off without a hitch and elevated the actors' performances. Designed by Daniel Wozniak, the set consisted of a fully functional fountain, a bright, manicured lawn, and the aesthetically soothing exterior of Orgon's manor. With only a few items of furniture placed on the lawn, the crisp, carefully crafted set pieces allowed the actors to interact and maneuver around them in crucial moments where one character was spying on others. Additionally, the ingenious use of hair mics prevented static and crackling during the many physically demanding scenes. There were no sound problems at all, a truly commendable feat for a high school play.

With an exemplary cast that mastered physical comedy, a picturesque set, and a top-notch crew, one thing is clear about St. Stephen's and St. Agnes School's "Tartuffe": their show delighted the whole crowd and surely did Molière proud.

Katherine Kelly
McLean High School
Submitted for publication to Alexandria Times

What chaos will ensue when a picturesque family takes in a cunning con-artist? In a colorful and lively twist on a timeless story, St. Stephen's & St. Agnes School ushered a whirlwind of lies, love, and laughter to the spotlight in their unforgettable performance of "Tartuffe."

Written by Molière in 1664 for Versailles Fêtes, Tartuffe explores the results of deceit and hypocrisy. Tartuffe, a greedy and adulterous homeless man, presents himself as pious and divine. Orgon, a wealthy father and husband, falls for this deceit and allows Tartuffe to stay in his home, respecting him immensely and listening to all he says. When Orgon promises his daughter that she will marry Tartuffe, his family sets out to prove the deceptive man's true nature. Setting their show in the 1950's, St. Stephen's & St. Agnes School retold the story with a lively sitcom vibe. The hilarity that ensued was unforgettable, creating a performance alluding to themes of honesty and caution while remaining lighthearted and fun.

Christian Corpening, playing Orgon, accurately fulfilled the role of a man subservient to Tartuffe. Packing every line with clear emotion and precise emphasis, he revealed his love for the "pious" man. Throughout the performance, as stakes grew higher, Corpening's energized movements and pronounced tempo changes conveyed the plot's urgency. Meanwhile, JP Payro built a perfectly unlikable Tartuffe with his poised characterization. Especially notable was his physicality: He appealed to Orgon with sacramental pleading and prayer, while infusing his movements with lust and desire when with Elmire, Orgon's wife. Julia Burke, playing Elmire, was talented in her own right: Her seductive gestures when with Tartuffe elicited peals of laughter and further exposed his deceptive manners.

The tensions brought forth by Tartuffe's deceit were balanced by a sitcom like 1950s vibe, allowing comedic relief and unique character development. Particularly noteworthy were Jen Lansing playing Mariane, Orgon's daughter, and Jackson De Vallance playing Damis, Orgon's son. Portraying a brother-sister duo, their playful banter and comical interactions brought home the theme. Furthermore, Nikki Bires playing Dorine, Mariane's lady's-maid, established a child-like relationship with Mariane, urging her to pursue her true love Valére with energy and passion. Sam Stevens, playing Valère, also established an excellent relationship with Mariane, bringing his love for her to life.

Tying the show together were exceptional technical details. A bright and intricate set portraying a Spanish missionary style home dominated the theater, complete with a functioning fountain, realistic turf grass, and a white building extending across the stage. The three dimensional nature of the structure lent perfectly to the abundance of eavesdropping the play called for, demonstrating the thought placed into the set's construction. Equally as compelling, songs such as "My Way" and "Stand By Me" were selected by students, who performed and recorded covers of them. These jazzy tunes set the 1950's mood, as well as allowing increased ad lib and character individulization throughout the performance as the cast danced to the songs. Time period appropriate makeup, an efficient run crew, and thoughtful lighting choices completed the production's impressive technical execution.

When trickery and destruction are brought into a home, chaos is soon to follow. With their impressive cast and crew, St. Stephen's & St. Agnes School's "Tartuffe" made for a topsy-turvy night of surprise and delight, showcasing the momentous implications of a "deceitful soul."

Maggie Klein
Oakton High School
Submitted for publication to Connection

Elvis Presley's "Blue Suede Shoes" blares, bright swing dresses twirl, and a Californian family dances out of a 1950's sitcom and onto the stage of St. Stephen's & St. Agnes School's offbeat production of the classic Tartuffe.

Written in 1664, this classic French comedy is one of Molière's most famous plays. It follows a wealthy family headed by father Orgon, who falls under the influence of the deceptively pious Tartuffe. Orgon offers his daughter's hand in marriage to Tartuffe (much to young Mariane's dismay), but Tartuffe sets his sight on Orgon's wife Elmire. The story has stood the test of time and been adapted for film, television, and opera despite originally being banned by church officials for its critique on religion.

As the titular "cunning scoundrel," JP Payro embraced the complexities of the slimy Tartuffe. Whether falling on his knees in faux religious zeal or leisurely striking a downward dog yoga pose, Payro revealed just as much with his actions as with his words. Orgon (Christian Corpening) was just as physically committed as Tartuffe, and the pair played off of each other to keep long scenes lively. Corpening embodied the commanding father figure as he practiced his putt on a golf green, lunged and jumped at Tartuffe, and burst out from under tables.

Elmire (Julia Burke) also exhibited an engaging dynamic with Tartuffe as she disgustedly fought off his advances and then theatrically ceded in a ploy to prove his true intentions to her husband. Children Mariane (Jen Lansing) and Damis (Jackson De Vallance) rounded out the family. Together, they non-verbally established a familiar sibling dynamic in the background of other scenes, and separately, they were believable as their respective angst-ridden teen girl and hotheaded young boy selves. Mariane sank to the floor in distress and rolled her eyes at her maid Dorine (the sassy and energetic Nikki Bires), and Damis plunged in and out of a fountain and wielded badminton rackets with reckless abandon. The pair brought youthful energy and comedy to an already funny show.

A breathtaking set (Daniel Wozniak) and period hair and makeup (Hanna Kidane) ground the production to the world of 1950's California. An enormous Spanish mission style house (built to code!) complete with white stucco arches and red terracotta roofing made the set multidimensional. Turf grass covered the stage and a lavish, functioning fountain served as gorgeous décor and the perfect place to eavesdrop. Primary colored costumes, pin curls, and classic red lips solidified the time period. To further enhance the updated setting, musicians Matthew Lu recorded jazzy renditions of 1950's classics to be played during scene transitions. This and the dimmed lighting of lanterns on the house created a relaxed California vibe that made transitions seamless.

While the character of the same name may be an unsavory hypocrite, if you like physical comedy, majestic sets, and refreshing takes on classics, then "you deserve to be tartuffified" by the talented cast and crew of St. Stephen's & St. Agnes School.

Kyle Dalsimer
Annandale High School
Submitted for publication to The Voice

Where's the best place to set a classic comedy by Molière that was first performed in 1664? The Mid-20th Century of course! With an astounding set, comedic timing, and a fun new twist on classical literature, St. Stephen's and St. Agnes School's Stage One Players brought us a hysterical new look at "Tartuffe."

"Tartuffe" is the story of a man named Orgon and his family. They live happily at his home, until Orgon gives refuge to a man named Tartuffe, a man devout in his religion, who is always trying to help others, caring nothing of his life on earth as long as he can serve God and do his bidding, or at least, that is what he appears to be. Tartuffe is in fact a hypocrite, and is false in his religious claims, seeking only to con those who are fooled by his guise.

The first thing that an audience member sees as she walks into any production is the set, and the Stage One Players immediately transfixed theater-goers with what can only be described as a supremely intricate and beautifully designed set. With the sense of a wealthy estate's backyard, the set is key to making this production feel as if it's really happening at someone's house and not on a stage.

Other areas of tech also excelled, including the sound crew, who had virtually zero mishaps throughout the entire production, and stage management, which kept the production rolling without a single hitch.

The time period was set very well with the musical selections from the era, which were mainly used in between scenes during the space that can sometimes become dead space in productions without such precautions. This touch, although subtle, really helped to keep the audience engaged even when nothing was occurring onstage at that particular moment.

There were many standout performances from this high-energy cast. Orgon, played by Christian Corpening, gave the audience a performance that was sure to have the audience rolling with laughter, as he remained oblivious of Tartuffe's deceit and thought him to be a true saint. Tartuffe (JP Payro) was the perfect fit for this role of cunning and deception, as he used his body to create a dark, truly despicable character that only the audience and those suspicious of him were privy to. His almost animal demeanor gave very interesting dimensions to his character. Jackson De Vallance, playing the young Damis, gave a performance that will not be soon forgotten, as he brought a youthful energy to his character and had the audience rolling with his interactions with the onstage fountain, climbing in and out and being soaked through.

In short, The First Stage Players brought a new energy and life to a piece of literature that is seldom seen with these adjectives in description with their creative time period change. "Tartuffe" may be about a liar, but the truth is clear; St. Stephen's and St. Agnes School gave audience members a night of laughter and fun!

Sarah Bourgeois
Westfield High School
Submitted for publication to The Voice

Lively 50's music blares from a record player, surrounded by a blissfully sock-hopping family. A sly stranger saunters into the lighthearted room, turning the record player off and the mischief on. The smooth-talking shuckster rattled the cages of the household in St. Stephen's and St. Agnes School's peachy keen production of "Tartuffe," with a nifty 1950's twist.

"Tartuffe" is the most famous of Moliere's French comedies. The play opened on May 12, 1664 at the Palace of Versailles during the Les Plaisirs de l'île enchantée, a festival for King Louis XIV and his court. Although the play was originally performed in 17th century France, St. Stephen's & St. Agnes School whisked the audience to 1950s America.

The plot follows a wealthy, chipper family as they are stripped from cloud nine when the naive head of the household invites a devious swindler into the home. The insightful children are well aware of the mischievous ways of their new guest; as is their mother, who knows he has adulterous intentions from the moment they meet. When the father attempts to marry his daughter off to the dastardly man, numerous complications emerge within the house, only to be challenged by the drastic conspiring of the family.

JP Payro portrayed the hypocritical Tartuffe with immense commitment to the role. Payro used complex mannerisms to display the emotional manipulation of other characters, leaving them and the audience "tartuffified." He was on his knees, begging forgiveness of Orgon, head of the family, after his son accused him of seducing his wife; then switches to gratefully accepting the deed of the house he conned from Orgon. Nefarious intentions radiated from Payro's presence as his characterization flourished throughout the performance.

The young boy of the house, Damis, was portrayed by Jackson De Vallance with dynamic characterization. While eavesdropping on Tartuffe's advances towards his stepmother, Damis sneakily maneuvered in and around a fountain to ensure he wouldn't be caught. De Vallance did this with daring sentiment while consistently presenting a childlike nature.

The vividly captivating technical aspects truly astounded the audience. The set was crafted with plaster and paint, creating ravishing Spanish missionary style walls, complete with fully functioning porch lights and terracotta roof tiles. Resting atop a fine layer of lush, green turf was a sparkling fountain, topped with a dazzling fish spewing a clear stream of water into the pool below. Adjacent to this was wicker patio furniture and a record player, enhancing the 1950's feel of the play.

The mesmerizing technical aspects, cohesive cast and dedicated crew of St. Stephen's and St. Agnes School brought life to "Tartuffe" in a jiving new light.