Review: TARTUFFE at The Lyttelton, National Theatre

Ferocious is probably the right description with its caustic modernist cultural references and pointed jabs at self-made men who create feckless off-spring then chastise them for being useless. The piece (for it is more of an adaptation which has used Molière’s original as a template) is also littered throughout, with thinly-veiled Brexit references in the form of societal injustice, abuse of power and general dishonesty.

At the centre of the play’s mischief and mayhem, is the title character played in this production by Denis O’Hare as a murmuring pseudo-mystic-come-mental-health-advisor in Director Blanche McIntyre’s hit and miss production. Much of his characterisation is mere affectation - and necessarily so, as we learn that Tartuffe is wielding influence far above his lowly station in life - but on occasions O’Hare seems unsure whether his character is formed from a deeply sinister manipulative resentment or merely struggling to stay afloat in a world of “haves” which is clearly an environment outside of his comfort zone. The result is often zany, but wildly uneven and ultimately Tartuffe’s motivations appear confused, especially in the more ludicrously overwhelming comedy moments. Kevin Doyle’s Orgon is the duped master of the house who resolutely refuses to think ill of his new-age mentor, despite his entire family repeatedly providing proof of his darker intentions. He summarily disowns each in a bid to stem the rebellion against his newly found resolve to be a good man and in a modernist twist, we learn that his determination is fed by fear that his insider trading (the source of his privileged position) is about to be revealed to the world.

Rob Jones’ lavish contemporary set, with its deep blues, oranges and reds is an exercise in subdued gaudiness - a nod at one of those international boutique hotels where bleak whites have been eschewed in favour of modern colours adorned with kitsch pseudo-artworks - like the huge golden copy of Michelangelo’s David (which whilst in a corner, still manages to occupy a quarter of the stage with its dominating presence).

As each family member tussles with the difficulties of trying to make father see sense, (whilst not wishing to hurt his feelings or antagonise him to the point of banishment), things boil over and battle lines are drawn. Most notable are the scenes where Oregon’s long-suffering second wife Elmire, played with a seemingly impossible lascivious prudishness by Olivia Williams, gets the best of some sharp retorts and carries the stage well. Another notable win on the night, was Kathy Kiera Clarke’s cannily observed housekeeper Dorine who has the measure of Tartuffe from the outset and in one especially delicious scene parries each sly, knowing and physically suggestive remark he casts at her. It spoke down the ages of how women have maintained dignity and self-respect in the face of enduring male societal power, physical dominance and complacent entitlement. On a night of mixed fortunes, it was one of the few moments this reviewer found himself overcome by a desire to let out a cheer from the stalls.