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OPENING
listings
Tartuffe
City Theatre,
through Aug. 16
Running time: 1 hr, 45 min
The success of City Theatre Company’s staging of Tartuffe is a
testament to both Charles P. Stites’ fondness for the story – evident in his adaptation and in his performance of the title role –
as well as the strength of Molière’s famous
comedy. A program note explains that when
Stites first read Tartuffe as a teen, he was
struck by the similarity between the charlatans of the 1600s and the politicians of the
day. So City Theatre Company’s production is
set in present-day Texas, and the new context works amazingly well. Molière was a forward-thinking guy: His maid is as outspoken
as her master, his women do not take suppression quietly, and most poignantly, he is
suspicious of zealots. The play, denounced
by the church in its day, manages to express
an important social critique while at the
same time providing an entertaining story.
Tartuffe is a tale of faith gone wrong, of
piety leveraged for the gain of power, money,
and, hopefully, sex. Orgon is a wealthy man
who has become enamored of a seemingly
religious, destitute gentleman by the name
of Tartuffe. He takes Tartuffe into his home
and offers him everything under the roof,
from the best pieces of meat to copious
amounts of money to his daughter’s hand in
marriage. So duped is Orgon by false piety,
he essentially denounces his family. The
family, on the other hand, sees Tartuffe for
what he is, a fraud and a criminal, but they
struggle to show the light to blinded Orgon.
Throughout, Orgon’s brother-in-law Cleante
serves as the mouthpiece for Molière’s
views, urging moderation over extremity,
humble faith over grandstanding. Cleante
tells Orgon, “Phony piety is just as common
as phony courage.”
Stites’ notion to set this 17th century play
in a contemporary world was a good one,
and his production flows smoothly and enjoyably around Molière’s story. The adaptation
makes the language feel modern but still
elegant. Stites’ direction honors the robust
physicality of Molière’s imagination. The set,
with its giant cross and hunting trophies and
large portrait of Obama, conveys the sense
of a religious, political, and wealthy household. The cast does good work across the
board, particularly Wray Crawford in the crucial role of Orgon, who must serve as a foil
to the title character; Crawford makes Orgon
first a compelling fool, then a sympathetic
repenter. Tartuffe might easily be played as
a finger-tapping, beard-twirling embodiment
of evil, but Stites takes a more interesting
approach. His Tartuffe is ever so earthly – a
spitting, drooling, sniveling lump of vileness.
It’s a great combination of the pathetic with
the dangerous.
The show has the most fun with its present-day take toward the end of the night.
The original includes a deus-ex-machinastyle twist in which an enlightened king
saves the day. In this version, the officer
who comes to arrest Orgon and instead,
to everyone’s surprise and delight, arrests
Tartuffe, gestures toward the portrait of
Obama and goes into an amusing speech:
“We live under a leader who is an enemy to
lying. His deep soul is blessed with a keen
perception. He’s far too brilliant to be fooled
by empty zeal.” The officer even works in a
Patriot Act joke. On opening night, the audience was greatly amused by this cheeky yet
effective meeting of the old material with
the new setting. Ultimately, Tartuffe is about
moderation, about rational thought and true
faith over corruption and zeal. Molière and
City Theatre Company have wrapped the
message in an entertaining and well-executed evening of theatre. Any time you can
use Barack Obama as a deus-ex-machina
device, you’re doing something right. And
you know Tartuffe has hit home when the
actor in the title role gets playfully booed at
curtain call.
– Hannah Kenah
56 T H E A U S T I N C H R O N I C L E JULY 31, 2009 a u s t i n c h r o n i c l e . c o m
SUMMERSTOCK AUSTIN: SWEENEY TODD, LITTLE
SHOP OF HORRORS High school students get their
theatre careers started in shows like these – maybe
in these very shows – as taught by professional
actors in the ways of greasepaint and gaffa. July
30-Aug. 9. Tue.-Sun., 7:30pm. Extra shows: Sun., Aug.
2; Sat.-Sun., Aug. 8-9, 2:30pm. Long Center for the
Performing Arts, 701 W. Riverside, 428-1297. $15-20.
www.summerstockaustin.org.
ORESTES “Set days after Orestes’ murder of his
own mother in retribution for the assassination of his
father, the dark fevered hallways of Orestes’ mind are
explored as he seeks absolution and release from the
curse of the House of Atreus.” Dark? Heavy? Violent?
That’s yes times three for this amalgamation of ancient
Greek dramas centered by Euripedes’ fierce tale. It’s a
good thing, we say, that the professionals of Cambiare
Productions are the ones taking it on. Adapted and
directed by Will Hollis Snider. See “‘Orestes,’” p.31, for
more. Thu.-Sat., July 30-Aug. 15, 8pm. The Off Center,
2211-A Hidalgo, 524-3761. $15 ($12, students; pay what
you can, Thursday). www.cambiareproductions.com.
RICHARD III Can we ever have enough
Shakespearean kings in town at one time? Witness
fanciful history brought to life as the Austin Drama
Club presents the Bard’s much crueler, more twisted
monarch – with Japhy Fernandes in the title role,
as directed by mafia-inspired Julio Melo. E-mail for
details. July 30-Aug. 22. ceasarbnice@yahoo.com.
STEEL MAGNOLIAS Not quite brass orchids, are
they, kid? No, this is Robert Harling’s heartwarming
play that’s “full of laughter, tears, and great Eighties
hairdos.” (Note: Never underestimate the power
of Southern women.) Directed by Cathy Jones for
the Trinity Street Players. July 31-Aug. 9. Fri.-Sat.,
8pm; Sun., 2:30pm. First Baptist Church, 901 Trinity,
476-2625. Free, but call for reservations.
VORTEX SUMMER YOUTH THEATRE: ROSSUM’S
UNIVERSAL ROBOTS Karel Capek’s classic R.U.R.
comes to life via this year’s batch of young Vortex
robotniks, directed by Gabriel Maldonado. Thu.-Sun.,
July 31-Aug. 8, 8pm. The Vortex, 2307 Manor Rd.,
478-5282. $10-30. www.vortexrep.org.
EPIDEMIC OF FEAR You needn’t have devoured Laurie
Garrett’s excellent The Coming Plague in a single sitting
to appreciate the trappings (and biological MacGuffin)
of this what-if musical – excuse me: influenzical – from
the warped minds of Crank Collective, directed by John
Cecil. Just how paranoid, absurd, and Gitmo-licious
might a government response to a fully-fledged epidemic become? See here, where they feature “music that
is live and chickens that are not.” Fri.-Sat., July 31-Aug.
8 , 8pm. Salvage Vanguard Theater, 2803 Manor Rd.,
474-7886. $15. www.salvagevanguard.org.
STAGED BY THE BELL is an episode of the old
TV show Saved by the Bell, performed live by the
sharp talents of the Institution Theatre. No, seriously. Specifically, it’s the episode in which Elizabeth
Berkley’s character’s overambitious nature gets her
hooked on caffeine pills. So incredibly bad that it’s
brilliant, we reckon, and directed by the unstoppable
impresario and comedy wizard Tom Booker. Aug. 2-23.
Sundays, 8pm. United States Art Authority, 512 W. 29th,
895-9580. $10. www.theinstitutiontheatre.com.
LIVING NEWSPAPER PERFORMANCES This recreation of Depression-era Living Newspapers originally
founded by the Federal Theatre Project will showcase
youth performances dramatizing issues surrounding
immigration. Aug. 6-8. Thu.-Fri., 10am & 2pm; Sat.,
4pm. Bob Bullock Texas State History Museum,
1800 Congress, 936-8746. Free with exhibit admission.
www.thestoryoftexas.com.
HOUSE OF SEVERAL STORIES: A TRAGEDY IN TWO
ACTS OF NONSENSE Thanksgiving isn’t what it used
to be in this absurdist comedy about an eccentric
family and its unusual guests. The show – written and
directed by A. John Boulanger for Imagine That’s inauguration – is high-powered with performances by Lauren
Lane, Martin Burke, Meredith McCall, Adam Pearson,
and Kelli Schultz. Aug. 6-23. Thu.-Sat., 8pm; Sun., 5pm.
Austin Playhouse, 3601 S. Congress, Bldg. C, 476-0084.
$20-30 ($15, students). www.it-productions.org.
CLOSING
SOUVENIR Out Bastrop way, Stephen Temperley’s
comedy about the lady who couldn’t sing but became
a cult figure with classical repertoire and outrageous
costumes is directed by Chester Eitze. Through Aug.
10. Fri.-Sat., 8pm. Bastrop Opera House, 711 Spring St.,
Bastrop, $5-10. www.bastropoperahouse.com.
THE WEIRD SISTERS: GOODNIGHT, DESDEMONA
(GOOD MORNING, JULIET) The all-female troupe’s
fifth annual production is a Velveeta-nibbling, Coorsswilling, irreverent look at Shakespeare’s classics,
starring Chris Humphrey. Through Aug. 1. Thu.-Sat.,
8pm. Cathedral of Junk, 4422 Lareina, 921-2923.
$5-20. www.weirdsisterscollective.com.
ONGOING
DEAR FRAILTY Arthur Simone is an improvisational
actor, abstract expressionist artist, and advocate of
the culture of spontaneity. This, though, is a night
of his scripted monologues and character work, and
we reckon we’ll list it here as well as in the comedy
section. After all, what’s less than theatrical about
someone, one-third of the ColdTowne posse, who’s
also a former Air Sex World Champion and winner
of the O. Henry Pun-Off? Talented, talented man:
Recommended for those who like their comedy dark
and twitchy. Through Aug. 28. Fridays, 9pm. ColdTowne
Theater, 4803-B Airport, 524-2807. $10.
www.coldtownetheater.com.
TARTUFFE The grand Molière’s most famous (and
perforce French) farce unveils much of every society’s
bullshit, via the scheming, scandalous scourge of
the title character. Here directed for City Theatre by
Charles Stites – who takes the plum role for himself,
the feckless fiend. “Feckless!” we say. And recommended to lovers of the classics. See review, left.
Through Aug. 16. Thu.-Sat., 8pm; Sun., 5:30pm.
City Theatre, 3823 Airport Ste. D, 524-2870. $15-25.
www.citytheatreaustin.org.
KILLER JOE returns like a good bad nightmare for
only three weekends, and then that’s it, c’est finis, it
won’t be seen again. Capital T Theatre bows to some
extremely insistent demand in reprising its take on
the darkly comedic play by Pulitzer-winning playwright
Tracy Letts. Mark Pickell directs, with the unnerving
Ken Bradley in the title role, Joey Hood and others
attempting to weather his storm, and enough chicken-fried violence to fill an N.R.A.-brand trailer park.
(NB: Nudity, gunshots, adult situations.) Through Aug.
8. Thu.-Sat., 8pm. Hyde Park Theatre, 511 W. 43rd,
479-PLAY. $15-25. www.capitalt.org.
KITTY KITTY BANG BANG: APOCALYPSE WOW
The Kitties (in their final show) prepare us for the
imminent End Times with a little flash of flesh, a little
bump of grind, and a big old smile in the midst of
your burlesque-loving phiz. Fri.-Sat., July 31-Aug. 1,
9pm. The Independent, 501 N. I-35, 485-3001. $15.
www.texaskitties.com.
LOVE, JANIS This staged spectacle of live music
explores the Texas-born performer not only through
her legendary songs but also via letters she wrote to
her family. The phenomenal Andra Mitrovich returns
in her original starring role, so you know the rafters
are liable to burst into flames from the pure paisley
power of it all. Through Aug. 30. Wed.-Sat., 8pm; Sun.,
2:30pm. Zach Theatre, 1510 Toomey, 476-0541.
$20-45. www.zachscott.com.
ZILKER SUMMER MUSICAL: THE MUSIC MAN Did
you know that the Simpsons homage to this popular
show – you recall that episode about the monorail,
yes? – was written by Conan O’Brien? Well, now you
do. And now you really want to grab a pic-a-nic and
watch Meredith Willson’s classic performed live on
the great green hillside by an enthusiastic troupe
of locals as the sun sets slowly behind you and
it’s “Goodnight, My Someone” right here in River
City. Through Aug. 15. Thu.-Sun., 8:30pm. Zilker Park
Hillside Theater, 2206 William Barton Dr. Donations
accepted. www.zilker.org/showinfo.html.
SUBMISSION INFORMATION:
The Austin Chronicle is published every Thursday. Info
is due the Monday of the week prior to the issue date. The
deadline for the Aug. 14 issue is Monday, Aug. 3. Include
name of event, date, time, location, price, phone number(s),
a description, and any available photos or artwork. Include
SASE for return of materials.
Send submissions to the attention of the appropriate writer (see roster below). Mail to the Chronicle, PO Box 49066,
Austin, 78765; fax, 458-6910; or e-mail:
Wayne Alan Brenner, theatre, comedy.
brenner@austinchronicle.com.
Robi Polgar, performance art, dance, classical.
dance-classical@austinchronicle.com.
Ric Williams, litera. litera@austinchronicle.com.
Benné Rockett, visual arts. art@austinchronicle.com.
Questions? Contact Wayne Alan Brenner, Listings editor.
brenner@austinchronicle.com.