Centre 42 » Tartuffe https://centre42.sg Thu, 16 Dec 2021 10:08:35 +0000 en-US hourly 1 https://wordpress.org/?v=4.2.30 TARTUFFE by Nine Years Theatre https://centre42.sg/tartuffe-by-nine-years-theatre-2/ https://centre42.sg/tartuffe-by-nine-years-theatre-2/#comments Mon, 09 Feb 2015 06:09:32 +0000 http://centre42.sg/?p=2440

“Oh my fraud”

Reviewer: Walter Chan
Performance: 7 February 2015, 3pm

A well-calibrated and charming piece that shows off Molière’s softer side.

Tartuffe features (clockwise from left): Jalyn Han, Mia Chee, Neo Hai Bin, Koh Wan Ching, Darius Tan, Hang Qian Chou and Jean Toh. Photo credit: Nine Years Theatre.

Tartuffe features (clockwise from left): Jalyn Han, Mia Chee, Neo Hai Bin, Koh Wan Ching, Darius Tan, Hang Qian Chou and Jean Toh. Photo credit: Nine Years Theatre.

“A sin that no one knows is no sin,” quips the artfully pious conman, Tartuffe, in the middle of the play, as he reveals his true wickedness for the first time.

Moments later, he is caught with his pants down (yes, literally).

Nine Years Theatre returns with an adaptation of Molière’s comedy, Tartuffe. Translated into Mandarin and also directed by Nelson Chia, the original storyline is kept largely intact: The master of the house, Orgon, idolises Tartuffe and is completely taken in by his false religiosity, while the rest of Orgon’s family see right through Tartuffe’s deception, and are unable to persuade Orgon otherwise.

Of course, there are always implications when you perform Molière in Mandarin. For one, you are performing a French play in Mandarin.

Let me repeat myself one more time: A French play – in Mandarin! (A surprisingly blatant fact that other reviewers fail to grasp time and again.)

The comedy is therefore of a slower pace than the original, but not once did it lose its momentum, thanks to the cast’s solid performance. In fact, Tartuffe is so well-calibrated that the comedy actually feels relaxed and natural. If you think Molière is devoid of nuance, this performance will change your mind; Chia may have outdone himself here, in this refreshing rework of Tartuffe.

In addition, Chia astutely dispenses with attempting a realist depiction of a period French household. The bare-bones set is reminiscent of last year’s Art and An Enemy of the People, with no curtains to hide the wings. This foregrounds the theme of exposing façades. Chia mentions in the post-show dialogue that by highlighting the constructedness of the performance onstage, he wants the audience to “discuss art, not just consume it”.

Tartuffe certainly creates enough room for discussion: ardent idolatry of false prophets, the fervour of outward religiosity, even the deus ex machina preserved from the original script to end the play. While some may be left scratching their heads over the ending, perhaps even feeling dissatisfied, I feel this misses the whole point of the play – which is to ask more questions.

There is a trademark pedigree associated with Nine Years Theatre, and this stems in no small part from their rigorous actor training. Director Nelson Chia, too, has consistently demonstrated a knack for adapting foreign classics to the local stage. Even more challenging is the fact that he translates the plays himself, to be performed in Mandarin. Nevertheless, the dramatic integrity of the script is maintained without sacrificing the quality of the performance.

Whatever it is, I’m definitely looking forward to the next Nine Years Theatre offering.

 

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

 

ABOUT THE PRODUCTION

TARTUFFE by Nine Years Theatre
4 – 8 February 2015
National Museum Gallery Theatre

ABOUT THE REVIEWER

Walter Chan has recently starting dabbling in play-writing, most usually writing ‘for fun, but hopes to develop his hobby into something more substantial in the future.

 

]]> https://centre42.sg/tartuffe-by-nine-years-theatre-2/feed/ 0 TARTUFFE by Nine Years Theatre https://centre42.sg/tartuffe-by-nine-years-theatre/ https://centre42.sg/tartuffe-by-nine-years-theatre/#comments Fri, 06 Feb 2015 10:59:37 +0000 http://centre42.sg/?p=2432

“Tartuffe Entertains in  Mandarin”

Reviewer: Isaac Tan
Performance: 5 February 2015

By now, Nine Years Theatre has carved a niche in staging mandarin adaptations of classic western plays; and their signature appears to be having the actors stand around as the audience enters. Given the configurations of the gallery theatre, it feels like I am about to watch an amateur show put up in someone’s living room.

Thankfully, that feeling goes away the moment the show starts.

Written in 1664, Tartuffe is a satire that exposes the hypocrisy of religious figures who don a pious exterior only to gain favours and financial benefits.

Orgon, a French nobleman, pities the downtrodden but ostensibly religious Tartuffe and invites him to live in his household. His admiration turns into blind devotion at the expense of his family and wealth. Meanwhile, his family must find a way to expose Tartuffe before it is too late.

As with most comedy, it is the witty servant that carries the show and this one is no different. Jalyn Han as Dorine brings on the laughs with her keen comic timing and energy. She also strikes a balance between the exaggeration needed in the comedy and the quieter moments when she is a keen observer.

Darius Tan’s Orgon, is a wonderful foil to Dorine. They play off each other well and the actors’ energies are well-matched. However, Tan plays Orgon’s folly without the concordant gravitas of the head of the household. This reviewer wonders why his family should take him so seriously in the first place.

Mia Chee as Orgon’s wife, Elmire, starts on shaky ground but she steadily grows into her role; especially during the crucial moments when she is needed in order to expose Tartuffe. Koh Wan Ching plays Cléante, who is another moral anchor in the play. She manages to temper the sombre moral expositions with comic physicality which is a delight to watch.

Unfortunately, the actors playing the children and the titular character do not quite match up. Jean Toh as Marianne leaves no strong impression. Neo Hai Bin’s Damis (Orgon’s son) and Valère (Marianne’s fiancé) are not sufficiently differentiated beyond the different costumes.

Hang Qian Chou (Tartuffe) excels in putting on a pious affectation but is unable to shift convincingly when he reveals his true colours.

Perhaps, the jitters—as mentioned by Mayo Martin— has not fully worn off as most of the actors garbled their words on occasion. Also, a chronic problem with productions of Nine Years Theatre is that the English surtitles reveal the punch lines before the actors deliver them. Director Nelson Chia should consider timing those lines with the actors’ delivery.

Tartuffe is not without its kinks but the comedy does translate well into mandarin. While the show clocks in at an hour and forty-five minutes, it is not tedious and provides enough entertainment for those seeking a little after-work light diversion.

 

Do you have an opinion or comment about this post? Email us at info@centre42.sg.

 

ABOUT THE PRODUCTION

TARTUFFE by Nine Years Theatre
4 – 8 February 2015
National Museum Gallery Theatre

ABOUT THE REVIEWER

Isaac Tan is a current contributor to The Kent Ridge Common, an NUS publication, and an aspiring poet whose poems have appeared in Symbal, Eunoia Review, Eastlit, and Malaise Journal.

 

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