Tartuffe

Tangled Web Woven

Tartuffe

by Molière

YAT at The Coward Studio, Hampton Hill Theatre until 18^th April

Review by Susan Furnell

YAT (Youth Action theatre) presented a fast-paced, one-hour abridgement of the famous Molière comedy, marking fifty years since the company first staged the play in 1976. It was dedicated to the memory of their much-loved late President, Eileen Baker.

While some classical comedies risk feeling dated, this production maintained consistent humour without sliding into lazy slapstick, through energetic pacing and unexpected turns in the manner in which acting was exaggerated. Director Josh Clarke’s abridged version uses a contemporary, improvisational style, particularly evident in the animalistic exchanges between Tartuffe and Elmire in the scene where Elmire hides Oregon under the table to witness Tartuffe’s hypocrisy, and in the energetic use of contemporary music between scenes and at the end.

Molière’s play was controversial when first performed and temporarily banned for criticizing religious figures. Although this production avoids obvious modern political commentary, this deliberate restraint allows it to focus on humour and character, making the play feel refreshingly light despite its darker themes. It does however shine a spotlight, albeit through humour, on Oregon’s complicity in his own deception and in so doing offers a gentle reflection on society’s susceptibility to manipulation, even if the play stops short of making overt political parallels. The abridged version remains relevant despite being written ten years ago.

The whole cast was strong and the use of Bailiffs to greet the audience, and be on stage in character talking to themselves before the performance began, was a nice touch.

Alfie Kennedy’s Tartuffe showed the widest range of acting, capturing the humble religious façade, underlying hypocrisy and disturbingly lecherous animalistic energy until, and just before his fortunes are reversed, the triumph of the cocky East End con-man gloats in his brilliance.

The sharp contemporary facial expressions of the maid Dorine (Robyn Marriott) stole the show repeatedly while Emily Fowler’s Madame Pernelle’s wonderful French accent and acerbic wit reminded us of the play’s origins.

Based on this performance, YAT is clearly a company well worth supporting in future.

Susan Furnell, April 2026

Photography courtesy of YAT