The Winter’s Tale

The Winter's Tale, Shakespeare Theatre of New Jersey
Jon Barker, Erin Partin, and John Keabler; photo: Jerry Dalia

Shakespeare Theatre of New Jersey offers a powerful new production of The Winter’s Tale, a play that mixes darkness and light, the tragic and the playful. Directed by STNJ artistic director Bonnie J. Monte, it premiered December 8 and runs through December 30.

A cast of 20 is called upon to present Shakespeare’s story of how jealousy can overcome loyalty, friendship, judgment, how destructive it is to stick stubbornly to a belief despite all evidence to the contrary, and how, in the long run, the only redemption may be through love. Director Monte says this complex play is “part allegory, part searing drama, part pastoral comedy and part uplifting and moving romance.”

Leontes, King of Sicilia (played by Jon Barker), and his pregnant wife, Hermione (Erin Partin), are entertaining Leontes’s longtime friend from Bohemia, Polixines (John Keabler), when Leontes gets it in his head like a worm in an apple that Hermione and Polixines are more to each other than they ought to be. Learning the king means to do him harm, Polixines and Leontes’s courtier Camillo (Patrick Toon) flee Sicily, which only confirms Leontes of the couple’s guilt.

Leontes imprisons his distraught wife, who gives birth to a daughter that the wise woman Paulina (Marion Adler) begs him to see and claim, but he will not. He insists that his general Antigonus (Raphael Nash Thompson) take the baby away and leave it in some desolate place that it survive or die as the fates decree. Reluctantly, Antigonus complies.

Leontes puts his wife on trial, a proceeding interrupted by a message from the oracle of Apollo, who declares Hermione’s innocence. The message also says his son will die and Leontes will have no heir until he is reunited with his lost daughter. The death of the boy convinces him of the oracle’s truth, but the death of her son is too much for Hermione, and she too is struck dead.

Antigonus leaves the babe in a Bohemian wood and, in theater’s most famous stage direction, “exits, chased by a bear.” The infant is discovered by kindly shepherds.

Sixteen years pass, the character Time tells us, and the beautiful girl-child Perdita (Courtney McGowan) has fallen in love with Florizel (Ryan Woods), son of Polixines, though she does not know he’s a prince. The play moves into broad comedy with the country folk, but eventually the plan is made to go to Sicily, where sadness still reigns.There, everyone reunites and theater magic happens, and what was dark is made light again.

The entire cast is strong, with special mention needed for Jon Barker, who can convey every drop of meaning in Shakespeare’s lines through his delivery and unerring body language. Erin Partin and Marion Adler (who received applause for one particularly fiery speech) were also noteworthy. Seamus Mulcahy (Charley’s Aunt in the theater’s most recent production) shows his genius for physical comedy in the secondary role of shepherd. Raphael Nash Thompson and Patrick Toon provided restrained dignity in contrast to Barker’s erraticism.

A simple set is needed to accommodate two countries and numerous scenes, and Brittany Vasta has produced gorgeous, chilly white backgrounds that radiate winter and allow the beautiful costumes of Nikki Delhomme to provide the color. Other production credits to Tony Galaska (lighting), Danielle Liccardo (dance consultant), and Denise Cardarelli (production stage manager).

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable rom NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

A Christmas Carol

Greg Wood as Ebenezer Scrooge; photo: T. Charles Erickson

This is the third season for McCarter Theatre Center’s most recent and most joyous version of A Christmas Carol, its delightful return to Christmas in the Age of Dickens. Opening night was December 7, and this sparkler of a show, based on playwright David Thompson’s adaptation and directed by Adam Immerwahr, runs through December 29.

Immerwahr’s intent when he took on this holiday staple was to explore how Scrooge’s redemption “isn’t just the redemption of one man . . . when a person changes, it can transform an entire community.” His version is filled with songs from what Immerwahr calls “the treasure trove of terrific Christmas music of Dickens’s era.” Even some carols not used explicitly have “become part of the underscoring of the play,” whose music was composed by the late Obie-award winning composer Michael Friedman.

The show exemplifies McCarter’s goal of celebrating creativity, community, and diversity in the presence onstage—and before the curtain, in the lobby and theater aisles—of a cheerful community ensemble of 26 adults and a dozen children. The entire audience is involved in singing the opening carol, and probably no one in the audience avoided beaming and foot-tapping during the Fezziwigs’ Christmas party, with its exuberant, full-cast dance.

Ebenezer Scrooge (played by Greg Wood) has never said “Bah! Humbug!” with more feeling, Bob Cratchit (Jon Norman Schneider) has never been more patiently put-upon, and the rest of the cast, mostly playing multiple parts, is as lively as ever, bringing Dickens’s memorable characters wonderfully to life.

The familiar tale of a miser’s comeuppance is all there. The Ghost of Christmas Past reminds him how he gave up his youthful opportunities for happiness in order to pursue wealth; the Ghost of Christmas Present shows him how others, especially the Cratchits, live; and the Ghost of Christmas Future presents a frightening scenario that causes him to vow to change. Old Marley’s ghost (Frank X) is particularly effective and delivers my favorite line, the sententious “I wear the chain I forged in life.I made it link by link and yard by yard.” The early dark scenes change to light as Scrooge wakes Christmas morning a reformed man.

Underscoring the production’s goal of community engagement is the scheduling of a sensory-sensitive, relaxed matinee performance on December 28, to enable a wider range of people to enjoy a live performance. For tickets, call the box office at 609-258-2787 or visit the box office online.

A Sea of Blistered Tongues

Richard III, Laurence Olivier

Laurence Olivier as Richard III

Shakespeare scholar Stephen Greenblatt made an absorbing presentation last week, here in Princeton, based on his new book, Tyrant: Shakespeare on Politics. What Shakespeare has to say about pretty much any domain of human behavior is worth thinking about, and Greenblatt’s current preoccupation was clearly shared by his receptive audience.

He edged into the topic by describing how Shakespeare has been used in many countries and settings as a screen on which people may project their views about their own leaders—views that very often would cost them their freedom or more, if stated directly. Shakespeare’s notable tyrants—Macbeth, Coriolanus, Lear, and, especially, Richard III—become stand-ins for narcissistic demagogues across time and geography.

He highlighted the would-be king (and real-life character) Jack Cade, who appears in 2 Henry VI, as a populist leader deploying eerily familiar tactics. In Shakespeare’s dialog, Cade makes blatantly absurd promises to the rabble he incites, to wit:

“There shall be in England seven half-penny loaves sold for a penny;

The three-hooped pot shall have ten hoops;

And I will make it a felony to drink small [weak] beer. . . .

There shall be no money; all shall eat and drink on my score;

And I will apparel them all in one livery,

That they may agree like brothers and worship me their lord.”

This peroration is followed by what Greenblatt supposed (correctly in my case) was the only line most people can quote from that particular play, “The first thing we do, let’s kill all the lawyers.” Greenblatt says that, while the cheering rabble could not have truly believed these extravagant promises, their support for Cade was unwavering. Not until scheming Macbeth is exposed as a regicide and murderer, does Malcolm regret his former loyalty, saying, “This tyrant, whose sole name blisters our tongues, was once thought honest.”

Shakespeare’s tyrants arise in eras when, as the book blurb summarizes, “Cherished institutions seem fragile, political classes are in disarray, economic misery fuels populist anger, people knowingly accept being lied to, partisan rancor dominates, spectacular indecency rules.” Such fraught times inspired Shakespeare, as did the tyrants’ narcissistic personalities and the “cynicism and opportunism of the various enablers and hangers-on” surrounding them. These same forces, personalities, and motives give his work continued relevance.

Greenblatt sounded a discouraging note in saying that, while Shakespeare was brilliant at portraying causes and effects in his history plays, he does not point a way to solutions. “There aren’t any good ones,” he said. Yet, remarkably, civilization survived these conflicts and setbacks. On a more positive note, he concluded that what Shakespeare also teaches us is, “We are not alone.”

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Charley’s Aunt

Charley's Aunt

Seamus Mulcahy as “Charley’s Aunt” in an unguarded moment; photo, Jerry Dalia

Charley’s Aunt, the 1892 farce that ran almost 1,500 performances in London’s West End is remounted by The Shakespeare Theatre of New Jersey in a sparkling, fast-paced production directed by Joseph Discher that opened October 27 and runs through November 18.

As the play opens, St. Olde’s College student Jack Chesney (played by Aaron McDaniel) is in his campus rooms, fretting over the draft of a letter to a young lady. He can’t get the news of his attachment quite right, and her family is decamping to Scotland on the morrow. He’s soon joined by his pal Charles Wykeham (Isaac Hickox-Young), suffering similar writer’s block over his letter to another young lady in the soon-to-depart group.

Charley, an orphan, is further flustered by information that his wealthy aunt, Donna Lucia D’Alvadorez will be arriving mid-day to meet him. Though she’s paid for his education from her home in far-off Brazil (“where the nuts come from”), they’ve never met. Jack soon concocts a plan to invite their lady-loves to luncheon in his rooms to meet Charley’s aunt, who can provide a suitable chaperonage. But how to get rid of her when they want privacy? Jack hits on the stratagem of adding their amusing friend Lord Fancourt Babberly—“Babbs” (Seamus Mulcahy) to the party. He can entertain the old lady, surely.

Babbs arrives and mentions he’s taken up amateur theatricals and is about to play an elderly lady in some production. (At this point, the direction of the plot is clear, which doesn’t subtract a bit from the enjoyment!) The costume is produced, Babbs dons it, and almost simultaneous with the arrival of the young ladies is a note saying Donna Lucia’s plans have changed and she cannot arrive for several days.

Poor Babbs is finagled into pretending to be the aunt and the fun is in full sway. More people join the luncheon party—Jack’s father, Colonel Sir Frances Chesney (David Andrew MacDonald) and the father and guardian of the young ladies, Stephen Spettigue (John Ahlin), both of whom have an eye on the fetching (and wealthy) Donna Lucia.

Although the story starts a bit slowly, once the plot gets rolling, there’s no stopping it. When Charley’s aunt—the real Donna Lucia (Erika Rolfsrud)—arrives after all, sizes up the situation, and keeps her true identity secret in order to torment poor Babbs, the catastrophes multiply.

The cast has a great deal of fun with the physical comedy and sight gags, including the three delightful ingenues: Emiley Kiser, Erica Knight, and Sally Kingsford. By maintaining his dignity regardless of the outrages he witnesses, Peter Simon Hilton’s Butler is a perfect comic foil.

Ultimately, the real success of the production rests on the shoulders of Seamus Mulcahy. His Babbs—mugging, fleeing, angry, amorous—is a treat from beginning to end and well earned the enthusiastic standing ovation he and the cast received.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

The Trial of Donna Caine

The Trial of Donna Caine

Margarita Levieva and Flor De Liz Perez

George Street Playhouse’s 2018-19 season opens with a military courtroom drama directed by the theater’s long-time artistic director, David Saint. Opening night for this world premiere production was October 19, and it runs through Veterans Day, November 11. That date is appropriate, as the play deals with many issues of military hierarchy and justice.

Inspired by actual events from 1956, playwright and former Parade magazine editor Walter Anderson has adapted a story of the tragic incident in which several Marine recruits died in a nighttime exercise gone wrong. He’s brought the action up to the modern day and interwoven it with themes related to the place of women in the Marines, where male and female recruits are thrown together in the crucible of basic training.

In the play two people are determined that co-ed basic training will work: Lt. Colonel Sandra Eden (played by Julia Brothers) and the former Secretary of the Navy who authorized the program, Roy Gill (John Bolger). But when Staff Sergeant Donna Caine (Flor De Liz Perez) leads her platoon into the South Carolina swamp and a rising tide drowns five of them, their reactions differ greatly. Eden works to befriend Caine, who, by all accounts, is a fine Marine and an exemplary drill sergeant; Gill wants to prove the episode is solely the fault of Caine, not a reflection of the training protocol he promulgated. He feels so strongly that he gets himself appointed the prosecutor in Caine’s civilian trial. (I don’t recommend seeing this with any lawyers; they are likely to be squirming in their seats with objections to various problems that strike at the story’s believability.)

Caine is a difficult defendant, prickly and rigid. She takes all responsibility for the tragedy and is almost paralyzed with grief and self-recrimination. Her lawyer, Emily Zola Ginsberg (Margarita Levieva), tells her there is a big difference between “feeling guilty and being guilty.” While it appears the story is going to tackle the co-ed training head on, it never arrives at any conclusion. In fact, the plot is resolved with a kind of investigatory deus ex machina.

This obviates the need for a final “summation for the jury” that establishes a kind of moral order and has made classics out of courtroom dramas like Judgment at Nuremberg, Inherit the Wind, or To Kill a Mockingbird. I missed that, and the play misses it, because while we are told throughout what brilliant lawyer Ginsberg is, we never get to see it.

Melissa Maxwell, who plays the presiding judge in the case, is terrific. Of all the players, she inhabits her role most completely and comfortably. Others in the cast are Ginsberg’s law partner, Vincent Stone (Peter Frechette), defense counsel sounding-board Sergeant Major Clayton Williams (Michael Cullen), private first class Ellen Colessio (Kally Duling), and Ryan George as Gunnery Sergeant Jacob Jasper Walker. He plays an awkward role as Caine’s immediate supervisor (and we find out, fiancé), called to testify against her. Wouldn’t the Uniform Code of Military Justice’s prohibitions against fraternization make such a relationship problematic? No such difficulties are acknowledged.

George Street Playhouse in New Brunswick is being rebuilt. In the meantime, its productions are mounted at its interim home, 103 College Farm Road in New Brunswick. Tickets available from the online box office, or call 732-246-7717.

Don’t Miss! Detroit ’67

Detroit '67

photo: T. Charles Erickson

Just a few more performances of McCarter Theatre’s stunning production of Detroit ’67, directed by Jade King Carroll and on stage through October 28. The summer of 1967 is unforgettable for native Detroiters such as myself, and I’ve looked forward to seeing what light playwright Dominique Morisseau would shine on that bleak page in history. Morisseau is a 2018 MacArthur Foundation “genius grant” recipient and the third most-produced playwright in the country at the moment, so my expectations were high.
They were certainly met, with this powerful story and strong cast. In her story, sister and brother Chelle (played by Myxolydia Tyler) and Lank (Johnny Ramey) have inherited the family home in Detroit, and Chelle is using her portion of their parents’ savings to send her son to the Tuskegee Institute. Lank and his best friend Sylvester (Will Cobbs) have other plans. They want to buy a bar. This would be a big step up from the low-budget blind pig (unlicensed drinking establishment) Lank and Chelle operate in their basement, which is the set for the play.
The Detroit Police Department is going through a repressive period, in which tactical squads of four police officers terrorize, intimidate, and assault residents. If the police discover the blind pig, Chelle and Lank are in deep trouble. Contraction in the auto industry and a significant population decline have decreased economic opportunities for the city’s residents, another reason Lank and Sly want to strike out on their own.
The unexpected presence of the white woman in the household gives the characters a chance to talk about the difference in choices available to them. Chelle is deeply, angrily disappointed that her brother has, in her view, “squandered” the family inheritance—an opinion manifesting in events when the city begins to burn.
Although these are heavy subjects, Morisseau lightens the mood with the humorous efforts of Sly to romance Chelle, and the observations of her best friend Bunny (Nyahale Allie).
It’s also a story about the power of dreams and the importance of having them, and although these insights are not new, the precarious situation of the protagonists makes them all the more pointed. The fact that half a century later the play’s issues regularly resurface in the daily news underscores their continuing importance and well worth seeing.
The theater has put together a rich set of background resources that includes—of course!—a Spotify playlist that leads off with The Temptations’ “Ain’t Too Proud to Beg.” Find it here!
McCarter Theatre is easily reached from New York by car or train (New Jersey Transit to the Princeton Junction station, then the shuttle train into Princeton. The shuttle ends a short walk from the theater and the university’s new arts district, as well as two innovative new restaurants.
For tickets, call the box office at 609-258-2787 or visit the ticket office online.

Vacation Reading, Italian Style

chalk outline, body

(image: pixabay, creative commons license)

Seventeen days out of the country, two eight-plus hour air flights, how many books should I pack? Always the burning question. This time, it turns out, not enough. I packed six and had to raid the hotel guest discards shelf for the return flight. Picked a good one too.

Here are quick reviews of five of them:

****Ellery Queen Mystery Magazine – The nearly 200 pages of this bi-monthly is like reading an entire book, one where you sometimes meet old literary friends, as in:

  • J.Rozan’s tale about the quick-wittedness of an elderly Chinese woman in “Chin Yong-Un Helps a Fool.” One of Chin’s previous escapades garnered Rozan a 2018 Edgar Award nomination.
  • Doug Allyn’s Dylan LaCrosse from Valhalla, Michigan, P.D. in another entertaining story steeped in the ethos of the Upper Peninsula.
  • Richard Helms’s Pat Gallagher, an unlicensed P.I. who roams New Orleans’s French Quarter, toting his cornet and stumbling into trouble. And
  • Lou Manfredo’s Sgt. Joe Rizzo, dealing with a “Brooklyn playboy murdered.”

**The Third Act, by John Wilson – This book which turned out to be YA, I hadn’t realized, blew an interesting premise. An Ohio drama program director writes a concluding act for an unfinished play by the program’s most illustrious graduate. The play is set in China at the time of the Nanjing Massacre of 1937, and the scenes in China create the sense of reading a play—little scene description, a few gestures. But the modern-day framing story is weak, and its grim conclusion sends an unsuitable message for young audiences, in my opinion.

****Faithless Elector by James McCrone – This is a look at one of the ways the U.S. Electoral College might be manipulated to propel a losing candidate into the Oval Office—entertaining and bone-chilling at the same time. Well-written with a bit of a logic stretch here and there. Particularly unnerving (and plausible) is that the conspiracy was discovered only by a fluke.

*****Twice Buried by Steven F. Havill – I love these evocative Posadas County Mysteries, which are fine-grained police procedurals. In this one, Undersheriff Bill Gastner takes great care investigating the apparently accidental death of an unexceptional old woman whose death (and life) law enforcement might tend to write off, and that makes all the difference.

****Half a Chance by John Perrotta – A quick read, this book is steeped in the action and lore of the thoroughbred race track. Someone’s playing fast and loose with big wads of cash, and can he keep all his financial transactions afloat while he rides out of town with the greenbacks? Lots of fun, strong characters, some redemption, and a fine evocation of horse-racing’s arcane world.

Blithe Spirit

Blithe Spirit

Brent Harris, Kate MacCluggage, Tina Stafford; photo: Jerry Dalia

Conceived during London’s 1941 Blitz and brought to the page in a six-day writing frenzy, Noël Coward’s quirky comedy Blithe Spirit was meant to counteract the gloom overtaking the country as battlefield deaths mounted and national collapse seemed possible. It became one of the West End’s longest running non-musical productions, with almost 2,000 performances.

The version currently at the Shakespeare Theatre of New Jersey, on stage through September 2, once again proves this work’s lasting ability to appeal. With spirited direction by Victoria Mack, it moves along briskly, retaining Coward’s farcical elements, though for me, at least, condensing some of that would be appreciated. A bit of business funny the first time isn’t as amusing on the fourth or fifth go.

Still, the author’s ability to craft a witty epigram that seems perfectly apt seventy years later is firmly intact. My favorite, out of the mouth of Charles Condomine: “It is discouraging how many people are shocked by honesty and how few by deceit.”

Charles, the husband of the story (played by Brent Harris), lives apparently quite happily with his wife Ruth (Kate MacCluggage) in elegant, upperclass English drawing-room style. With unreliable assistance from their well-intentioned maid Edith (Bethany Kay), they put on a dinner party for friends.

The party entertainment will be a séance conducted by a local spiritualist, Madame Arcati (Tina Stafford). What seemed a harmless bit of fun unexpectedly conjures the ghost of Charles’s first wife Elvira (Susan Maris), whom only Charles can see and hear. She interacts with him, though for everyone else, his reactions to her are inexplicable (too many martinis?). He tries to pass them off as a joke.

Intent on disrupting Charles’s current marriage by one means or another, Elvira is a devious and unsympathetic character. Coward thus avoided evoking the sadness that might have accompanied a play so concerned with the death of a young person. (Note that the play ends slightly differently than the movie version, in which Rex Harrison played Charles.)

Harris, who was brilliant in STNJ’s production of Tartuffe earlier this season, shines again, and MacCluggage, as Ruth, extracts every bit of nuance from her character. Stafford and Kay both have the opportunity for broad physical comedy and make the most of it, delightfully. Somehow, the character of Elvira didn’t work for me; she was so slinky and manipulative, it was hard to understand Charles’s attraction, in either her corporeal or spiritual form.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Titus Andronicus

Titus Andronicus

Robberson, Cuccioli, & Cromer; photo: Jerry Dahlia

“A society drowning in violence and seemingly bereft of civil thought or action” is how the Shakespeare Theatre of New Jersey describes the setting for Shakespeare’s bloodiest play, now in a riveting new production, directed by Brian B. Crowe, through August 5. First performed January 24, 1594, it was one of the revenge dramas so popular among Elizabethan audiences and fans of the Death Wish franchise. Here, the desire for revenge trumps every other human feeling, with no possibility of compromise or negotiation.

It’s well worth seeing, not just because the opportunity comes about so rarely and not just because of Shakespeare’s thought-provoking content, but also because of the high quality of this production. The acting and production values are top-notch.

The title character (played by Bruce Cromer) returns to Rome a hero after his conquest of the Goths. His chained prisoners comprise their sultry queen Tamora (Vanessa Morosco), her three sons, and her advisor, a moor (Chris White). When Titus arrives, Roman brothers Saturninus (Benjamin Eakeley) and Bassianus (Oliver Archibald) are vying to replace their late father, the emperor. Given the opportunity to choose between them, Titus chooses Saturninus, who proceeds to claim his brother’s betrothed, Titus’s daughter Lavinia (Fiona Robberson). Skirmishes break out, but Lavinia and Bassianus flee.

Two of Titus’s sons were killed in the war, and the remaining sons demand the sacrifice of the Goth queen Tamora’s eldest son, despite her desperate pleas. Though she speaks honeyed words to Saturninus, her desire for revenge against Titus and all his children is clear.

The moor connives with Tamora’s remaining sons (Torsten Johnson and Quentin McCuiston) to kill Lavinia’s new husband, ravish her, and, so that she can’t reveal their identity, cut off her hands and cut out her tongue. Titus has lost five sons in the play so far, and his last son Lucius (Clark Scott Carmichael) is banished. He is devastated to see the wreck of his daughter. Only the counsel and forbearance of his brother Marcus (Robert Cuccioli) saves him from total madness.

Near the end of the play is a speech by Marcus that for me was the most relevant to politics in our own time: “O! let me teach you how to knit again this scatter’d corn into one united sheaf, these broken limbs again into one body; lest Rome herself be bane unto herself, and she whom mighty kingdoms curtsy to, like a forlorn and desperate castaway, do shameful execution on herself.”

Fine performances of Cromer as Titus, Cuccioni as Marcus, Morosco as Tamora, and her two reptilian sons (Johnson and McCuiston) were excellent. For me, though, the most moving performance came from Robberson, the handless, tongueless, young widow. And White delivers the moor with relish.

It’s fun seeing such a luxuriously large principal cast—16 actors—ably augmented by 11 members of the theater’s 2018 Summer Professional Training Program in multiple roles.

Dick Block created a memorable set, featuring giant swords and an enormous warrior’s helmet, Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!

Tartuffe

Tartuffe

photo: JerryDalia

A theatrical work maintains its ability to delight audiences for more than 350 years for one reason: continued relevance. Such is the case with Molière’s comic masterpiece Tartuffe, on stage at the Shakespeare Theatre of New Jersey. This sparkling production, directed by STNJ’s artistic director, Bonnie J. Monte, opened May 19 and runs through June 10.

In 1664, Tartuffe so scandalized the powers-that-be with its take-down of religious hypocrisy and false piety that the right wing clergy banned it. After a few text changes and with French King Louis XIV’s strong support, the ban was lifted five years later. In the current era, with #MeToo, families rent by political divisions, and the difference between truth and lies increasingly contentious, Tartuffe hits home once again.

A 2018 audience responds with fresh outrage to a situation in which a woman is threatened with rape, but the man accusing her attacker is disbelieved—“Now you know what it’s like not to be believed,” says a female character. Today’s audience likewise has a robust appreciation for the wiles of con man and dissembler Tartuffe (played by Brent Harris), his credulous and all-too-willing victim, Orgon (Patrick Toon), and the frustrated household members who cannot convince him of the deception.

That household includes Orgon’s wife Elmire (Caroline Kinsolving), daughter (Sarah Nicole Deaver), son (Aaron McDaniel), Elmire’s brother (William Sturdivant), and the saucy maid Dorine (Victoria Mack). Only Orgon and his mother (Vivian Reed) side with Tartuffe against the family.

Orgon took the pious Tartuffe in when he was a beggar, installed him in his home, and moves him closer and closer to the center of family life. His next plan is to rescind permission for his daughter to marry her love and instead wed her to the odious Tartuffe. Several scenes take place in which Tartuffe’s unwelcome intrusions are thoroughly discussed before we see the man himself. When he does appear, Brent Harris does not disappoint. He is so-o-o-oo smarmy, wearing a long white-blonde wig as pallid as his pieties.

The entire cast is strong, especially Toon and Kinsolving, the delectable Deaver (she has a great scene with her fiancé, played by Mark Hawkins), and Mack and McDaniel’s lively physical comedy. Reed lends an unexpected, preacherly African-American cadence that works admirably with the verse. (The translation is by Pulitzer Prize-winner and former U.S. Poet Laureate, the late Richard Wilbur).While some of the speeches tend to be long, the production is so full of movement and wit that it never flags.

Brittany Vasta’s elegant set is perfect for quick entrances, dramatic exits, and closet-hiding, and the mouth-watering costumes are by Nikki Delhomme.

Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit http://www.shakespearenj.org. Note that STNJ offers special ticket pricing of $30 for theatergoers under age 30!