Tartuffe
Pocket Opera's Zany Production Based on the Classic Moliere Farce
By: Victor Cordell - Jun 17, 2025
You may not know the name Jean-Baptiste Poquelin, but no doubt you know him by his pen name, Molière, the 17th century playwright and the greatest exponent of French farce and indeed, a non plus ultra of French language literature. Several of his characters still reign as exemplars of stereotypes, perhaps the most famous of those being Tartuffe, the relentless swindler and unrepentant hypocrite.
In 1980, the opera Tartuffe, composed by Kirke Mechem, premiered at San Francisco Opera, and it has been one of the most successful operas by an American composer. Pocket Opera, which specializes in English-language, chamber versions of opera’s warhorses as well as many lesser lights has produced a version that delights at every level. The power of the cast’s voices makes one question whether they are amplified (they’re not), and their comic acting is as good as their singing. It is difficult to suggest where there could be improvement in the casting or the performances.
Though Tartuffe is the center of attention from the outset, the central character doesn’t appear for the first hour. His advocates and financial lifelines, Mme Pernelle, and especially her son Orgon, are infatuated and cultishly blind to his deception (Does this seem familiar?). Both sing of his purity, to a chanting counterpoint chorus of detractors.
To daughter Mariane’s horror, Orgon wants her to marry the reprobate, which prompts a cute duet between her and the maid Dorine, after Mariane contemplates suicide. Ultimately, Orgon insists on making Tartuffe sole heir of the family assets, without finalizing the binder of marriage. At this point, the action really heats up as the rest of the family fight to expose him.
Among those who see through Tartuffe’s artifice, Orgon’s kids and wife are on to him big time. Mariane expresses it plaintively in her aria “Father, I beg you.” Wife, Elmire, is more exasperated and sarcastic with her “How strange men are! And stranger still that women need them so” which goes on to slyly note “What a myth is marital bliss.”
This Tartuffe is very much an outstanding ensemble, and each of the cast of eight basks in the spotlight. Rather than sprinkle the review with commendations that apply to each artist – commendable power, accurate pitch, good range, and acting charm – I’ll divvy performers into two convenient categories: #1 “I Knew They Were Great As I’ve Seen Them Multiple Times Before” – Shawnette Sulker as Dorine, Melissa Sondhi as Mariane, Courtney Miller as Elmire, Eugene Brancoveanu as Tartuffe, and #2 “I Minimally Write 15 Reviews For 6 Bay Area Opera Companies Per Year, And Why Do I Not Know These Fine Talents?” – Alix Jerinic as Mme Pernelle, Isaiah Musik-Ayala as Orgon, Julio Ferrari as Damis (Orgon’s son), Max Ary as Valere (Mariane’s boyfriend).
The success of this opera starts with the storyline, which is one of the great farces of all time. On top of that, Mechem’s music, particularly the orchestral support conducted by Music Director Kyle Naig, is delightfully tonal and accessible. Lyrics offer clever rhymes and rhythmic series of things. And for those not enthusiastic about farce, the music acts as another dimension that seems to temper the silliness.
Largely, this is like an 18th century number opera with independent arias that can be lifted from the score. Not all of the arias are highly melodic, but one in particular stands out, Dorine’s “Fair Robin I love.” Perhaps it resonates because the tune sounds much more like an Anglo-American folk song than an opera aria. It’s a bit odd, however, that this character not essential to the plot sings the most memorable solo.
In addition to the shining music, hammy acting makes this piece work. Several riotous, chaotic ensembles integrate both performance components, contributing to the brightness. Finally, staging plays a key role. Stage Director Nicolas A. Garcia deserves kudos for integrating the pieces into a brilliant whole. He has also designed the costumes, while Daniel Yelen created the scenery. The well-coordinated palette of clothing and furnishing, dominated by gleaming, solid colors provide more cheer.
In all, this is an experience that will leave you culturally enriched and smiling.
Tartuffe with music and libretto by Kirke Mechem and based on Molière’s play of the same name is produced by Pocket Opera. It offers two remaining performances – at the Legion of Honor, 100 34th Avenue (Lincoln Park) San Francisco, CA on June 22, 2025 and Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View, CA on June 29, 2025.