So this is blogging...

What does it take to be a critic? I mean, we're all familiar with the trite gripe of the everyday professional when their product is sub-par, "everyone's a critic." But a window of winter air was opened in the midnight of mind mind today when I realized that my constant assessments, though trivial as they may be, could lead me to a career in exegesis (thank you thesaurus.com!). So today is the day, you saw it here first. Today I begin my professional career in pointing out the flaws in everything. Hah, and not just that, but the justly deserved praise of the most wonderful things in the world. After all, It's the little things that satisfy. Now, as my dinner conversation went this evening, I don't have to just be a film critic, or a food critic, I can be an anything and everything critic. That includes, art, architecture, apartments I've lived in, vehicles I've owned, roommates, even entire cities. For those astute bloggers who always look for the hidden meaning in titles, I'm going to pull the less observants up to your level my current blog-title is "Everyone's a Critique," not critic... Learn why you are the way you are, and who you are becomes so much more. Now... ON TO THE FIRST CRITIQUE!!

I've been TARTUFFE-IFIED!

Mathew Greene can do no wrong. Ever since I found myself actually enjoying Jean Racine's "Berenice" one year ago, his name has been justly etched into my memory. Tartuffe is proof that 17th century theater is closer to home than one might think. Envision The Office directed by Tim Burton, and cast with Cirque de Soleil performers, and suddenly you've found yourself in the middle of this rendition of Moliere's theatrically canonized Tartuffe. Masterfully directed by Stephanie Brienholt, not a single detail was overlooked nor under-thought. Like a dream being brought to life, Brienhlt recreates in perfect detail a story that's essence would be lost to this generation, were it not for her vision.
Orgon (Dallin Allred), the master and lord of his house, falls in deep with a brilliant con artist called Tartuffe (Andrew Veenstra) posing as a pious guru of religion. When his admiration for Tartuffe supersedes that of his family, chaos ensues, with every action creating a ripple effect as to distress even the servants. Would a man really break off his daughters wedding in order to have his newest friend married into his family?
Moliere's famous classic is given new life as the mis-en-scen boasts a more than eclectic style that would rival grandfathers tool shed in layers of treasure. The neo-baroque setting is first brought to life in the fifteen minute pre-show reminiscent of the original farcuer stage-life. This, coupled with an entre'acte (literally between act) showcases some of the greatest characters of the show, the hired help, who are often without lines and are yet so ever-present. Audience interaction at these times is not only acceptable, but encouraged. Each character helped in promoting a dynamic that elevated the attraction to the performance in individual ways. Like one of the earlier lines describes, "It's like a mad house with the keeper gone." This from the snub nosed grandmother (Anne Flemming) with more criticism than curls, while totting about her Paris Hilton Chihuahua (Gizmo as Louis. Yes, credited).
With as rich as the costuming and make-up were, it would have been a grand waste were it not for the spectacular cast. If the pre-show doesn't have you reeling, wait till they speak! Most audiences find the language of the classical french era to be utter confusion, but after 5 minutes of working to get through the vernacular, the tongue turns to favor the familiarity of Dr. Suess rather than the Encyclopedia Britannica. This because the performers have become one with the words they are saying, as if it were all unraveling before you in an instantaneous improvisation. We saw too little of Valere (Tanner Garret), who stole the show at each appearance. But his sparsity was made up in strength of character. And speaking of strength of character, how about the character that was so big it had to be split into two roles? Dorine (Melanie McKay), the mischievous maidservant was so well auditioned for, that is was seen fit to split the part into two characters, giving birth to a twin sister, Norine (Aurora Florence). The timing of these two was spot on, and they never missed a chance to steal away the silence, either. Aurora, especially, could have just been a floating face, and would have portrayed enough character to carry the role throughout the shows entirety. The only position that may not have held par was that of Elmire, played by Alexis Wardle. With the vital position of the trophy wife, she left something to be desired, weighing down the fantastic exuberance that sustained the show (though it is difficult to be spry in 4 inch stilettos).
If any show is worth seeing this season, its Tartuffe. Moliere himself couldn't have performed it any better. It would be a shameful footnote in the less than glistening history of BYU arts if this show wasn't sold out every night. I'll be sure to catch it again, and will forever sing its praise in thanks of righting a long-festering high school disdain for Moliere.