Review by Susan Furnell for Mark Aspen (April 2026)
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.
Originally published at Tartuffe | Mark Aspen
Review by Tilly O'Brien for Teddington Nub News (April 2026)
Youth Action Theatre's (YAT) stage production of Molière's Tartuffe (AKA The Imposter) began at Hampton Hill Theatre on Wednesday night (15 April) and it was just what I needed for a mid-week de-stress.
Directed by Josh Clarke, the production consists of 17 characters including three Bailiffs/ House Staff (Abi Wiggins, Dimitra Thamotharan, and Vanus Wong), Cleante (Gio Nickson), Damis (Bryn Wilson), Dorine (Robyn Marriott), Elmire (Freya Broe), First Law Officer (Malvina Moorgen), Flipote (Cosmo Dearle) Laurent (Kit Overd), Madame Pernelle (Emily Fowler), Mariane (Bonny Ward), Monsieur Loyal (Amin Houta), Orgon (Daniel Burley), Second Law Officer (Stanley Clement), Tartuffe (Alfie Kennedy), and Valere (Felix Patterson).
And, having seen various YAT productions directed by Clarke, I was not surprised to see how incredible the cast were.
This fast-paced classic comedy follows the perverse imposter Tartuffe attempting to fool a typical 1600s French family with his devilish foolery and Roman Catholic disguise.
In his Director's Notes, Clarke said: "This production is a fast-paced abrigement which I hope retains all the vicious wit and brilliant satire of the original."
Clarke first created the script used in YAT's production during his university years by "merging and refining two translations with [his] own dialogue added in for good measure".
Clarke's script was first used at the Edinburh Fringe Festival in 2016.
Taking place in Hampton Hill's Noel Coward Studio, the stage setting is simple yet effective, representing what I would imagine a Catholic French home in the 1600s would look like with crucifix ornaments, rosemary beads,and tapestry.
Offering a contemporary twist, the play begins with several of the characters taking to the stage along to the Black Eyed Peas - donning fabulous 1600s French attire and wearing traditional French red lipstick.
I was immediately impressed by Fowler's fabulously stereotypical French accent as Madame Pernelle which had the audience laughing straight away.
And Wilson, as I have seen in previous productions, demonstrated expert acting skills and wonderful facial expressions.
The first scene begins with a wealthy family quarreling over their thoughts towards the mysterious Tartuffe, with some liking him and others seeing through his religious act.
This tension continues throughout the first half of the hour-long play, keeping the audience at the edge of their seats as they wait for the imminent arrival of the titular character.
Soon we are introduced to Dorine, Orgon, and Mariane. Burley and Ward are fabulous actors and Ward did an excellent job at her over-the-top hilarious weeps, but I must say, Marriott stole the show in the second scene, having the audience crying with laughter as despite being a maid, Dorine is not afraid to back talk her master Orgon.
In fact, Burley and Marriott make an excellent comedic duo.
In this scene, we are also introduced to Cleante, allowing Nickson to present his magnificent acting expertise and comical facial expressions.
Cleante seems to be the only character that has his wits about him, unveiling Tartuffe for the fraud he is.
Patterson also did an excellent job of playing Valere, reminding me of Prince Charming from Shrek, and his chemistry with Ward in their hilariously funny makeout scene had the audience laughing out loud.
About halfway through the play, our prayers (pardon the pun) are finally answered as Tartuffe enters the stage along with the wickedly funny yet mute Laurent.
Kennedy did a magnificent job of portraying Tartuffe as a horny, sex-deprived man, panting and grunting his way through the play - showing that he clearly is not a man of God, and although silent, Overd portrayed Laurent wonderfully with their fabulous makeup and evil grin.
Keeping the audience engaged, the cast frequently partook in audience engagement, with Leante picking me out from the crowd.
But for me, the best part of the first half was a raunchy scene between Elmire and Tartuffe as Kennedy and Broe did an excellent job of making the audience feel uncomfortable while still laughing.
With adult humour and lots of movement, this scene made it clear that - to put it bluntly - Tartuffe is a perv.
The second half of the play, as with any play that follows the traditional Shakesperian format, leads to a happy ending with an unexpected twist.
In this half, we are introduced to Monsieur Loyal, played by the wonderful Houta, and the two Law Officers.
And I must say, despite playing a minor role, Clement showed off his skills as a potentially marvellous actor.
The music throughout the play was incredible and with Beyonce and Jay Z's 'Crazy in Love' playing while the cast took their bows, I could not help but dance in my seat.
The production's closing was welcomed with loud applause and I heard many audience members saying how "amazing" the production was.
It really was a spectacular show full of wit, humour, and a little bit of silliness. I cannot applaud Clarke enough for directing yet another amazing show.
For me, it was just what I needed to de-stress on a Wednesday night after a busy start to the week.
YAT's production of Tartuffe is running at Hampton Hill Theatre until Saturday, 18 April, and all performances are completely sold out.
Originally published at https://teddington.nub.news/news/local-features/local-theatre-groups-production-of-tartuffe-brings-laughter-and-chaos-to-hampton-hill-theatre-293406
