Molière’s ‘Tartuffe,’ at Hubbard Hall, is a pure delight


“John Hadden, has delivered a perfectly delectable version for the Hubbard Hall crowd. He has reset the time of the piece to the 1920s and, with the aid of costume designer Sherry Recinella has given a wildly sly edge to the sexy play about a man whose devotion to a new friend has swept away all other loyalties. The result of their work, the work of a perfectly competent troupe of actors and a crew of artistic designers and artisans, makes the trip to Cambridge very worthwhile even if you arrive not knowing who the playwright is — or are.”  J. Peter Bergman


Notes: King Fool



Why did we do this? I’ve been wondering these last few weeks. King Fool, right. Apt, in good faith, very apt. Because there were too many actors for any one play? Because we had two separate groups? Because it was there? Anyway, we did it. And it turns out that it’s been not only hair-raising and fun and sometimes illuminating, but that these two plays actually relate to each other. Not just because they both have fools who have a lot of disturbing questions, not just because they both have people in power who are in great pain and loneliness, not just because they both deal in madness, but like two dreams dreamt in the same night, one seems the gateway to the other. But mainly: the tenacity these actors and crew have shown is nothing less than remarkable. Ten days ago, a realistic director voice called it off; said it couldn’t be done. But the actors refused to let it go, and that’s life.