Quite enjoyable, but unable really to compete with Richard Wilbur's translation of Moliere's classic play. Malleson tends to focus on the comedy and, while this can certainly be entertaining, it sometimes overshadows or even distorts some of the more subtle elements. Just one example: in the climactic scene where Tartuffe is tricked into exposing his lascivious intentions, Orgon, the husband, keeps trying to emerge from under the table where he's been hiding, only to have his wife struggle to shove him back into place in order to keep him concealed before Tartuffe notices him. This leads to some genuine slapstick, certainly, but at the expense of two, rather telling, points: (1) Orgon truly only loses control when Tartuffe starts to abuse him personally. Orgon is able to keep his composure throughout the seduction, otherwise. (2) Elmire, the wife, is actually in danger of losing control of the situation (and herself?), as opposed to being, as in Malleson's version, very much in command. This translation also includes a preface derived from "L'Impromptu de Versailles," which, I'm guessing, plays nicely on stage but doesn't really add much as an appetizer. ( )

Wilbur's translation is a marvel and has all the awards to prove it. Even on the page, the couplets read so easily! And he sacrifices none of the subtlety of suggestion. What's fun is to get someone else to read it aloud with you (ideally, someone of the opposite sex), so you can appreciate how finely the rhymes and meter sound. ( )

This is a fabulous contemporary translation. We saw this version performed at the Oregon Shakespeare Festival in Ashland. As a theater major well-acquainted with other translations, I was wondering how this one would compare, and we were very impressed. The language is humorous and accessible to modern audiences, yet remains faithful to the rhythmic meter and period feel. ( )

Delightful!

I read this for my History of Theatre class, and loved it immediately, although several of my classmates did not. It seems that a lot of people these days have trouble with the language and rhythm of the plays by people like Moliere and Shakespeare, and even the novels of Austen and Dickens. As with most of the plays that I've read and then seen, I really enjoy the live performance more--Moliere's characters in particular simply pop off the page. ( )