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By Antero Garcia

Daily Bruin Senior Staff

“Tartuffe” isn’t just the average play about a smelly, dirty man stealing another man’s wife, daughter and property. No, this one’s performed in rhyming couplets – Dr. Seuss style.

This new translation of Jean Baptiste Poquelin de Moliere’s tale of religious farce, sex and family bonds performed by the Pasadena Shakespeare Company at the Fremont Center Theatre in Pasadena retains enough comedic situations to keep the audience at least mildly amused.

Taking place over the course of one day and in the same room, “Tartuffe” is striking because the plot seems to unfold in real time.

Though not quite as steamy or controversial as when it premiered nearly three centuries ago and was banned from stage for five years, “Tartuffe” still rings a note of familiarity.

The play takes place in the 1800s in a small home in France. The patriarch Orgon, after being convinced by his mother Madame Pernelle to give shelter to the poor and humbled Tartuffe, quickly takes a liking to the seemingly pious gentleman.

Despite his feelings, the rest of Orgon’s family is displeased with Tartuffe’s stay. Not only is the visitor terribly odorous, but he also seems to be a sinister charlatan. As the audience learns quickly, not only is Tartuffe trying to have sex with Orgon’s wife Elmire and blackmail the family, but he is also going to marry Orgon’s daughter Mariane.

One of the only aspects that keeps the story one level above blandness is the humorous quirks all of the characters have. For example, Orgon’s brother-in-law Cleante attempts to be genteel and well-mannered. However, he often resorts to violence when trying to explain to the rest of the family the need for passivity.

Contradictions of words and actions such as this one seem to be the driving force behind much of the play and its comedic impact. Even the positions of power within the family are distorted and mixed up. Often it is the family’s maid, Dorine, who comes to vicious disagreement with Orgon over his kinship with Tartuffe.

Besides the odd characters in “Tartuffe,” another appealing factor of the play is the fact that the translated version of the play is still in rhyming couplets, much like Moliere’s original French script.

Though the rhymes are cute and give the play a song-like quality, they also get cheesy quickly. The main problem is that some words are used repeatedly in the two-hour play. Lines ending with “delicious,” “malicious,” and “vicious” get old fast.

On a similar note, never has the word “thesis” been used more often in a two-hour block – with the possible exception of UCLA’s English 4 discussion groups.

Besides the odd word choice, repeated rhymed words and the fact that the show really isn’t that funny, the only other major problem with the play is the music.

Though only played while patrons are waiting before, after and during the intermission of the show, the mix of electronica and Bach isn’t what audience members would expect during a French comedy. It’s music like this that makes Michael Bolton sound good.

As for the theater itself, it’s quaint, holding no more than 50 guests, which gives the show an intimate and personal feeling. Being such a small venue, there really isn’t a bad seat in the entire house.

The costumes are stunning and the set, depicting one room in Orgon’s house, is detailed and appears to be historically correct. At least the audiences’ eyes can be pleased while their ears go through hell.

"Tartuffe" Info: Sept. 1-30. Fridays and Saturdays 8 p.m. Sunday 3 p.m. $18 general admission, $15 students and seniors. 1000 Fremont Ave, South Pasadena. For reservations and more info call (626) 564-8564 or go to www.pasadenashakespeare.com.