Tartuffe

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"Tartuffe," Molière's classic assault on religious hypocrisy, was a smash for the Actors' Gang at the troupe's former El Centro locale in 2005, when director Jon Kellam took David Ball's sassy Theatre de la Jeune Lune adaptation and let the Gang run with it. The current Ivy Substation revival generally works as raucous entertainment, but its new concepts blur the production's impact.

Sibyl Wickersheimer's set, which induced claustrophobia in the former space, cannot replicate that effect in the Substation's wider reaches, and Liz Peterson and Ben Kahookele's respectable costume work lacks the degree of comment that predecessor Ronda Dynice Brooks provided. The open space and diluted décor thus expose gaps between form and content; in addition, R. Christopher Stokes' lighting seems almost expressionistic, while Jef Bek's sound effects and live percussion seem pure vaudeville, even burlesque.

As deluded Orgon, returning P. Adam Walsh still effects a Bible Belt twang and untrammeled physical dementia, the blinking behind his black commedia mask reaching surreally unnerving levels; it's much like Mary Eileen O'Donnell's careening turn as Orgon's mother. Yet a certain pro forma clowning and out-front delivery replace the previous tightrope walk between anachronistic vulgarity and stylistic specificity. Sabra Williams' tireless gamboling as Dorine similarly needs broader strokes to register.

Hannah Chodos and Jeremie Loncka as Marianne and Valere and Adam Jefferis as Damis veer toward over-the-top, though their reactions and outbursts rock the house. Conversely, Bob Turton lends Cleante an early John Lithgow quality, just as Vanessa Mizzone's poised Elmire at times seems to be channeling Holland Taylor. Kathryn Carner's cracked Flipote, Christiane Georgi's elegant Mme. De Maintenon, and Steven M. Porter in multiple roles split the difference between largesse and finesse.

The valiant Pierre Adeli, who assumed the title role a week before the revival opened, understandably is still finding his way, his low-key realism standing in stark contrast with the work of his caterwauling colleagues. It will be fascinating to see how he develops during the run of this serviceable reading, which, though less incisive than before, remains agreeably rambunctious.

Presented by the Actors' Gang at the Ivy Substation, 9070 Venice Blvd., Culver City. April 2–30. Thu.–Sat., 8 p.m.; Sun., 2 p.m. (310) 838-4264 or www.theactorsgang.com.