The 1980s return on Playhouse Square in classical and extraterrestrial ways

The 1980s seems to be in full new-wave swing this month on Playhouse Square, either by design or origination. 'Tartuffe' Yes, this is 1664 "Tartuffe," and this is also 1980s TV, at least in this unique take of the classic comedy by Moliere by Cleveland Play House. Using one of the most prominent English translations of the17th-century original (fully titled "Tartuffe, ou L'Imposteur"), director Jason O'Connell replants the tale of a fatuous religious phony overtaking a wealthy household into the world of 1980s sitcoms. On the Outcalt thrust theater, set designer Raul Abrego makes the entire theater vaguely resemble a TV sound stage, with the live Play House audience doubling as the studio audience (whose boisterous laughter can always be heard dependably punctuating the jokes). As the play opens, a mock jingle introduces the main characters in the manner of all too many opening TV comedy-show credits, replete with winking comic-relief characters, romantic couples, a ditzy matriarche and a curmudgeon patriarche. It ends with a smirking appearance of the titular bible-thumping scoundrel, well played by Tom Ford, who turns up aptly resembling that consummate 1980s TV evangelist (and later scoundrel) Jim Bakker, minus Tammy Faye Bakker. The production concept energizes the entire production to a certain point, but at times the still classically honed dialogue of Renjit Bolt's skillful adaptation — maintaining smart rhyming couplets — becomes a bit jarring. The capable cast negotiates the merged timeframes. But eventually, Bolt's dialogue beckons a return to a more authentic production effusive in 17th-century French finery, not teased-out hair and dayglo miniskirts. That's not to say O'Connell's production lacks entertainment value, and certainly the audience appreciates "Diff'rent Strokes" when it comes to remounting theater classics. The not-canned laughter quickly substantiates that notion. 'Starmites' Then again, there are theater productions very much a product of the 1980s, such as Barry Keating's comic-book escapade "Starmites," presented by the surprisingly talented members of Cleveland State University's Department of Theatre and Dance. Continuing though Sunday at the Helen Theater on Playhouse Square, "Starmites" originated in a regional production in 1980 and managed to be a nominee of multiple Tony-Awards in a Broadway restaging in 1989. The book/script attempts nothing more earth-shattering than a teen infatuated with a specific comic-book series called "Starmites" — sort of a more new-wave, gender-bending take on the Power Rangers — who turns out to be the team's long-lost leader and thus drawn into the alternate dimension to fulfill that destiny. It's of no small significance (at least back in the '80s) that the teen in question is a girl (exceptionally sung and acted by Abigail Allen), who battles all sorts of Madonna-like and Bowie-like extraterrestrial beings to assume (or resume) her role as their supreme leader. The rest of the CSU castmembers prove equally adept singers and dancers — well managed by director Sheffia Randall-Nickerson and choreographed by Errin Weaver. The otherworldly script could easily steer the goings-on into confusing visual and audio chaos, but Cameron Caley Michalak creates a strong visual style as scenic designer and tech director. Likewise, Bethany Sassen's costumes, although perhaps not specifically 1980s, well reflects the sensibility of the decade. Music director Maria DiDonato keeps the energizing score by Barry Keating (also lyrics) rocking to the beat of the times, and it carries well on the intimate Helen stage, thanks to sound designer Carlton Guc. Best of all, this trip to a sci-fi wonderland can be had for $25 a ticket — quite easily 1980s prices — if it's not already sold out. Contact Howard Gollop at howieeg@gmail.com.