Alexandra Ligh

I chose to set this conceptual production of Moliere's Tartuffe in the late Georgian period (1780-1795) because the extravagance of the era's fashions perfectly suited the comedic tone of the play. Tartuffe himself goes from a relatively plain, humbly dressed man to an eye-catching, elaborately dressed con man in full form. The remaining characters' costumes reflect their socioeconomic status while also indicating their various attitudes and personalities.