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A play by Moliere, freely adapted by Miles Malleson,
Opened February the 11th, 1959
and then  performed on March 31st, April 1st, 10th, 14th, 15th, 18th, 24th & 25th, 1959
At The Old Vic Theatre
The Cast:
Madame Pernelle, Orgon's mother
Rosalind Atkinson

Elmirem, Organ's wife
Pauline Jameson

Dorine, Marianne's maid
Christine Finn

Damis, Orgon's son
Barrie Ingham
Mariane, Orogon's daughter
Silvia Francis

Cleante, Elmire's Brother
Charles West

Flipote, Mme Pernelle's maid
Jean Conroy

Monsieur Orgon, a rich merchant
Gerald James

Valere, betrothed to Marianne
John Barcroft

Manservant to Tartuffe
John Scarborough

Derek Francis

Loyale a bailiff
Norman Scace

An Officer Ronald Falk

First Seargeant
Peter Moynihan

Second Seargeant
Nicholas Simons

The Audience:
Micheal Bevis, Desmond Davies
Philip Elsmore, Martin Redpath,
Davina Beswick, Juliet Cooke

Directed by Douglas Seale "Only Miss Christine Finn, as the little spitfire, contrives to maintain sharpness of her initial attack"
Read the Times article “Too Leisurely Acting in Old Vic Molière”

Published by Punch Publications Ltd., 1959
“As the privileged maid, who speaks her mind, Christine Finn gives a very attractive performance. A recruit from the Birmingham Rep, she has confidence and vitality and a quick sense of irony. I hope we shall see more of her”

Drama: the quarterly theatre review By British Theatre Association, British Drama League Published by British Theatre Association, 1959, p21 “and making the usual  pert servant, in the person of Christine Finn, into a stunning little baggage” The Illustrated London news - Volume 234, Issue 1 - Page 358

There are several alert performances in Douglas Seale's production (we realise again how good and unforced a director Mr. Seale is),  and two other capital ones : Pauline Jameson as the wife, with the glow of Paris in her eyes ; and Christine Finn as the maid who is the perfect soubrette. But I do not much like the Orgon. The man is so credulous that it is difficult to humanise him;  for me the present actor, in a curiously rough performance, never even begins to be real. A pity, for at the end, realising his error, he should impress himself upon us like the Shakespearian figure of the " spider in the cup " and the drinker who, reaching " th' abhorred ingredient, " must " crack his gorge, his sides, with violent hefts."