Theater department student performers are not unlike student athletes.

Student basketball and football teams coalesce in a given year and go on to divisional, regional, state and even national championships.

The analogy doesn’t end at records of points scored per season, career statistics or championship trophies.

While there are contests for student thespians and productions, student actors more often depend on audience applause, well-attended performances and the odd glowing theater review as benchmarks.

Put what you are now reading in the latter category: A glowing review of DeSales University Act 1’s production of “Tartuffe,” through March 1 on the Main Stage, Labuda Center for the Performing Arts, DeSales University, Center Valley. The Feb. 20 performance was seen for this review.

It’s as fine a production as ever this reviewer has seen at Act 1, which is observing its 50 anniversary. Act 1 DeSales theater department founder, the Rev. Gerard F. Schubert, OSFS, would be more than proud. He would be tickled and beaming to see the student “theater athletes” go the distance in this splendid production of the satire by Moliere (1622-1673). This is a championship season production of “Tartuffe.”

We won’t recite the plot too much here, if at all. While the play may be the thing, the performances are even more so. It’s the singer, not the song.

Not only are the Act 1 production values top-notch, approaching that of professional theater productions in Philadelphia and New York City, “Tartuffe” has surprisingly relevant resonances for the contemporary theater-goer in geo-politics, identity politics, the surveillance culture and social media obsession.

Not bad for a French satire believed to have been first performed more than three centuries ago in 1664.

“Tartuffe” is an excellent choice by the play’s director Wayne S. Turney, DeSales theater department professor who adapted the play in his new translation from the French language, as a learning experience and challenge for young actors. The DeSales student actors are more than up to the task. Turney directs with a great sense of humor and insight.

“Tartuffe” (The title is pronounced without sounding the “ffe”’; it rhymes somewhat with tattoo.) is a wordsmith’s playground. If you have an interest in language, wit, scintillating dialogue and great rejoinders, this play’s for you.

Add to this, the length of some of the monologues, and you’ve got quite the test for the actor, student or otherwise. As if that’s not enough, “Tartuffe” is written in 12-syllable lines of rhyming couplets.

The DeSales’ students not only master the speech and rhythms, they imbue their roles with sublime body language, facial gestures and stage business that make the production deliciously and hilariously entertaining.

The comedy pivots on several key roles played memorably:

AJ Jones (Tartuffe, a con man), who sails on, conveying convincingly an obliviousness to the character’s inherent hypocrisy.

Patrick Moran (Orgon, the father), who preens, portraying successfully an unctuous self-righteousness.

Mackenzie Moyer (Elmire, Orgon’s husband), who flutters like the fan she so evocatively waves at every quibble in her way.

Arrianna Daniels (Dorine, a chambermaid), who wisecracks with hands-on-hips swagger, head-wagging taunt and eye-rolling disdain.

Kailey Edwards (Madame Pernelle, Orgon’s mother), who delivers philosophical observances with a dead-pan drollness.

In supporting roles: Matthew Smaldone (Cleante, Elmire’s brother), Kellan D. McMichael (Damis, Orgon’s son), Abby Loryn (Marianne, Orgon’s daughter) and Patrick Byrnes (Valere, Marianne’s suitor).

Izzy Criscuolo (Flipotte), Gabe Moses (M. Loyal) and Iykechi McCoy (Officer) round out the cast.

Turney adds some fun by invoking motion picture-inspired freeze frames. The actors stop at the end of a sentence and hold their stage marks and expressions. Lights (excellent throughout by Lighting Designer Eric T. Haugen) and sound (fine throughout with Sound Design and Music Arrangements by William Neal and music performed by Nathan Diehl) complete the effect.

The imposing set gives a sense of solid reality, with impressive staircase, topped by double doors on the upper floor, and bolstered by solid-looking wood-framed walls and entrance ways and festooned with five chandeliers and four candlelit wall sconces.

The production is tied up in a ribbon and a bow, or several ribbons and bows, with gorgeous, colorful, and stunning gowns for the women, with matching shoes, and flamboyant frocks (except for the plain-brown of Tartuffe) for the men, all rendered in eye-popping detail by Costume Designer Amy Best.

DeSales’ “Tartuffe” is a total delight. This is a “Tartuffe” for the ages. Don’t miss it.

Tickets: Labuda Center for the Performing Arts lobby box office, DeSales University, 2755 Station Avenue, Center Valley; www.desales.edu/act1; 610-282- 3192