Off-B'way Review: André De Shields Is Tartuffe

Amber Iman and André De Shields in
André De Shields in 
 Is Tartuffe. 
Credit: Joan Marcus

For an intimate and raucous evening with a slightly modern twist, you can’t do much better than the current revival of Tartuffe, Moliere’s classic comedy satirizing religious hypocrisy, or, as it is officially titled, André De Shields Is Tartuffe. The Tony-winning Broadway veteran of The Wiz, Ain’t Misbehavin’, and Hadestown is indeed the main attraction in the title role of a conniving conman posing as a sanctimonious scold in order to take over a gullible aristocrat’s household. But Keaton Wooden’s clever, fast-paced production has many additional surprises and delights.

Chief among these is the very setting. The show takes place in the library of the House of the Redeemer, an landmarked Upper East Side mansion, built by Vanderbilts and now an Episcopal retreat house. The library is especially appropriate for Tartuffe since it was constructed in the 1600s (reconstructed by the Vanderbilts) and the play was first performed in 1664. The seating capacity is only 100 and set designer Kate Rance incorporates the audience into the cosy environment, complete with a grand piano upon which Drew Wutke provides elegant musical accompaniment. Costume designer Tere Duncan outfits the cast in contemporary stylish clothes and Moliere’s message of religious hypocrisy is given modern relevance.

Hannah Beck and André De Shields in
André  De Shields Is Tartuffe.
Credit: Joan Marcus

De Shields is a marvel as the titular duplicitous charlatan. Costumed by Duncan in a cardinal-red gown, his fingers bedecked with flashy bling, he sweeps into the library, delivering a soulful rendition of “Feelin’ Good,” relishing his mastery over the pliable Orgon (comically dim Chris Hahn). He employs gospel flourishes and exaggerated piety in his renditions of Ranjit Bolt’s verse translation of Tartuffe’s self-righteous sermons on sin and morality. The highlight of the evening is De Shields’ lascivious wooing or Orgon’s wife Elmire (an elegant and fiery Amber Iman), who pretends to welcome his advances in order to trap him. Wooden’s intricate staging and the precise timing of the players produces gales of guffaws. Lighting designer Yang Yu achieves spectacular effects here as the library is transformed into a sleazy nightclub for Tartuffe’s attempted seduction.

André  De Shields (c. seated), Marcus Fitzpatrick,
Todd Buonopane, Phoebe Dunn, Amber Iman, 
Chris Hahn, Alexandra Socha, Tyler Hardwick,
Hannah Beck, and Charlie Lubeck in
André  De Shields Is Tartuffe.
Credit: Joan Marcus

Alexandra Socha and Charlie Lubeck are comically ardent as the besotted young lovers Marianne and Valere. Tyler Hardwick makes Orgon’s son Damis a delightful caricature of puffed-up valor. Phoebe Dunn is sassy and cheeky as the truth-telling maid Dorine and Hannah Beck displays the sharp intelligence of Elmire’s no-nonsense sister Cleante. Todd Buonopane in a tiara has a hilarious cameo as Orgon’s overbearing mother Madame Pernelle. He does not raise his voice into a falsetto or employ obvious drag cliches, but simply conveys the force of her stubborn personality. Though the play is billed as André De Shields Is Tartuffe, the entire ensemble is the star.

Oct. 9—Nov. 23. House of the Redeemer, 7 E. 95th St., NYC. Running time: 90 mins. with no intermission. tartuffenyc.com