ANDRÉ DE SHIELDS THE REDEEMER

André De Shields should be a landmark; for over six decades, he has towered over the worlds of theatre, film, and television with the kind of presence that cannot be imitated. So it is only fitting that he brings Molière’s Tartuffe to another historical New York institution: the House of the Redeemer, the 1916 residence of Ernesto Fabbri, an Italian count from Florence, and his wife, Edith Shepard Fabbri, great-granddaughter of Cornelius Vanderbilt.

(Center) André De Shields (L-R) Marcus Fitzpatrick, Todd Buonopane, Amber Iman,
Chris Hahn, Alexandra Socha, Tyler Hardwick, Hannah Beck, Charlie Lubeck

Chris Hahn, Alexandra Socha

The Italian Renaissance-inspired palazzo has an amazing library where Tartuffe takes place, a wooden treasure built in the 1400s for the Ducal palace in Urbino, with thousands of books, outstanding paneling, an epic fireplace, a balustrade gallery, and even secret passageways. It is a monument to old New York high society, the one that hosted debutant parties and cultural soirees while the Great Depression was looming, and the perfect backdrop for Molière’s infamous master of manipulation. Directed by Keaton Wooden and featuring a razor-sharp, hilarious translation by Ranjit Bolt, this Tartuffe is an intimate rendezvous for a strictly limited audience of 100 guests per night.

Amber Iman, Chris Hahn

Tartuffe is a religious hypocrite who pretends to be pious to control a wealthy man, Orgon, to gain access to his home, money, daughter, and wife. How do we know? From the very beginning, before we even set our eyes on him, we see the family freaking out about his possible entrance. Chris Hahn’s Orgon is charmingly gullible, a frightened authoritarian clinging to Tartuffe like a life raft in a moral sea, while his wife Elmire cannot stand the charlatan. As Elmire, Amber Iman, an extraordinary singer whose stage presence and effortless elegance make her just as commanding without a single note, keeps us captivated with every clever glance, comment, and raised brow.

Drew Wutke, Phoebe Dunn, Alexandra Socha, Charlie Lubeck

Amber Iman, Phoebe Dunn, Todd Buonopane, Tyler Hardwick, Hannah Beck

Their daughter Mariane, played with delightful energy by Alexandra Socha (who looks and acts like the ideal half doll from the early 1900s, the ones used as bedroom decor) doesn’t want to marry old Tartuffe because she is in love with Valere, her perfect and silly Ken, played by Charlie Lubeck. Raised to be compliant and obedient, Mariane and Valere wait for others to intervene on their behalf. Mariane’s brother Damis (Tyler Hardwick, who uses his entire body to express every emotion) is equally immature; and Cleante, Orgon’s brother/sister-in-law (a graceful Hannah Beck) is the calm, annoyingly reasonable relative, effective but very slow to act.

André De Shields

Dorinne, the sharp-tongued, socially aware servant, so common in 1500s Commedia dell’Arte and in other Moliere’s plays, is the outsider with insight; Phoebe Dunn perfectly embodies this insubordinate lower-class character who clearly sees the dysfunction of the upper class and has no patience for nonsense. Todd Buonopane is Mme. Pernelle, the stubborn, judgmental, self-righteous matriarch who clings to Tartuffe because he validates her moral superiority complex. Buonapane and Dunn are comedy machines, and it is impossible not to laugh along.

Hannah Beck, André De Shields

Amber Iman, André De Shields

Finally Tartuffe makes his grand entrance, all dressed in red like a Fellini’s dream-cardinal, singing Nina Simone’s Feeling Good. Well, with a very particularly grandiose sense of self-importance that adds texture to the famous charlatan. De Shields knows how to own a room, I can assure you, and his Tartuffe has a unique flair that must be witnessed in this intimate space. And that’s where the story starts, helped in its joyful theme by Kate Rance‘s set, Yang Yu‘s lighting, Tere Duncan‘s costumes, and Bill Toles‘ sound.

Tyler Hardwick

Funny thing, with this light comedy, Molière satirized the holier-than-thou hell-raisers, not religion itself, but in 1664 Tartuffe was immediately banned due to protests from religious groups. He had to revise it twice to please King Louis XIV, and the final version, in 1669, was a massive success. The important play’s themes of religious hypocrisy and abuse of power stayed have resonated with audiences for the past 400 years. Tartuffe is a classic and the play’s history shows the influence of theatre to challenge current ideologies and provoke critical reflection. There are so many Tartuffes today, it is hard to keep score, but this particular one, André De Shields’s Tartuffe, will make your night. Don’t miss it, even if you have to skip church.

André De Shields

photos by Joan Marcus

Tartuffe
House of the Redeemer, 7 E 95th St, New York
90 minutes with no intermission
ends on November 23, 2025
for tickets, visit Tartuffe NYC