Tartuffe [New York Theatre Workshop] – 20 December 2025 

Moliere would have been pleased with New York Theatre Workshop’s Tartuffe. With a cast of NYC theatre royalty of every genre, each character was brought to life with individuality and purpose. The story is that of a wealthy man who fears he might not get into heaven falling under the mysterious spell of a zealous scammer, and the outrageous fall out with his family before a ruse lifts the shadows from his eyes. In addition to preserving the quick wit of the original text, this production also leans on costuming to tell part of each person’s truth— particularly their contradictions. The show is fun to watch, especially for those familiar with other works performed by these cast members. The play speaks to a timely question about the worst thing that can happen from admitting one is wrong and how fear of the unknown can prevent someone from truly examining the known.

Tartuffe is, first and foremost, a comedy, and this production infused that spirit into every dramatic element. Orgon (David Cross)’s mother is played by drag artist Bianca Del Rio, whose sincerity is her most surprising attribute. Bianca Del Rio plays this role in a very straightforward, earnest way that downplays the fact that she’s in drag and creates a very believable, real character. Ryan J. Haddad (Damis), usually seen on stage sharing his unique brand of dark comedy plays a hotheaded young man who simultaneously seems ready to fight and completely unable to. His costuming (Enver Chakartash), heavily supports the difference between his violent words and his inability to hurt a fly— this usually serious actor is festooned in ribbons and effeminate colors. Matthew Broderick played an understated Tartuffe, and was genuinely believable in the show— he didn’t make it all about him as the celebrity, but shared the space evenly and fairly. Also worth noting, Francis Jue brought beautiful clarity and insight to Cleante and Amber

Gray’s Elmire was nuanced and patient. These (and other) characterizations and interpretations were heightened by the knowledge of who else these actors have been, and it was really fun to see the cast shaken up and perform well in surprising roles.

There was really only one thing I didn’t understand in this production, and that was its scene transitions. At the end of each scene, we’d see stylized playing of pickleball with odd, choppy sound effects in semi darkness. Then, lights would come up and we’d hear a loud buzz, perhaps like that of a sports arena? I never knew what to make of it, and quickly lost track of who was on stage with whom during these bizarre transitions. I don’t know what social commentary these transitions were meant to convey. I also was unsure about the need for the concluding song, which was fun but also felt somewhat out of step with the production.

The scenes themselves were really fabulous. I enjoyed the commitment to the spirit of Moliere’s original, including keeping the rhyme scheme and ensuring that the target audience remained the common people. All of the performers knew when to stand out and when to blend in. New York Theatre Workshop’s Tartuffe is truly sensational. It is a raucous comedic journey that delights with its laughter and the message it draws out: everything in moderation, because you can go from having everything to having nothing in the (hood)wink of an eye.

I attended this performance on a press pass from Print Shop PR.