Tartuffe is in our house. We’ve got to get him out.
Tony Award nominee Lucas Hnath (Red Speedo; A Doll’s House, Part 2) and Obie Award winner Sarah Benson (Teeth, Fairview) conspire to bring us a razor-sharp reinvention of Molière’s iconoclastic comedy in a mad-dash production full of ferocious wit, outrageous design, and downright buffoonery.
A more traditional production might have switched the actors playing the two men, considering Broderick’s and Cross’s styles, but the counterintuitive casting keeps the show on its toes. In fact, casting in general is the ace in the director Sarah Benson’s sleeve as the company ably navigates Lucas Hnath’s fluid, if sometimes unnecessarily profane, verse adaptation of this classic 17th-century French comedy. (Admittedly, I did shudder hearing Hnath rhyme “Tartuffe” with words like “goof” since it should be pronounced with a hard “u” sound.)
In the end, though, two hours of verse does begin to wear thin. Clever, yes, but a difficult flex to maintain for a long period of time. Two other elements that, frankly, annoyed me are the jarring, industrial honking sound that accompanied some of the scene changes, accomplishing God knows what, and the rather distaff closing musical number, which comes out of nowhere. It blunts the effect of the play’s conclusion. Nevertheless, Tartuffe is a clever show with an excellent cast and high production values, and some moments of true hilarity.
| 2025 | Off-Broadway |
Off-Broadway |
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