For much of the twenty-first century, Molière has been absent from New York stages.  The last Broadway revival (Tartuffe) was over twenty years ago.  Off-Broadway has not been much better—until recently.  In 2020, Molière in the Park debuted its first full production (Tartuffe) online during COVID.  Red Bull Theater staged an adaptation of The Imaginary Invalid at New World Stages this summer, and André De Shields just finished playing Tartuffe at the Upper East Side mansion House of the Redeemer.  Now, Matthew Broderick is doing the same part in a new adaptation by Lucas Hnath at New York Theater Workshop.

Tartuffe has obvious appeal: it is about a religious hypocrite who hypnotizes Orgon (David Cross) and makes life hell for his family and servants.  The strength of this production is in its casting.  Broderick plays a low-key Tartuffe, and his measured performance serves as a nice foil to the circus of hams who surround him.  Cross has spent his career mastering line readings that are both sincere and assertive, a combination that is perfect for Orgon, a dupe who nevertheless stands firm when everyone tells him he is being fleeced.  Likewise, Valére (Ikechukwu Ufomadu), suitor to Tartuffe’s daughter (Emily Davis), has found his ideal expression in Ufomadu, a stand-up known for his goofy, wholesome deadpan.  Francis Jue, fresh off his Tony win for Yellow Face, plays Cleante, brother-in-law of Orgon. Amber Grey plays Elmire, his wife (she sings).

The script, like the original, is written in verse.  This I found less successful.  Molière’s text uses French alexandrine: every line is twelve syllables.  The form encourages fluid line readings, perfect for a comedy.  Hnath’s meter is uneven, resulting in a halting, sing-song delivery.  Consider these early lines, with syllable counts in brackets:

First up, let’s talk about Dorine— [8]
the lazy maid who thinks she’s queen— [8}
God forbid I give her something to do, [10]
she can’t even be bothered to pick up a broom. [12]
You pay her to do—what exactly? {9]
Sit on her ass and act all sassy? {9]
She is paid to cook and to clean, {8]
instead you treat her as if she’s Aunt Dorine. [11]
You people are headed for some real calamity {13]
if you keep confusing the hired help with family. [14]

This variation means the actors are sometimes rushing and sometimes lagging in order to make up the difference.

Nevertheless, the cast is so good—stacked with famous and less-famous greats, each playing to their strengths—that they overcome the problematic translation.  If anything, this Tartuffe vindicates the uptick in revivals and, I hope, augurs more to come.

Tartuffe runs through January 25th at New York Theatre Workshop.  79 E. 4th Street  New York, NY.  1 hour 50 minutes.  No intermission. Photograph by Marc J. Franklin.