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For Broderick, a two-time Tony winner, the intimacy of the 199-seat NYTW space—and the rangy group of actors and other creatives, including choreographer Raja Feather Kelly and composer Heather Christian, attached to Benson’s production—represent a welcome change. “I’ve been doing this a long time, so I very often work with friends and people who I know,” he says. “This is a little bit going outside of that. That’s exciting.” For De Shields’s part, Tartuffe belonged to “the European canon of antagonists and protagonists” that he was eager to master early in his career. “That has a lot to do with what I wasn’t considered appropriate for or allowed to dream about,” he says. “What I did as a young man was make sure that I would be literate, so that my would-be oppressor would always understand what I am saying, and I would always understand what my would-be oppressor was not saying, you got me?”Official Snoopy And Woodstock Im Not Old I Woke Up I Lifted My Arms I Moved My Knees I Twisted My Neck Shirt
At 79, De Shields is in full flower (the official name of the production is André De Shields Is Tartuffe, after all)—seducing Iman’s Elmire, dropping for a few push-ups, and serenading the audience with an invigorating rendition of Nina Simone’s “Feeling Good.” (Cleverly, he often has a scripture-slash-script at hand, in case he needs a line or “bible verse.”) “It’s like we are hosting a party and then we do a show during the party,” explains Wooden. All of this is experienced at close range in the baroque library of Redeemer, a Beaux-Arts mansion built by a Vanderbilt heiress and later deeded to the Episcopal Church. Wooden chose the space both for its resemblance to a 17th-century French chateau and because the money to rent it would go toward a spiritually minded nonprofit.
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