FringeReview UK 2026
Tartuffe (Remixed)
Intermission Theatre
Genre: Adaptation, classical, Comedy, Contemporary, Costume, Drama, European Theatre, Mainstream Theatre, New Writing, Political, Theatre, Translation
Venue: Marylebone Theatre
Festival: FringeReview UK
Low Down
Darren Raymond expands his scale: both as writer and director with his Intermission Theatre, in this fizzing, rich verse-adaptation of Moliere’s 1664 play. It runs at the Marylebone Theatre till October 24.
Mark Rylance can’t fail to take you with him. If not take you in. Very highly recommended.
Review
Pastor Blake is an imposter. On several levels. His true name is the last word revealed. Though Mark Rylance’s identity in any case sticks out in a Nigerian family: one Blake assails in an act of deep colonial asset-stripping posting as plausible religious bigotry. One where Moliere’s characters – sometimes echoing their original names as well as natures – respond to very different scams. Darren Raymond expands his scale: both as writer and director with his Intermission Theatre, in this fizzing, rich verse-adaptation of Moliere’s 1664 play. It runs at the Marylebone Theatre till October 24.
Moliere’s political danger and fervid state Catholicism has partly evaporated. Though politics might conceivably have entered (compromising dissident papers), it doesn’t. Martin Crimp’s latest version of The Misanthrope too wasn’t able to replace the perils of Moliere’s time – more acute in Tartuffe – and unless one does, it slackens dramatic tension. But robbery here remains, and above all the bitter comedy. It’s an ambitious play too. There’s ten ensemble members though we rarely see more than a couple and an 11 strong cast. Raymond’s experience adapting 15 Shakespeare plays and deftness in verse pulses through effortlessly: one of the production’s greatest strengths. The only problem is delivery of some words are obscured, though many of the audience got some jokes – and references – at least half a beat early.
The absurdity of a father marrying off a daughter – already plighted – to a religious man, is given new resonance, and vulnerability. Certain characters like the briefly disinherited son D-Miz (Christopher Mbaki) are given less to do, except in the two scenes where he discovers his stepmother, as he thinks, compromised; then in denouncing Blake, is thrown out. There’s additional characters and cultural implications are skilfully worked through. You sense a world beyond with its pitfalls and opportunities.
Conflicts between young and old are pitted, and the way a post-colonial spasm can still work through religion, the retreat of the rational before it. Even in the considerable length of this play, there’s not time to explore this, with some oxygen understandably given over to sheer farce.
Rylance himself is softly spoken and for those who knew the self-flagellating monk, his approach is a more distinct fit for the evangelical wing of the Anglican church. It’s plausible if vanishingly so. It’s Blake’s difference that cloaks him. It’s in the second act of this two hours 45 play that Rylance let’s rip with gleeful perfidy and sovereign comic timing as he reveals his true nature. First to Suzette Llewellyn’s superbly credulous holy Grandma persuaded to hand something over. It’s a great duet and Llewellyn relishes every swoop of delusion. Blanche Williams too as Great-Grandma radiates comic energy and panache.
It preludes the big scene with Elmire (close to the original Elmira) the younger second wife of Oga (Usifu Jalloh) and loyal stepmother as she promised their mother Blossom, to two children. Infinitely more rational then most around her, she has to navigate Blake’s assaults on her family and eventually her; then persuade everyone of its truth. Nakaba Buchanan nuances around outrage, diplomacy and deep feeling, giving the core relatable performance. It’s close to Moliere here, and Raymond skilfully gradates the original in terms that land perfectly now. The two scenes between Blake and Elmire are the crux of the paly, especially when others pop up.
There’s other plot-points totally new. Adanna (an excellent understated Sara Mokonen) is given more agency in that she alerts the authorities, but like her brother is given an otherwise passive role. There’s none of th mope of the original. Her fiancé Sinclair (Sinclair and Adanna are blazoned above the prosc-arch) Ivandro Da Cruz Leite is another whose powers are clipped by the plot. Happily he takes a spiked drink meant for Blake, cannily thrust in his hands by the prescient pastor, and delivers a brief explosively sexual panegyric.
The original brother of Elmira, Cleante, the rationalist, is now nearly transposed to being Sinclair’s exhorting father. Craig Blake’s Delroy is one of the commanding figures who like Elmire tries speaking the truth and shaming the little devil. His authoritative stance works best when he’s plotting with Adanna’s BFF Kemi (Morenike Onajobi) originator of plots. Onajobi’s magnificent outrage is another outlet, an emotional release valve wholly new to the plot. Yet between them ironically disaster lurks.
Yet there’s dignity in the unsympathetic Oga, as Jalloh justifies his choices, and shows how vulnerable people – with chinks in their patriarchal armour – can be preyed on. There’s some consolation as Kame Bentil’s burnished Deus-ex-machina policeman (just like Moliere’s) delivers the depth of Blakes deceptions and his name. It turns out one ineffectual-seeming member of the family was far more effective than they’d realised.
Ultz’s design features a living room with a drinks cabinet at the back recessed and various moveables. Its bright colours set off the fantastic costumes: Mabelle Laye’s associate costume design here calls for special mention, and even more Shola Ajayi’s spectacular Wedding Clothes. Lit snazzily by Simisola Majekodunmi and with a comedically shifting sound design and composition by Duramaney Kamara – just wait for the Alexa requests – this enjoys the hallmarks of a big production.
Dynamics around Rylance are fascinatingly detailed, and his role serves as a reminder as to how Rylance combines the uproarious in a resonant, almost sotte voce manner. If Tartuffe (Remixed) doesn’t quite land everywhere it might, that’s because the risks of injecting the original danger might upset whatever comedy we can still extract over 360 years later. With Buchanan, Blake, Jalloh, Llewellyn, Williams and the cast surrounding the imposter, Rylance can’t fail to take you with him. If not take you in. Very highly recommended.
Associate Set Designer Mark Simmonds, Assistant Director Sope Ishola, Voice Coach Carol Farlamb, Accent & Dialect Coach Hazel Holder, Fight Director Enric Ortuno, Assistant Costume Supervisor Natasha Finch, Hair 7 Makeup Consultant Kadine Watson.
Company Manager Danielle Adeyinka-Uché, Stage Manager Lorrell Rawlins, DSM Anna Townley, Dresser & Wardrobe Supervisor John Laurie, Wardrobe Assistant Ruth Petersen, Preview Stage Managers Charlotte Smith-Barker, Laura Jones-Berke.
