Review: Tartuffe (Remixed) (Marylebone Theatre)
Review by Phil McCullough
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Remixing a timeless classic is a big responsibility for any writer and director. Darren Raymond has taken Molière's 17th century French farce Tartuffe out of Paris and relocated it to a modern Nigerian Jamaican family in England, with dramatically reworked dialogue. The purists are certain to have strong opinions about his interpretation, but has Raymond breathed new life into this timeless tale of a religious conman manipulating willing believers? Does the rich and vibrant language of contemporary Nigerian and Jamaican households hold its own against the original text, and can this completely remixed version of Tartuffe appeal to a wider audience of theatregoers unfamiliar with the play?
Tartuffe was written by French playwright Molière and first performed in 1664. After seeing the premiere, King Louis XIV reportedly described the farce as "extremely diverting" and was a fan of the production. However, Molière's satirical depiction of a religious man who is both sinful and lust driven caused outrage from the Church, and shortly afterwards the King banned public performances of the play. This latest version brings together Hollywood actor Mark Rylance with writer and director Darren Raymond, who first met in 2004 when Rylance led a Shakespeare workshop at Brixton prison. After Raymond founded Intermission Youth Theatre, Rylance became heavily involved with the company and has supported its work over many years. This production also features an ensemble of recent graduates from Intermission's youth training programme, who appear on rotation throughout the run.
Raymond has taken Molière's original script and thrown it out of the French windows. He has replaced many of the original twelve syllable lines, known as alexandrines, and their rhyming couplets with new dialogue written in iambic pentameter, the ten syllable verse form famously favoured by Shakespeare. He then mixes this with rich and vibrant language from Nigerian and Jamaican culture to create a completely new set of rhyming couplets. The ambition behind this adaptation is staggering, and I genuinely think Raymond has delivered a masterclass in reworking a classic. The script feels incredibly contemporary and is dripping with Nigerian and Jamaican culture, slang and humour. Yet somehow, despite completely transforming the language, Raymond retains the rhythm and theatrical device of the rhyming couplet throughout and that is no easy feat. The language is outrageously funny. From complaints about a ‘string in your crack’ to colloquialisms such as ‘bloodclout’, the dialogue creates a world that is larger than life and gloriously ridiculous. It feels bold, fresh and completely unapologetic, while still retaining the bones of Molière's original farce.
Raymond's direction leans heavily into the absurdity of the story, with characters often becoming larger than life caricatures. There is very little subtlety here, but that is exactly what makes the farce work. It is loud, proud and gloriously over the top, and the production is all the better for it. There are also some interesting undertones within this adaptation. Casting a white actor as a crooked man of the cloth who enters a Black family home and gradually attempts to take control of their lives and property inevitably brings echoes of colonialism and the way figures of authority can exploit their positions. Pastor Blake manages to fool the more God-fearing members of the family by preying on their good nature and faith.
Mark Rylance delivers a hysterically funny performance as Pastor Blake and he is wonderfully obsequious, with awkward mannerisms and a constant air of nervous politeness that had me laughing out loud. His characterisation comes alive the moment he stumbles onto the stage and he has a ‘butter wouldn't melt’ quality that makes him appear meek, shy and utterly devoted to God. Underneath that innocent exterior is a smiling assassin using his white collar to disguise the manipulative conman beneath. Rylance clearly understands exactly how far to push the character, and watching Pastor Blake's polite exterior slowly collide with his darker intentions is enormous fun.
Rylance is matched by another standout performance from Morenike Onajobi, who is utterly hilarious as the dynamic and outspoken Kemi. She is fiercely loyal to her best friend Adanna, completely confident in herself and clearly proud of her curves. Onajobi has brilliant comic timing and brings an infectious energy to the stage. As a graduate of Raymond's Intermission Youth Theatre, she is certainly one to watch. Suzette Llewellyn brings vitality and believability to Grandma, making even her most outrageous moments feel completely authentic. Her performance is nuanced, warm and very funny, with several of the production's most memorable moments centred around her. Usifu Jaloh is powerful as Adanna's Nigerian father and when he becomes caught in Pastor Blake's web of lies, Jaloh makes his denial of what is happening feel surprisingly believable. You can understand how this proud patriarch could fall under the pastor's spell, particularly when his faith and authority are being manipulated against him.
Set design by ULTZ has a distinct Afro Caribbean flavour, from the patterned seating areas to the flashy dining table, faux leather chaise lounge and diamanté details. The costumes are equally vibrant, with Shola Ajayi creating a real feast for the eyes. The wedding clothes in particular brighten the stage with shimmering gold and bring an extra sense of occasion to the production. Sound Designer and Composer, Duramaney Kamara, really plays an important part in the creation of the world. The music really helps establish the vibrant atmosphere and completely immerses the audience in the lives of these two families. The whole production feels full of colour, movement and personality.
Tartuffe (Remixed) takes Molière's archaic mixtape and gives us a 2026 playlist with spice, edge and plenty of laughs. The adaptation is genuinely inspired and manages to breathe fresh life into a story that is more than 350 years old. What impressed me most is that Raymond has not simply modernised Tartuffe but he has completely reimagined it for a different audience and made the language, culture and humour feel rooted in contemporary Nigerian and Jamaican life. Despite the huge changes, the heart of Molière's story remains intact. More importantly, this production proves that classic theatre does not have to feel inaccessible or intimidating. Raymond has taken a French classic that could easily feel like something reserved for theatre purists and turned it into something vibrant, funny and welcoming. Overall, this is a highly enjoyable night out that is genuinely laugh out loud funny. Tartuffe (Remixed) is bold, outrageous and full of personality, and it feels like exactly the sort of adaptation that can introduce a whole new audience to a classic.
Tartuffe (Remixed) plays at Marylebone Theatre until 24th October. Tickets from https://allthatdazzles.londontheatredirect.com/play/tartuffe-remixed-tickets
Photos by Mark Senior