The story of how a historic Episcopal retreat house became an off-Broadway sensation is a fascinating tale of adaptation and preservation. It's a unique blend of high society, religious devotion, and artistic expression, all set within the walls of a magnificent Upper East Side mansion.
The House of the Redeemer's Transformation
Imagine walking into a library, surrounded by centuries-old wooden panels and ceilings, and finding yourself face-to-face with André De Shields or Jesse Tyler Ferguson. That's the experience awaiting theatergoers at the House of the Redeemer, a former retreat house with a rich history.
The connection between this space and the late Truman Capote is what makes it so special. Capote, a renowned writer and socialite, was once part of a circle that included the likes of Gloria Vanderbilt. And now, a play about his waning final days, "Tru," is being performed in the very library where Vanderbilt's grandniece once made her debut.
A Legacy of Generosity
The House's journey began with Edith Fabbri, born into wealth and privilege as Edith Vanderbilt Shepard. Despite her lavish lifestyle, Fabbri heard a sermon during Lent that inspired her to donate her magnificent home to the Episcopal church. The pastor's words, drawn from the Bible, spoke of finding rest in a desert place, a place apart from the world's chaos.
Fabbri's generosity ensured the preservation of a piece of architectural and cultural history. Many grand homes of the Gilded Age met a different fate, demolished or sold as New York developed. But the House of the Redeemer survived, becoming a retreat for those seeking quiet and reflection.
From Retreat to Cultural Hub
Over time, the House adapted to changing needs. With no large endowment left by Fabbri, the House had to become self-sufficient. This led to a shift in its financial model, renting out spaces for conferences, receptions, and even film shoots. Woody Allen and The Godfather, Part III have both left their mark on this historic building.
Today, the House continues to evolve. It hosts the Fabbri Chamber Concert Series and has even been the setting for Mike Wallace's exit interview. But it's the recent staged productions that have truly put the House on the cultural map.
Immersive Theater and a Perfect Setting
Last year, Keaton Wooden brought his immersive production of Molière's "Tartuffe" to the House. With the audience seated on three sides, De Shields' performance as Tartuffe was an intimate and powerful experience. The production team had to get creative to comply with Actors Equity regulations, even converting a former director's apartment into a dressing room.
Rob Ashford's "Tru" found an even more perfect home in the House. Set in Capote's New York apartment, the play explores his shunning by high-society women after he revealed their secrets. The Upper East Side, with its association with Capote's famous "Swans," provided the ideal backdrop.
A New Chapter for the House
Natasha Donnelly, the House's executive director, is open to hosting future productions. While they would ensure the themes align with the House's mission, they are eager to explore culturally resonant messages. The challenge of summer rentals without central air-conditioning is a hurdle, but one they hope to overcome with the money raised from these theatrical ventures.
The House of the Redeemer has come a long way from its original purpose, but its new role as a cultural hub feels like a natural evolution. As Donnelly puts it, theater brings people together and creates community, aligning with the House's original mission of providing a place of rest and reflection.
What makes this story particularly fascinating is the way it blends high society, religious devotion, and artistic expression. It's a reminder that history is not static, but a living, evolving entity, and that even the most unexpected spaces can become hubs of cultural significance.
