Down the Rabbit Hole: André De Shields

The word “legend” is thrown around far too often in the theater industry—it’s understandable as we’re a dramatic bunch. But the unfortunate effect is that the word simply does not do justice for actual, in-the-flesh legends. But rest assured that whatever the next tier is, the echelon that very few truly ascend to, André De Shields has more than rightfully claimed his spot there. 

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With an elegance and air that very few other performers can claim, it’s a known fact De Shields is royalty. But in case you’ve forgotten, let’s go down the rabbit hole on some of his greatest hits. 

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The Wiz (1973): 

While De Shield’s Broadway debut was technically, maybe, a play called Warp, which ran for exactly four performances in February of 1973, the true star of his illustrious career onstage feels like The Wiz, which opened a couple years later. Yes, The Wiz, heard of it? Bringing his now-iconic flair and elegance to the titular role of The Wiz in the revolutionary musical, it was in many ways a perfect introduction of an artist who has never allowed limitations to stand in his way. There is sadly no video proof of the performance on the internet readily available, but like Oz, you don’t need to see it to know that it exists. 

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Ain’t Misbehavin’ (1978):

With his role in the Tony-winning musical revue celebrating the life of Fats Waller, a star was born. Revues are not typically associated with astounding acting performances, but reviews of the time made clear that De Shields was doing something different, turning a collection of songs into a must-see night at the theater. Thankfully, there is footage available, and it remains an absolute masterclass in commandeering a stage. 

The Full Monty (2000): 

Fast forward a couple decades, and De Shields has established himself as one of Broadway’s most reliably committed performers. So when a stage musical adaptation of the film The Full Monty was making its way to the boards, it’s no surprise that he went with it. As Noah “Horse” T. Simmons, a retired performer who helps a group of, er, unlikely strippers find their groove, the role notched De Shields a Tony nomination (his second, following his nomination in 1997 for his role in the musical Play On!). 

Hadestown (2019): 

After more than four decades inventing and then reinventing himself on Broadway, in 2019, De Shields found the role that would introduce him to an entirely new generation and establish his status as a true icon. The character of Hermes, the Tony-winning folk musical’s narrator, requires the kind of majesty and wisdom that cannot simply be performed; it must be innate. Holding court in the Walter Kerr Theatre in an almost pastoral way, De Shields did what only the greatest actors can, giving a performance that felt as though it had been waiting his entire life to be played. (He won his third Tony, of course.) 

he Jellicle Ball (2026): 

We’re now firmly in the De Shields “too regal for this realm” era, as evidenced by his role as Old Deuteronomy. Once again implicating himself in another of Broadway’s most astounding reinventions, De Shields is a true member of an ensemble in The Jellicle Ball, in a company that celebrates queer joy and Black artistry. With his singular voice, spiritual gravitas, and otherworldliness, he once again reminds audiences that a true Broadway legend does not simply uphold tradition; they find new ways to give it life. Long live André De Shields.