Sick of It All—and Loving Every Minute:
Molière’s Hypochondriac Gets a Hilarious Check-Up
Molière’s final theatrical work, The Imaginary Invalid, is a scalpel-sharp satire of medicine and the absurdities of human nature. Written and performed in 1673 while he was seriously ill with tuberculosis, Molière took the stage with a genuine cough and died shortly after the fourth performance, at the age of fifty-one. His failing health, the loss of his infant son—in spite of every physician and remedy he could find—the betrayal of trusted collaborators, and a marriage openly ridiculed from the theater balconies all find their space in this timeless comedy.
Sarah Stiles and Mark Linn-Baker
A new version of it, presented by Red Bull Theater at New World Stages, brings it to life in a fresh and exhilarating way. Adapted by Jeffrey Hatcher, with input from dramaturg and translator Mirabelle Ordinaire, it keeps Molière’s sharp humor while making it feel modern and relevant. Under Jesse Berger’s confident direction, the cast blends slapstick comedy with classic theatrical moments, letting the farce shine. Berger’s vision captures the spirit of the play and delivers perfectly timed laughs.
Emily Swallow, Mark Linn-Baker and Manoel Felciano
I saw it a few days ago, and I’m still laughing every time it crosses my mind. You likely know the tale: Argan, a wealthy hypochondriac in his 50s, is not chasing love, legacy, or even pleasure. He is scheming to slash his medical bills by marrying his daughter to a doctor. For the comedy to truly land, Argan must be more than a fool; he must be foolish in a way that feels unmistakably human. Mark Linn-Baker delivers just that, an Argan both maddening and lovable, a man so wrapped in self-pity that he almost earns our sympathy. His electric chemistry with Sarah Stiles as Toinette, the sly and sharp-tongued maid, truly light up the stage. Stiles is both mischievous and masterly. Together, they dance through their scenes with the quick wit and exaggerated flair of classic Commedia dell’Arte, not unlike Commedia characters Pantalone and Colombina, turning even the most ridiculous moments into sharply choreographed bursts of laughter.
Arnie Burton, Russell Daniels, Emilie Kouatchou, John Yi , and Mark Linn-Baker
Russell Daniels, Arnie Burton, Mark Linn-Baker, Emilie Kouatchou,
Sarah Stiles, John Yi, Emily Swallow, and Manoel FelcianoArgan’s daughter, Angelique, rebels against her father’s medical machinations with Toinette’s help. She is in love with Clèante, who is posing as her music teacher; the ideal naïve lovers are depicted by the charming and nuanced Emilie Kouatchou and John Yi, wonderful as the perfect, lovable idiot. Enter the greedy stepmother archetype, Béline, Argan’s second wife who pretends to care deeply about his health, but her true motivation is to inherit his money as soon as possible. Emily Swallow is a riot. At times, she struck poses so perfectly still she looked like a porcelain doll secretly plotting your death with a smile. She glided across the stage with effortless grace, wooing Argan like the picture of marital devotion, only to reappear moments later with hair in disarray and messed up makeup, fresh from one of her less-than-graceful run-ins with her secret lover.
Emilie Kouatchou and John Yi
While Molière does not explicitly state that Béline and the lawyer De Bonnefoi (master comic Manoel Felciano) are lovers or co-conspirators, Hatcher adds scenes of passion between the two. Joining this merry band of manipulators are three doctors—three symbols of pompous medical absurdity and greed—all hilariously embodied by the endlessly inventive Arnie Burton. Each time Burton steps on stage, laughter erupted before he even said a word. Then there is Thomas, the would-be groom for Angélique and the bumbling son of one of the doctors. Russell Daniels played him as an overgrown toddler, wide-eyed, dim-witted, and completely oblivious. Altogether, the ensemble is a treasure trove of talent.
Arnie Burton and Russell DanielsBeowulf Boritt’s scenic design is completely attuned to the production’s playful spirit and needs. Dominating the music room is a large wooden panel backdrop, richly painted to evoke grandeur; a cleverly designed armchair in the center transformed into a bed; and strategic openings allowed for rapid entrances, surprise reveals, and perfectly timed physical comedy. Tilly Grimes‘ costumes mix period elegance with a hint of caricature, perfectly suited to the exaggerated personalities of the play, while Mextly Couzin’s lighting design and Greg Pliska’s sound punctuate the emotional beats and comedic rhythms with precision.
Mark Linn-Baker and Russell Daniels
Don’t let this production of The Imaginary Invalid pass you by. In a whole new light, it’s a brilliant tribute to Molière’s classic. It invites you to laugh with gusto at a world steeped in greed and hypocrisy, and then leave the theater better for it.
Emilie Kouatchou and Mark Linn-Baker
photos by Carol Rosegg
