`Imaginary Invalid’ offers quick and campy fun

Although it’s not important to enjoying the play, there’s a historical detail that really adds intrigue to Moliere’s comic farce “The Imaginary Invalid,” playing through Aug. 8 at Acadia Repertory Theatre. Moliere wrote, staged and acted in the demanding title role of Argan, a hypochondriac governed by his gullibility to the whims of medical science. During his fourth performance of the part, Moliere, himself dangerously ill, was seized by convulsions onstage, and died several hours later after finishing the show. For a man who had suffered with illnesses all his life, it was a most extraordinary swan song, one that ironically added salt to the already caustic observations Moliere had made in his other plays about the follies and deficiencies of doctors.

Although Argan’s catalogue of ailments and his addiction to potions aren’t the only theme of the play, they do have a resounding effect on every other action that occurs. His gold-digging wife can’t wait for him to die. His maid has developed keen powers of manipulation to get around her master. And his doctor and apothecary are raking in the bucks as they prescribe tinctures to keep Argan complacently racing between constipation and diarrhea.

But the most crucially affected is Argan’s daughter, whom Argan is determined to marry to a doctor so he can enjoy free and continual consultations with his son-in-law.

Yes, Monsieur Argan is very, very sick, but his illness is simply stupidity and self-centeredness. His spastic bowels and palpitating heart are sure signs that he is alive and in need of constant attention.

And if it all weren’t so funny, it would be rather sad. But there’s no time for mawkish pity in this campy production by guest director Wayne Loui. As with Moliere, who had an insider’s view of the medical witchcraft of the day, Loui is interested in grabbing hold of the chronically comic elements of this farce.

Miles Malleson’s adaptation doesn’t turn a phrase as cleverly as some translations, and it sacrifices the ballet interludes of the original script. But the cuts don’t kill the theatricality which is marked by quick action, outrageous costuming, and a few great performances.

Eugene J. Tierney, as Argan, is no small part of the success. The role calls for a tremendous amount of energy, as well as comic understatement, and Tierney is completely game. His whining Argan is a big baby, wrapped in swaddling clothes and wearing a ridiculous night cap. Yet Tierney stops short of causing pity, which is an admirable choice considering Argan’s pitiful position. Whether he’s miscal- culating doctor bills or whimpering in imagined pain, Tierney turns out a hilarious Argan.

His interaction with Claudia Traub, who plays Argan’s new and second wife, is also quite funny, particularly as Traub coddles Tierney, and then secretly exchanges little affections with her lawyer (played cunningly by Lou Solomon).

Ken Stack, who appears in the second act as Argan’s brother, is deft and droll as he criticizes Argan’s weaknesses and conspires with other players. He leads the gang in a final bit of fun with an indoctrination ceremony in which Argan is ludicrously made into a doctor for himself. Something between a revivalist prayer meeting and a scene from a Dr. Suess story, this closing charade couldnt be any more bombastic with foolish playfulness — twisted words, looney chants, marching actors, and very strange music.

As the young lovers kept apart by the master of the house but brought together by fate, Grace Jordan and Ted Cancila are perfectly suited for the roles. Jordan is ethereally lovely and smart with her acting. Cancila works particularly beautifully within the farce genre, with his towering presence and Dudley Do-right voice. He’s bigger than life, but never steals from the others onstage.

The same cannot be said for Alexandra Loria, as Toinette, Argan’s maid and nurse, and one of the most important plot movers in the play. Loria has plenty of funny moments, but can never give up the spotlight, and, disappointingly, tosses off way too many laugh lines.

Alan Gallant, Kevin Moriarty, Jon Ferreira and George Newton catch Moliere’s wily satire with their portrayals of members of the medical profession. In the smaller role of Argan’s youngest daughter, Lisa Goodness is acceptably impudent and juvenile.

Preposterous wigs and extravagant color schemes make up Karen Malm’s crazy costumes, which are as much a part of this clowning entertainment as the sporty characters that make up the cast.

“The Imaginary Invalid” will be performed 8:15 p.m. Tuesday-Sunday through Aug 7, and 2 p.m. Aug. 8 at Acadia Repertory Theatre in Somesville. For tickets, call 244-7260.