[NEohioPAL] Berko review: THE IMAGINARY INVALID @ Great Lakes Theatre

[Roy Berko]

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 *Farcical THE IMAGINARY INVALID should delight many at Great Lakes Theatre*



Roy Berko

(Member, American Theatre Critics Association and Cleveland Critics Circle)



Jean Baptiste Poquelin, better known to the Western world as Moliére, was a
seventeenth century French dramatist who wrote penetrating satirical
comedies. In an era when the theatre mostly centered on pastoral plays,
divertissements, and neoclassic tragedies, he upset many by taking on
social and societal issues and groups, such as health care, the upper
class, the clergy, doctors, and anti-women’s groups.

When he died in 1673, in what turned out to be a scandal over whether he
was poisoned by the court composer with whom he had recently had a falling
out, the church leaders refused to officiate or grant his body formal
burial.  It wasn’t until seven years later, when the ban was lifted by the
King, that he was forgiven and honored by having the French national
theatre, The House of Moliére, named after him.

His plays include THE SCHOOL FOR WIVES, THE MISER, THE MISANTHROPE and THE
DOCTOR IN SPITE OF HIMSELF.  His last, and probably one of his most popular
scripts was THE IMAGINARY INVALID.

As originally conceived, THE IMAGINARY INVALID was a comedy-ballet, with
dance sequences and musical interludes.  It concerns Argan, a hypochondriac
afraid of all diseases, and the possessor of all disease.  Moliére himself
played the main role in the first staging, coughing up real blood during
the show’s fourth performance, and dying later that evening.

In its revised version, now on stage at Great Lakes Theatre, as created by
director Tracy Young, playwright Oded Gross and composer Paul James
Prendergast, the script becomes a farcical, 60s pop culture romp.

In this version, Argan is still a hypochondriac, afraid of all diseases and
the  treated by quacks, but, according to the director, instead of just
focusing on medical issues, it encourages viewers to “ask how do we each
chose to live.”

Incorporated into the action is commedia staging, which is free form
physical antics.  This type of farcical theatre is associated with
slapstick, running into walls and doors, and broad and unrealistic
characters and characterizations.

The story concerns Argan, his doctors, uninhibited maid, unfaithful wife,
unscrupulous lawyer, two daughters, the older daughter’s suitor and her
arranged for fiancé, and his brother.  There’s also lots of singing and
dancing, much of which doesn’t fit smoothly into the plot.  That’s part of
the design, since, except for its slight message, this isn’t supposed to be
finite story telling.   It is intended to be entertainment, for
entertainment’s sake.

Under director Young’s guidance, the cast has a wonderful time and so does
much of the audience.  She directs with a broad brush, creating lots of
easy to laugh at shticks.  Reality is not the issue, getting guffaws is and
nothing works better than the narcoleptic lawyer’s constant passing out
each time he tells one of his many lies, resulting in falling upside down
from a ladder, running into doors, and smashing to the floor with
regularity.

The show’s first act is very long and drags.  The second act is much more
fun and has better focus.  For those used to Moliére’s comedy style,
adjusting to the outlandish farce, which begs for laughs, takes a little
getting used to.

Tom Ford’s Argan is a mash-up of Nathan Lane, Paul Lynde and Truman Capote.
He’s outlandishly dear and fun!

Sara Bruner as Toinette, his impudent servant, is a total joy who makes
Argan into a perfect foil for their Abbott and Costello-like routines.

Lovely Kimbe Lancaster is ingénue-right as Angelique, Argan’s youngest
daughter, while Jodi Dominick rings laughs as the hunchbacked older
daughter (Louison).  Her scenes with pot-bellied nebbish Thomas Diafopirus
(portrayed by Ian Gould), Angelique’s intended suitor, are hilarious.

David Anthony Smith (Argan’s brother, Beralde) plays with the audience with
direct interactions, including creating a song based on the input of a
first row audience member.

Lynn Robert Berg begs for laughs as Doctor Purgon, one of the manipulating
physicians.  Juan Rivera Lebron carries off the role of Cleante, a florist
and Angelique’s other suitor, well.  If J. Todd Adams (Monsieur De
Bonnefoit, the lawyer) makes it through the play’s run without seriously
hurting himself for all his falling and wall smashing into, it will be a
wonder.

Kent Roht’s choreography, though not overly creative, works adequately
well, as does Paul James Prendergast’s original music.  Christopher Acebo’s
art moderne set and costume designs fit the mood and era.

*Capsule judgement:  Tracy Young’s direction and the efforts of her cast
pay off in a presentation of THE *IMAGINARY INVALID that, from the
reactions of the opening night audience, pleased many.  On the other
hand, Moliére
purists, and those who think comedy is comedy and not farce, will probably
not be overjoyed.

An excellent Teacher Preparation Guide has been prepared by Daniel Hahn and
Kelly Schaffer Florian to aid teachers in leading discussions about THE
IMAGINARY INVALID.  For information or copy send an email to *
Dhahn at greatlakestheater.org*.

*Roy Berko's blog, which contains theatre and dance reviews from 2001
through 2012, can be found at www.royberko.info. His reviews and commentary
can also be found on www.coolcleveland.com and www.NeOHIOpal,
Broadwaynews.com and ArtsAmerica.org.*

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