Director Michael Fera frames the Moli猫re classic The Imaginary Invalid in a fresh way: it is Paris, February 17, 1673 and we, along with King Louis XIV, are in the Palais Royale for a performance of Le Malade imaginaire (in English, sometimes called The Hypochondriac but more often The Imaginary Invalid).
Back in 1673, playwright/director/actor Moli猫re played Argan, the hypochondriac, a slave to Mr. Purgon, his doctor (play here by Bronwyn Henderson) who perpetually prescribes medicines, injections, bleeding and purging. Moli猫re himself suffered from tuberculosis and during this particular performance, he collapsed on stage and died a few hours later. We view, therefore, The Imaginary Invalid within the framework of that particular 17th century production. While the Palais Royale audience was presumably bravo-ing, Moli猫re, shielded by the other actors, coughed blood into his white lace handkerchief and was carried offstage. 聽
Not knowing this backstory, however, can be bewildering to those who don鈥檛 already know it. Why is actor John Prowse, for example, sometimes Moli猫re, sometimes Argan? And why does the imaginary invalid, who is obviously perfectly healthy, haemorrhage and collapse at curtain?
Moli猫re鈥檚 plays included music, dance and some elements of commedia dell鈥檃rte; director Fera re-introduces these, too. Music, under the direction of Pat Unruh, is performed live by Victoria Bass on baroque cello, Cody Kearsley on bass recorder and Olesia Shewchuk on alto recorder and harpsichord. Lyrics, however, in English, Latin, possibly Italian and maybe French, are very difficult to understand so the value of having lyrics is all but lost.
As for commedia dell鈥檃rte, Fera introduces Punchinello (Brad Bergeron) and, much as in Shakespeare鈥檚 plays, the character is there for comic relief. While the fellow two seats away from me thought Punchinello was 鈥渉ilarious,鈥� I found the shtick simply tedious. If Fera can add to the play, he can also cut swathes of it away beginning with Punchinello and ending with the 鈥渆ntertainment鈥� near the conclusion. Poor Parisians, including the Sun King, who had to sit through this.
But there鈥檚 some very good work from this mainly non-professional cast; professionals include Prowse and Maria J. Cruz (as Toinette), both Equity members.
Prowse captures the slyness of Argan, as if the character knows all along that there is nothing wrong with him except some excess gas, which is, no doubt, caused by all the so-called medicines he鈥檚 being prescribed. With the white nightcap, however, he could be confused with Ebenezer Scrooge. I imagined Prowse at some point rushing to the window and hollering, 鈥淵ou, boy, what day is it today?鈥�
While Argan is ostensibly the main character, it鈥檚 as much the maid Toinette who鈥檚 pulling the strings. Maria J. Cruz, black curls bobbing and just about popping out of her royal blue low-cut gown (by Jackie Talmey-Lennon), sparkles in the role. As the fake doctor, however, Cruz could be pulled back a notch or three.
As the young would-be lovers, Olesia Shewchuk (Ang茅lique) and Cody Kearsley (Cl茅ante) are well paired; and Victoria Bass (in another gorgeous gown by Talmey-Lennon) is nicely nasty as Argan鈥檚 eager-to-be widow. In a smaller role but a very well executed one is JD Dueckman as Thomas Diafoirus, Ang茅lique鈥檚 intended. It鈥檚 especially fun watching Diafoirus, in an outrageously blond curly wig, watching the other characters. Emotions and thoughts seem to race across Dueckman鈥檚 face: a simple, open book.
Presented by United Players, this is an ambitious undertaking. Set design by Todd R. Parker is handsome with its glittering chandelier. The production comes in at just over two hours, shorter than some productions I鈥檝e seen 鈥� although it feels longer. But there are successes here, too, especially in Fera鈥檚 fresh framing of the play within the context of 17th century France and the life and death of Moli猫re.
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The Imaginary Invalid is at Jericho Arts Centre until June 28. For tickets and more details, call 604-224-8007 or go to .
