This is a very modern interpretation of the script - so fear not the language of Moliere to trip you up. The language of the show is easily approachable and understandable; and at most points the funniest parts of the production come from the clever word play.
The main action of the show takes place in and around the colon of a "sickly" old miser by the name of Argon played by Charlie Bauer. This colon is inhabited by a colorful cast of characters coming in and out as easily as a well executed enema. The colon is elegantly set in the round with minimal Victorian props. A large inviting colon filled with wigs, pomp, and circumstance.
It is all for the most part standard farcical fare - devious plots, young romance, prop gags, and prat-falls. These stand-up quite well, but the moments of true inspiration are in the subtle workings of the language.
Charlie as Argon handles this in a very contemporary style - his stylized "old man" seemingly breaks in and out of character and the fourth wall to give a new voice to each witty remark or pun that comes his way. It is amusing - and you see his bottom.
Amber Smith playing Argon's manipulative but ultimately good-willed maid Toinette catches the clever bits at every turn - her inflection on tone and slight stretching of a syllable is enough to keep audiences laughing at lines that would be thrown away by others.
Lindsey Gagliano takes the stage as Argon's manipulative wife Beline - not so good willed as the maid - she handles the role well and finds a nice blend of mild disinterest and appropriate nast.
Bethany Peters is at her height with physical comedy - whether it is her perpetual waif-like entrance on stage or being thrown about - her energy and facial expressions keep the action of the play moving at a nice pace.
When talking about subtlety we cannot forget to mention Clayton Hamburg - who has none. He creates bombastic characters - a sinister and snakelike Goodfellow - a hopeful Lilycrap that might have come straight out of revenge of the nerds - and a menacing Dr. Purgeon. This is not to say that these were not - hands down - the funniest parts of the play. Clayton has a gift for the extreme and it shines.
Dylan Zalewski has a captivating stage presence and a perfect gift for comic timing - it is a good thing he was wearing wigs though as he played two characters who, though both well-rendered, seemed a bit too similar to be clearly distinctive.
Kyle "Queenan" makes an appearance as a hunched administer of enemas - hilarious. Oh, and he plays the main love interest as well.
Finally - the very small, but perfectly executed, role of Louisson is played with adorable simple-mindedness by Laura Holterman. This is the best I have seen her - in such a small scene the character hits wonderful levels and leaves you wanting more.
All in all - a solid show - despite a horrific ending dance bit - it feels as if you just read a book full of wonderful punctuation and they end it with a semi-colon;
See - not very attractive.
This next bit I stole from another website - The Imaginary Invalid runs through Feb. 20 at Carte Blanche, 1024 S. 5th St. Tickets are $20 at the Carte Blanche website, or call 414 305-9102.
