Interludes

THE HANGOVER REPORT – In Roundabout’s buoyant THE IMAGINARY INVALID, Bill Irwin masterfully channels commedia dell’arte in service of Molière

• By drediman
• October 23, 2026
• No Comments

The fall Broadway season kicked into high gear with last night’s opening of Roundabout Theatre Company’s revival of Molière’s The Imaginary Invalid at the Todd Haimes Theatre. The adaptation is by Bill Irwin, who uses Doug Skinner’s English translation as the basis for the production, which has been zippily staged by director Brandon J. Dirden. Molière’s comedy is relatively straightforward, telling the story of the wealthy cuckold Argan — who also happens to be a super-hypochondriac — and his pursuit to have his daughter married off to a doctor (so that he can have easy access to medical attention). Given his immense ineptitude, it comes as no surprise that he’s also being scammed by his doctors, as well as his scheming wife.

The revival begins on a bare stage with Irwin donning a classic commedia dell’arte costume, setting the stage for the kind of show that’s about to unfold. In this wordless prologue, a well-appointed 17th century drawing room — courtesy of veteran scenic designer Beowulf Boritt — cleverly assembles itself from the void of the blank stage, and then we’re off to the races. Indeed, Irwin’s take on the play breezily straddles both the underlying spirit of Molière and contemporary comedic sensibilities, much of it wittily by way of the commedia dell’arte tradition. In a somewhat risky choice, the production takes the humor to its extremities, complete with exaggerated period costumes by Karen Perry, the frequent visual sight gags, and grand gesturing. The results are joyous and buoyant. Irwin is undoubtedly a national treasure. No one has brought the art of clowning front and center in American theater as emphatically as he has. Even when he’s playing a character like George in Who’s Afraid of Virginia Woolf? (a portrayal that won him a Tony Award), a deliberate and intrinsic physicality invariably governs his every move. Indeed, his adaptation of The Imaginary Invalid as a whole operates with similar rigor, progressing with the same kind of carefully choreographed intentionality as would a skilled clown in a commedia dell’arte production.

Suffice to say, Irwin’s turn as Argan is another masterful performance; every one of the character’s confused and pained expressions come from a place of total investment in the role. His performance concludes on a moving and whimsical note, emphasizing directly to the audience the importance of the art of diversion, an antidote that is certain we can all benefit from. The rest of the cast is just about as sensational. First and foremost as Argan’s servant Toinette is Rachel Bloom, whose perfectly-pitched performance is the engine that largely runs the show. Her ability to convey both clarity and hilarity is the adhesive that brilliantly binds the proceedings. Also doing sterling comedic work are notable up-and-comer Ava Lalezarzadeh as Argan’s daughter, the reliable Dylan Baker as his brother, and the always fabulous Brooks Ashmanskas in the numerous roles he’s been assigned to play.

HIGHLY RECOMMENDED

THE IMAGINARY INVALID
Broadway, Play
Roundabout Theatre Company at the Todd Haimes Theatre
1 hour, 30 minutes (without an intermission)
Through November 22