“Le Malade Imaginaire.” is a three-act comédie-ballet by the French playwright Molière which premiered in 1673 at the Théâtre du Palais-Royal in Paris. The original production contained musical and dance sequences. It first appeared on Broadway in 1917 at the Liberty Theatre and is now having a revival produced by Roundabout Theatre Company at the Todd Haimes Theatre. This latest incarnation is adapted by Bill Irwin from a translation by Doug Skinner. This current production condenses the three acts into a 90-minute performance without intermission. In keeping with the commedia dell’arte genre, the play is set into motion by Argan (Bill Irwin), on a bare stage. He bangs his staff on the stage floor to summon “Il Dottore” clowns, who surround him in a short dance, as walls glide in from the back and sides, along with an ornate plastered ceiling, which floats in from above. When the elaborate French parlor, by scenic designer Beowulf Boritt, is complete, Argan slithers into an old, modified leather lounge chair. The farce can now begin, exempt from slamming doors.

Ornery hypochondriac Argan sits in his lounge chair reviewing bills from the apothecary and decides to pay only half, because they are absurdly expensive. He is in the care of an inept Dr. Diafoirus (Brooks Ashmanskas), who has prescribed a strict colonic regimen, which keeps Argan predisposed. Good thing the zany and cynical housemaid, Toinette (Rachel Bloom), is there to nurse Argan on point, and keep a watchful eye on his daughter Angelique (Ava Lalezarzedeh). The handsome Cleante (Daniel Croix Henderson) is in love with Angelique, but Argan rejects him in favor of Thomas (Hiram Delgado), the physician son of Dr. Diafoirus, so he will have a doctor in the family, with free, twenty-four-hour care. Argan’s devious second wife Beline (Crystal A. Dickenson) is in cahoots with lawyer Bonnefoy to gain control of the estate and send Angelique off to a nunnery. Chaos erupts as it does in a French farce, and Beralde (Dylan Baker), Argan’s brother, steps in as raisonneur, to hopefully restore order and find resolution.

Director Brandon J. Dirden takes the helm and steers the production towards the ultimate farce, coaxing over-the-top performances from the remarkable cast with animated characters that don’t fall prey to caricatures but exist in a comical world of exaggeration. Costumes designed by Karen Perry are extravagant and exquisite, mixing colors and patterns together to create a delicious feast for the eyes, only to be complemented by the elaborate hair and wig designs of Nikiya Mathis. Mr. Boritt’s set design is detailed and elegant, significant and serviceable, without being intrusive.

The ensemble cast, led by the remarkable Bill Irwin, is brilliant, taking every opportunity to embrace the audience with laughter. Each actor creates their own moment to shine, never inadvertently mugging or upstaging, and generously hands the baton to their teammate to continue the uproarious activities. The scene when Cleante poses as a substitute music teacher for Angelique, and they perform an impromptu opera, is worth the price of admission. Yes, the commentary is very relevant to today’s problems with high-cost prescriptions and medical care, and the themes of greed, infidelity, dishonesty, and morality are equally timely. Fortunately, that does not diminish the joy and laughter provided by this recent adaptation performed skillfully by a top-notch ensemble. Do yourself a favor and wander on over to the Todd Haimes Theatre and treat yourself to a delightful evening of Molière that will keep you smiling long after the curtain call.