Delving into the longstanding theatrical tradition of a man’s affinity for having his stool checked, The Hypochondriac was truly hilarious. Set in 17th century France – though everyone’s a cockney who likes “a bit o’vino” – it is a farce about doctors, self-obsession, and a good enema.
The lead part, Argan, played by Kieran Ahern, was a fool in the classic sense. His quest to be overcome by his mortality was not only the heart of the narrative, but a source of endless laughter. Perhaps the funniest part of this misguided obsession involved a hoover being placed in and torn out of his anus several times. Ahern gave a suitable expression.
Alongside him, the chamber maid Toinette (Georgia Bruce) savaged her employer’s folly with quick wit and a fine beard. A standout moment came in her disarming a suitor for Argan’s daughter with a speech on the reign of Louis XIV. Rambling, bizarre, and hilarious, it culminated in a bow to the Sun King himself, who had been sitting in the back row all along.
The rest of the cast put in similarly strong performances. Angelique and Cleante, Alice Sandleson and Keelan Kember, performed an ad hoc opera filled with witty pauses and an obsession with all things rhyming with ‘o’, such as ‘I love yo.’ Thomas, Cameron Abery, mastered the art of playing a moron and dancing like the Skull Kind in Majora’s Mask – an N64 title I highly recommend.
The show’s villains – doctors and a scheming trophy wife – were also entertaining. The sycophantic Dr Diafoirerhoea (Barney Fishwick) dispensed wonderfully inane medical advice and genuflected in a manner both funny and acrobatic (seriously, the bow was crazy). Elsewhere, Dr Purgon (Jamie Biondi) channelled the fury of Daniel Day-Lewis by dry humping his supine and weeping patient.
At times, the humour went awry. Some jokes fell flat, and there was a tendency to get a bit too self-referential, but, on the whole, wit won the day. In the end, the asides of Toinette, groans of Argan, and head-lolling of Thomas were too charming to pass over.
The climax of the play was its finest moment, though. A mixture of singing, declining Latin verbs, and more Majora’s Mask dancing created a surreal and hysterical final act. Praise must go to the director, Charlotte Fraser, for staging this medley of insanity, as well as the angular knee movements of all involved.
Witty, farcical and mad, The Hypochondriac was a sheer delight.
The Hypochondriac will be playing each evening at the Keble O’Reilly at 19:30 until Saturday 16th November; tickets are available here
