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The Hypochondriac, Matthews Hall, Topsham, 9th April 2025

Review by Chloë Faine

First penned by Molière in 1673 as Le Malade Imaginaire, The Hypochondriac is a biting satire of the medical profession of its time and is considered a comic masterpiece. Congreve, Dryden, and Behn, all masters of Restoration comedy, are said to have been influenced by Molière's portrayal of human folly and social hypocrisy, seen here through the prism of a self-obsessed, hypochondriacal father and the schemes undertaken by his family and retinue to secure wealth, health, and happiness.

Richard Bean’s version, originally commissioned by the Almeida Theatre, reinvents the classic with a distinctly British edge, infusing the 17th-century farce with modern language, bold humour, and a healthy dose of irreverence. The result is a piece both accessible and uproariously funny. Estuary Players’ production, playing this week at Matthew’s Hall in Topsham, embraces the modernity of Bean’s interpretation without losing the spirit of the original, delivering a lively, broad-played performance that had the audience laughing, gasping, and (in a fun way) occasionally cringing.

The set, designed by Clare Philbrock and realised by Janine Warre, is simple yet beautifully conceived. A composition of warmly coloured chairs, a chaise longue, and a desk against a dark backdrop evokes the mood of a Fragonard or Boucher painting, enhanced by effective chiaroscuro lighting designed by Tim Pratt. Scattered among the rich woods and velvets are numerous chamber pots, hinting playfully at the bodily obsessions to come. Above the stage, Clare Philbrock’s ‘Béline’ presides in a ‘living portrait’, her striking white wig evocative of the Gainsborough Movies idents.

In keeping with the elegance of the set, the time-neutral costumes, are complemented by ornate, mostly period wigs. These allow the actors to move freely while underscoring the idea that Argan’s story is timeless. Particular highlights include Angélique’s bouncing ringlets and Toinette’s chaotic crimson swirls, both contributing to the characterisation of these roles.

Bean’s adaptation sharpens the dialogue into fast-paced, colloquial rhythms, layering topical jokes and vivid characterisations to resonate with a contemporary audience.

Argan, the titular hypochondriac, is no longer simply a gullible patient; he becomes a hilarious commentary on today’s health fads and self-diagnoses. Alan Caig, immaculate in white and gold, captures Argan’s absurd self-absorption beautifully. His clean, ascetic physicality and fussy vocal delivery highlights a character desperate for attention. One could easily imagine his modern counterpart posting meticulously curated videos of his ‘ailments’ online.

Argan’s long-suffering servant, Toinette, is played with enormous energy and commitment by Chris Eilbeck. Eilbeck’s lively physical animation and wonderfully mobile features are a constant source of comedy, while her timing, as she steers the family members toward getting their eventual just-deserts, is well-judged.
As Angélique, Argan’s daughter, Rachel Ratibb brings a warm, expressive performance, her hands alone conveying volumes of emotion. Alongside Leigh Steedman’s gentle, lovelorn Cléante, the two create an engaging and sympathetic young couple. Their love duet, set to the tune of ‘Frère Jacques’ as a cheeky nod to the Francophiles in the audience, is a real highlight.

Clare Philbrock, who also directs, plays Argan’s scheming wife Béline with aplomb, switching expertly between coy girlishness and throaty sensuality. Her delivery of the line "with facilities" — in reference to one of her extra-marital entanglements — is deliciously wicked. Keith Palmer’s Deuxfois, played with great assurance and mischief, is a perfect foil.

Sam King’s Thomas Diafoirerhoea provides a delightfully comic contrast, his deadpan manner and dry delivery cutting through the general fawning around him.

As Béralde, Argan’s long-suffering brother and the voice of reason, Howard Eilbeck makes an astute choice to play in a calmer, more naturalistic style. This allows him to stand out subtly as the rarity, a sane voice in an otherwise bonkers household.

Supporting roles are all delivered with style: Betty Donaldson as the officious Fleurant, Cass Thorn as the eager Assistant, and Ian Potts as the blustering Dr Purgon. Donaldson and Thorn tackle the particularly toe-curling enema scene with great sang-froid! Special mention should go to Rae Deane, whose presence throughout as King Louis XIV, sitting among the audience as a kind of ever-watchful monarch, provides a clever meta-theatrical touch and encourages playful "doubling" among the cast.

In a playful and poignant final twist, Richard Bean’s adaptation honours the real-life fate of Molière himself. The original playwright famously collapsed and died during the fourth performance of Le Malade Imaginaire, while playing the role of Argan. Bean cleverly weaves this historical footnote into the final scene, allowing Argan to 'become' Molière in his dying moments — blurring the lines between actor and character, comedy and tragedy. Estuary Players handle this shift skillfully, ensuring that the play closes with a touching nod to the enduring spirit of theatre itself.

Clare Philbrock and her company should be heartily congratulated for taking on an ambitious and complex text and delivering a production that is not only slick and accessible, but genuinely hilarious and entertaining. The Hypochondriac is a sparkling reminder that, centuries later, human folly — and the joy of watching it unfold — is as alive as ever.