Most hypochondriacs are a pain. But Argan, the imaginary invalid of Molière comedy, is charming, delightful, sweet, funny, and as limber as a ballet dancer. René Auberjonois’s performance in the role is one of this season's best. And so is the show.

The genius of the Shakespeare Theatre’s production—on the company’s Lansburgh stage—is that it presents the play as it would have been seen when performed for the king who commissioned it in February 1673. Nothing is sacred to Molière. He satirizes doctors, money, second wives, parents who meddle—especially when they want their offspring to marry—and a servant who bosses her master.

Director Keith Baxter and Gillian Lynne, who did the musical staging, have elicited from the cast performances that only a finely tuned, well-directed ensemble can deliver. In addition to Auberjonois, standouts are the ever-reliable Nancy Robinette as the maid, Kaitlin O'Neal as Argan's avaricious wife, Peter Land as his sensible brother, Gia Mora as his angelic daughter, Tony Roach as her suitor, and Levi Ben-Israel as the studious suitor who gets spurned.
Along with Auberjonois's nimble-footed mastery of physical comedy, there's always something interesting, and often something pretty, to look at. Simon Higlett's sets look appropriately French, and Robert Perdziola's costumes are eye candy for a sweet tooth.

Put together Molière, Alan Drury's adaptation, Keith Baxter’s direction, René Auberjonois, a superb cast, et voilà—a cure for summer fatigue.