MOLIERE'S PLAYS are masterpieces of satiric comedy which mercilessly debunk the fraudulent and bogus in society, with true love emerging as the victor over all the social conventions which oppose it.

The Imaginary Invalid (Le Malade Imaginaire) aims its satire at medicine, medical school, and those foolish enough to believe in doctors. As with any great work, its satire is as effective now as in the 17th century when it was written.

Moliere's plot is somewhat complex, and the relationships between the characters can be confusing at times.

The imaginary invalid, Argan (Brian McCue), is a shameless hypochondriac who does nothing but whine about his "illness," pester his family and servants, and gripe about his exorbitant doctor bills. His only real illness is myopia--he cannot see beyond himself--and he cannot see the truth of anything that goes on around him.

Enter Toinette (Robin Leidner), his maid. As the true hero of Moliere's comedy, she manipulates and deceives her master into doing what is best for his daughter, Angelique (Macaire Henderson), and her lover, Cleante (Maury Leiter).

Argan has arranged for Angelique to marry a doctor's son so he can have cheaper and more accessible care for his "illnesses." But Angelique loves Cleante and refuses her father's command to marry the odious son of M. Diafoirus, Thomas (Randy Clark and Samuel Krisch). Thomas and his father are replete with useless "university" knowledge which they spout without even understanding. They are utter quacks, ordering Argan to put grains of salt on his eggs in even numbers, and take pills in odd numbered quantities.

Argan is also beset by his wife Beline (Stacia Zabusky), who wants to send Argan's daughters into a convent and collect their half of his money when he dies.

The situation becomes increasingly chaotic as the play progresses with Toinette deftly playing Argan's love for his wife against his love for his daughters to keep him from doing anything rash. Unfortunately, Beline discoveres Cleante in Angelique's room, and Argan resolves to send her to a nunnery.

The lovers are saved by the deus ex machina arrival of Beralde (Eric Luftman), Argan's Jock La Lane brother, who forces him to see that his doctors are charlatans, that his wife is a floozy, and that his daughter must marry for love, not his interests. All this is done with the help of a few tricks by Toinette.

In the end, of course, all is as it should be, and Argan is made a doctor in a mock initiation ceremony put on by Beralde.

THE MATHER HOUSE Drama Society's production of the play updates the action to the Paris of the 1920s. This seems to be a device to allow for several vaudevillian dance numbers, easy costuming and great jazz interlude music from a three piece combo led by Anthony Patera on piano.

The Mather troupe has a lively sensibility for the farcical sides of the play, but the more serious speeches--Beralde's denunciation of doctors and Angelique's speeches about marriage--tend to get lost.

The three characters that are on stage throughout the whole play and give it continuity are Argan, Toinette, and Angelique. Brian McCue is not stellar but he plays the feisty hypochondriac convincingly, wheezing and blustering about the stage.

Macaire Henderson's Angelique is the only truly disappointing characterization in the show. She delivers her lines much too flatly and seems to be very consciously "acting." This might be director Katherine Lo's fault as much as anyone's. Her speeches with Thomas about a woman's rights in love and marriage should be a show-stopping piece of enlightened dialogue, but she swallows them whole.

Toinette, however, is quite well done by Robin Leidner. As it says in the short biographic squib in the program, she has played the servant in other plays; and she does it again here with a good feel for the humor of the character.