Joyce Maltby's strong suit as a director is 20th-century naturalistic drama, so it's a stretch for her to stage Moliere's "The Imaginary Invalid," a 17th-century French farce.

The translation by Dan White helps a great deal by echoing a burlesque-style dialogue that would be home to Groucho Marx. "Intercourse? Oh! You mean talking!" And the central character — a hypochondriac who wants his daughter to marry a doctor so he can have one around the house — offers plenty of opportunity for broad physical comedy, especially in the heavily slapstick second act.

What the production lacks is a consistent style. Brad Powell takes a stab at something in a period posture with a dandified version of Dr. Purgeon, while the rest of the cast mixes stiff formality with baggy-pants pantomime and calls it an evening.

Loosest of all is Larry Bialock in the lead role of Argan. Playing much of the role from an armchair in a buttercup yellow nightshirt, he obsesses over his enemas and fluffs up his flatulence. His mile-a-minute delivery keeps the action in high gear and helps deliver the two-act performance in under two hours.

But David Starr's second-act appearance as the intended suitor DeAria is a welcome change of pace in a high-octane production. Starr delivers a slack-jawed, mouth-breathing caricature in Coke-bottle eyeglasses that is borderline grotesque, and the silences that frame his dialogue make the role stand out.

DeAria is neither lively nor alert, requires full concentration to simply inhale air, and appears more comfortable making animal noises than prepared Latinate speeches.

Other supporting roles benefit from broad effects. Becky Maltby, as the meddling maid, plays two characters in the same scene, while Melinda Maltby as the grasping stepmother is preceded by thunder and lightning on every entrance.

The production looks physically delicious. Costume designer Peggy Krock puts everyone in bold primary colors and period laces, ribbons and wigs. Set designer Karen Archibald paints a false-perspective floor, adds a rear window for depth, and swags walls with rich fabrics and crystals for a sense of opulence.

The cast forms up into a chorus to deliver songs that divide the action without really adding to it, and delivers a Latin-sounding mumbo jumbo that — if you listen closely — includes some interesting wordplay.

"The Imaginary Invalid" is the play that killed the playwright. Moliere suffered from pulmonary tuberculosis, collapsed while playing Argan, and died shortly after finishing the performance.

So the production at HPU has historical and literary interest, and a few truly funny moments. But as a consistent entertainment package, it fails to fully satisfy.

Joseph T. Rozmiarek has reviewed theater performances in Hawai'i since 1973.