WITH the success of last year’s Tartuffe to follow, this new “McGoughiere” had soaring expectations to meet, but by God it did it – with bells, daft moustaches, double entendres and preposterous pantaloons on.

Based on Moliere’s Le Malade Imaginaire, The Hypochondriac is a theatrical tonic made up of the best of the French playwright’s original comedy, its adaptor’s ingenuity with words, plenty of contemporary references and a smattering of Scouscisms.

While the 17th century prototype was written in prose, Mersey Poet Roger McGough stuck to his forte, reworking the play into verse.

It so reflects his apparent innate grasp of the texture and rhythm of language that it could not have been written by anyone else.

The lines tease the audience, tripping them up with an unexpected rhyme and poking fun at the play’s own genre. Who would have anticipated the rhyming of “Padua” with the deliciously Liverpudlian “you’re mad you are”?

But this was a show that surpassed even the brilliance of its script, wittily directed by the Everyman and Playhouse’s own Gemma Bodinetz in a way that showed great affection for the material.

With a mischievous smile and capering feet, Clive Francis’s Argan transcends the affable fool to become a character that you want to turn out well despite him thoroughly deserving an unhappy comeuppance.

Leanne Best is remarkable as Toinette, the cunning maid whose intelligence outshines those of her richers and supposed betters.

Love sick suitors Cleante (Jake Harders) and Angelique (Lucinda Raikes) strike just the right balance between nauseating and ridiculous while Toby Dantzic is perfectly pompous as the unattractive suitor.

For Moliere, who died shortly after performing for the king, this was his last play.

Playhouse audiences will be hoping that it will not be McGough’s last Moliere.

THE Playhouse has announced it is extending The Hypochondriac’s run to Saturday July 18.

READ an interview with Roger McGough about adapting the comedy at http://bit.ly/hypochondriac.