Thomas M. Hammond and Jennifer Harmon in a scene from Dr. Knock
(Photo credit: Richard Termine)

The Mint Theater Company, which specializes in uncovering worthy lost or forgotten plays has tapped the French repertory for the first time and come up with a winner. While the battle rages in the United States over reform of medical care, the Mint has rediscovered Jules Romains’ scathing 1923 satire, Doctor Knock, or The Triumph of Medicine, one of the most popular of 20^th century French comedies.

Not seen in New York in 72 years, Dr. Knock had 14 productions in Paris from its premiere until 1949, has been filmed three times in French, twice for British television, and is still a required text for French schoolchildren today. Translated and directed by Gus Kaikkonen, the Mint production is leisurely but polished and diverting. In the title role, Thomas M. Hammond, who led the Mint revival of Granville-Barker’s The Madras House, gives a solid though enigmatic performance as the doctor with his own agenda.

Dr. Knock, (pronounced “K-nock”), who has previously practiced without a license, has at 40 finally been able to afford to finish his degree. Having just bought Dr. Parpalaid’s practice in the rural town of St. Maurice sight unseen, he discovers too late that the townspeople visit their local doctor only once a year as they are bursting with good health and only pay on Michaelmas, that is Sept. 29. As he is arriving in October and owes Dr. Parpalaid quarterly payments, this might prove to be quite a problem. However, Dr. Knock has an inspiring belief which he attributes to Voltaire: “The Healthy are merely Closet Invalids.”

When he arrives in St. Maurice, he arranges with the town crier to announce that he will give free consultations on Mondays, not so shabby as Monday is market day when the town is most crowded. He convinces the schoolmaster to give lectures on hygiene and various shocking illnesses with graphic pictures, and makes a deal with the druggist to prescribe only expensive medicines. He researches each patient and discovers what they are able to pay. And then he proceeds to convince all of the townspeople that they have had preexisting illnesses that need immediate treatment. His caseload increases 500% but can Dr. Knock expect to remain a hero?

From Hammond’s authoritative and enigmatic performance it is impossible to tell whether Dr. Knock knows he is a con-artist or is misguided in his attempt to promulgate preventative medicine. Nevertheless, Hammond always commands the stage with Dr. Knock’s oversized personality. Kaikkonen’s direction is a tad slow but he keeps the delightful plot simmering along. His excellent translation is straightforward and contemporary without any archaic words or foreignisms to confuse a modern audience. This is the sort of comedy which is smart and provocative for its outrageousness without being laugh-out-loud funny.

Except for Dr Knock and Dr. Parpalaid, the other four actors are required to each play two - three very different roles, a veritable tour de force. Patti Perkins appears as the hypocritical Madame Parpalaid, an elegant and self-deluded wealthy matron, and the maid at the Key Hotel. First seen scowling as Dr. Parpalaid’s dour chauffeur expected to keep his old derelict car running, Scott Barrow returns as the upright schoolmaster M. Bernard, a hilariously drunken local, and finally as the chauffeur now restored to good-will as Dr. Knock’s busy assistant.

Chris Mixon has been assigned the wily Town Crier, the pharmacist who is not averse to increasing his income at the expense of his neighbors, and a second drunken local. Jennifer Harmon is both a penny-pinching farmer’s wife with many acres, and later reappears as the chic and sophisticated Madame Remy, the manager of the only hotel in town. Subbing at the performance under review for Patrick Husted (delayed on a film wrap), Kaikkonen as the ineffectual Dr. Parpalaid gave a solid but unembroidered performance.

Charles Morgan’s settings are equally versatile. The first act which takes place on the road from the railroad station into town reveals the scaffolding of an amusing large vintage touring car which is expected to break down every few minutes and which manages to move even on the Mint Theater’s small stage. The second act doctor’s office and the third act lobby of the Key Hotel cleverly reuse multiple set elements.

The costumes by Sam Fleming instantly define the characters’ social position as soon as they appear, and define them as French provincials. Gerard James Kelly’s hair and wig designs allow for the actors’ smooth transitions from one character to another. Special mention must be made of the sound design by Jane Shaw which makes use of lively accordion music before two of the three acts, and recalls the era of the French music hall.

In our age when doctors suggest that patients visit once a month and check with HMOs to see what they can bill for, Jules Romains’ Doctor Knock, or The Triumph of Medicine still remains outrageous fun. Ever reliable, the Mint Theater Company production, translated and directed by Gus Kaikkonen, may not turn the play into fast-paced farce, but offers a sturdy and robust comic satire, nevertheless.

Dr. Knock, or The Triumph of Medicine (through June 6)

Mint Theater Company, 311 W. 43^rd Street, in Manhattan

For tickets, call 212- 315-0231 or http://www.minttheater.org