William James famously described the world of very young children as “one great blooming, buzzing confusion.” You experience similar feelings of puzzlement and awe when you watch the helter-skelter foolery of “The Hypochondriac” by Molière, now completing its run at Quintessence Theatre.

The play swirls around Argan, an aging aristocrat. In chronic panic over his imagined ill health, he schemes to marry off his daughter, Angelique, to the son of a doctor so that he can receive free medical care. When Angelique resists because she loves Cleante, a commoner, Argan threatens to banish her to a nunnery.

The plot does not advance beyond its core conceit. It is content to give a dozen dizzy characters a steady platform so they can light up the stage with rumpus-room cavorting. Eleni Delopoulos shines in the lead role of Argan, flashing a vaudevillian mix of eccentric insistencies.

The show is sumptuous, ablaze with color, sound and movement. The set design of Anna Kiraly is bright and seashore-like; Beth Shane Quinn’s costumes are playfully garish, aided by Payton Smith’s props. Composer Tyler Leif Catanella and choreographer Chelsea Murphy whoop it up with chorus and dance numbers that rejoice in goofiness.

Premiering in 1673 as “The Imaginary Invalid,” Molière deepens the “Comedy-ballet” genre he largely created. Interludes of song and dance intermingle with drama. The new translation by Sir Ranjit Bolt includes these interlude sequences often removed from modern stagings, and director Trey Lyford’s stagecraft doubles down on the opportunity to frolic.

His cast has a flair for physical humor. Showy performances that echo Commedia dell ‘Arte archetypes abound: Tenara Calem plays Toinette, the wise and sassy servant; Hanna Gaffney is Beline, the young sexpot wife out to steal Argan’s money; Taylor Congdon is Angelique, the damsel in distress; Christopher Patrick Mullen is conniving Doctor Diafoirus.

Mullen also plays Argan’s brother, Beralde, who tries to bring Argan to his senses. Beralde makes explicit Moliere’s view of doctors, people who “can speak excellent Latin, name all the diseases in Greek ... but as for curing them, they`re completely useless.” And later, “I wish I could divert you and make you see in this business one of the comedies of Molière.”

With “The Hypochondriac,” historical context matters. Molière’s ridicule of the prevailing medical practices holds up. Purges, bleedings and enemas were preferred treatments, sometimes killing the patient. The pompous spouting of Greek and Latin was commonplace, and classical figures like Galen were mindlessly revered.

Political context matters, too. In his drive for absolute monarchy, Louis XIV found a kindred spirit in Moliere’s attacks on the aristocracy and ecclesiastic powers. The king was also a patron of Molière’s theater, attended shows and even performed in some plays. Because Louie had his back, Molière kept his head, even after the savage satire of “Tartuffe.”

Director Lyford picks up on this alliance, making Louis XIV a character in the production. Jered McLenigan is hilarious in the role, amusingly regal from his throne in the audience, then later descending to perform on stage. It is a delightful touch that gracefully breaks the fourth wall and involves the audience is this fun-loving show.

There is little bitterness in the Quintessence satire because the pervasive spectacle of human silliness supersedes everything. Beyond the takeoff on doctors, “The Hypochondriac” is equally a cautionary tale in not taking anything too seriously. At his death, Molière had the last laugh, collapsing on stage while performing the role of Argan.

Quintessence Theatre is located at 7137 Germantown Ave. “The Hypochondriac” will run through May 10. Tickets available at 215-987-4450, or online at quintessencetheatre.org