Does the world really need another 18th century British farce?

That question is fairly begged by the arrival of Nick Jones’ pastiche of a Restoration comedy that has opened courtesy of the Lincoln Center’s developmental initiative, LCT3. Aping its inspirations without adding anything contextually or thematically new to the mix, “The Coward” ultimately comes across as little more than an exercise in stylistic artifice.

Set in late 18th century England, the play concerns the misadventures of Lucidus Culling (Jeremy Strong), a foppish young man who lives up to his titular description. When he accidentally injures an old man and is challenged to a duel by the offended son, Lucidus is pressed to defend his family honor by his overbearing father (Richard Poe).

Too afraid to go through with it, he hires a macho criminal (the entertaining Christopher Evan Welch) to assume his identity. Predictable comic complications ensue, including the misplaced affections of a high-minded local beauty (Kristin Schall, of “The Daily Show” and “Flight of the Conchords”) and a body count that reaches bloodily alarming proportions.

Director Sam Gold has provided a wonderfully handsome production featuring an elegant drawing room set by David Zinn and superb costumes by Gabriel Berry. And there are some delicious comic moments to be sure, many of them provided by Jarlath Conroy’s priceless turns in several roles, including an ill-fated servant. But much like the grating falsetto voice that lead actor Strong has adopted for his role, “The Coward” quickly wears out its welcome.

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