This is big, bold, ambitious theatre.
Gogol wrote the original in 1836, as a satire targeting the abuse of power. Director Alex Kendall Robson’s adaptation retains the Russian setting but updates the language. (The theme requires no updating.)
Anachronistic liberties are taken (references to Tolstoy, Chekhov, Rasputin and that quintessentially Russian pop group, Boney M) but all these add to the fun.
Gogol’s play is a classic tale of mistaken identity. The authorities in a provincial town mistake wandering scoundrel Khlestakov for a government inspector. Knowing their conduct has been corrupt, they’re terrified, and do all they can to placate Khlestakov. There are gags galore at the expense of the greedy and the status obsessed.
Robson presents the show in the round, which puts pressure on a cast already a little challenged by the echoey acoustics of the venue, but the physical use of the space is splendid. Performances are explosively energetic, and include a fascinating range of acting choices. There’s some highly stylised movement, in set pieces by the entire cast, and in choices fundamental to the portrayal of certain characters. Raechyl French and Jade Fuda, as mother and daughter of the town mayor, move in a closely choreographed manner that might evoke a formal 19th century dance, appropriately symbolic of their fixation with class, but also hinting at the restrictions experienced by women in a patriarchy. (Incidentally, their ribald linguistic humour is suggestively naughty, but also suggestive of desire infantilised by oppression.) Jack Elliot Mitchell as the Post Master also uses hyper-realistic movement, a sort of languid slide and sensual pose, and aided by a vocal delivery that luxuriates in every syllable and so maximises the bawdy, a terrific portrait of pleasure seeking decadence is achieved. Lib Campbell as Khlestakov struts and pouts and throws herself around, wonderfully embodying a childish self-obsession.
Other actors create their characters with less fireworks, but with equal impact. Sonya Kerr lets the language do the lifting and shines in her razor sharp portrayal of the cold hearted Chairperson of the Mayoral Advisory Board on Matters of Charity, Humanity and Philanthropy. Shaw Cameron’s Mayor is also magnificent. A public man, everyman’s friend until you’re not, Cameron plays it big, garrulous and greedy, but informed by the vision of the ever practical politician, the portrait retains the truth that gives real edge to its satirical teeth. Similarly, Mitchell Frederick Stewart as the Police Commissioner is brilliant, his understated, matter-of-fact delivery perfectly encapsulating the entitlement that perpetuates systemic corruption.
Paul Gilchrist
The Government Inspector by Nikolai Gogol, adapted by Alex Kendall Robson
Flow Studios until December 9
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Image by Tim Hope
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