Studio Theatre Club's latest venture sees director Dan Booth take on Nikolai Gogol's Russian satire, originally performed in the mid 1800's. The extremely witty and hilarious production focuses on themes of greed, self-absorption and obsession over political rank; human traits as timeless as they are inevitable. With refreshing subtlety, many of the leading male characters have been switched to female, and vice versa, brilliantly played out by the strong cast who manage to pull an additional layer of modern humour and tension into their performances as a result of this change.
Comic timing is utterly spot on for the whole show, with each performer charging the atmosphere in their own way, playing off on-stage counterparts to great effect. The elaborate language and large number of key players gives each actor an opportunity to truly shine, which they do with great success on innumerable occasions. The conversational flow of Val Shelley's speech as the Mayor is perfectly natural throughout the play, and paired superbly with Elena Wright's boundless energy as the opportunistic, attitude-ridden Khlestakova. Kath Leighton playing the role of Postmistress is inventively expressive, Luka Lukich's anxious mannerisms portrayed by Mike Macdonald do not falter, while Matt Kirk somehow manages to be both lofty and cringingly flirtatious as Zemlianika, the Charity Commissioner. Many of the characters engage directly with the audience which helps maintain pace and focus, along with providing a useful vehicle for some great one-liners. Asides from Osip (Simon Wilson) are utilised well in this regard, managing to seamlessly entertain and further the plot. Rory Morrison's dandyish preening as Maxim married with Stephen Briggs' enigmatic portrayal of Anton Antonovich gives rise to a classic comic duo with animated interactions which are not dissimilar to Blackadder and Baldrick, or Father Ted and Dougal. Another notable match is Francesca Richards and Kat Steiner, who inject a different rhythm and some well-placed, moderate slapstick to the dialogue as Bobchinskaya and Dobchinskaya. Jamie Crowther gives an ingenious portrayal of the Judge, Liapkin-Tiapkin, and Matt Fifield makes each of his many roles amusingly unique.
Underlying subtext regarding the supposed Ziggurat of command is brought to the fore through the medium of costume, colour being relatively minimal aside from sashes, medals and hats which are used to denote rank. The stage is well utilised throughout the performance: cast movements are varied, entertaining and absorbing; and set pieces are engaged with effectively.
I highly recommend Studio Theatre Club's The Government Inspector, which manages to hit that notoriously elusive sweet-spot between light-hearted entertainment and social commentary through lively, original direction and genuinely outstanding individual performances.