03. The Government Inspector (1959-60)

AFTER the outstanding success of Journey's End last year, the producers, Mr. Clarke and Mr. Appleby, wisely chose a firm contrast for their third full scale production in Nikolai Gogol's The Government Inspector, which was performed each evening on March 24th, 25th and 26th.

The play, a satirical comedy set in Tsarist Russia at the middle of the nineteenth century, calls for an air of seedy opulence which was admirably provided in Mr. Plenderleith's red and gilt décor, combined with colourful costumes and some very effective lighting.

At times, during the first act especially, it was apparent that this mannered and often subtle satire of character and situation did not come easily to young and relatively inexperienced actors. A number of telling lines and points of characterization lost effect through not being more deliberately and artfully stressed, and several members of the cast seemed, as it were, unsure of where the play was leading. As the action progressed, however, a surer feeling for the satire was developed, and the climax of the final scene, when the hoax is discovered and recriminations begin, was vigorous and confident and particularly well-staged.

The part of the Junior Official from St. Petersburg who is mistaken for the Government Inspector was played with great assurance by Charles Goodwin. He clearly appreciated with relish the delicious absurdities of his situation, and it was largely through his example that the earlier uncertainties in the performance as a whole gave way to greater momentum and a stronger sense of direction. From his excellent acting one especially remembers his most effective soliloquy in Act 2 and the skilful variations of voice as he alternated between whining hunger and blustering importance in the inn scene (though more deliberate and considered timing would perhaps have brought even greater conviction to his capricious changes of manner).

Similar variation in tone and delivery would greatly have helped David Woodham in the difficult role of the harassed Mayor. The wily, unscrupulous side of this character was well portrayed, but moments of crisis called for more animation and quicker reactions in word and movement, and in the inn scene particularly the frequent "asides" wanted a more markedly different delivery.

Russell Allen, as Bobchinsky, gave a superb display of burlesque; he and Victor Bryant (Dobchinsky) made an excellent comedy team, not only because of the brilliance of their fooling but also because they firmly resisted any temptation to obtrude themselves when it would have been inappropriate.

Malcolm Childs played the Postmaster with lively zest and a consistently good stage-manner. Michael Spain brought spontaneous humour and natural, easy movement to the part of Yosif. Both Richard Rosser, as the Mayor's wife, and Martin Henry, as his daughter, were remarkably convincing in their feminine guise, the one a sour grape, the other a peach. John Thompson's School Superintendent was well done in its pointedly ironical boorishness; while Duncan Rooke, with some skilful timing and a fixed appearance of facial vinegar, made a most uncharitable Charity Commissioner

Our thanks are due to all who made possible this very enjoyable production, not least to those many who laboured unseen backstage and for weeks before the performances, or who saw to it that we were provided with tickets, seats, programmes and refreshment. Most of all we offer our thanks and congratulations to the producers for another success of their partnership - destined, alas! to be the last.

H. W. Winter