As an NSTA ambassador, I had the utmost pleasure of attending Salesian School’s production of The Government Inspector on Thursday 11 December 2025. Under the expert guidance of the Director, Mrs Garbett, this interpretation was bursting with youthful energy and comedic perfection from the opening line to the final curtain.
The Government Inspector is a satirical play by Nikolai Gogol that exposes the greed and corruption of local officials in a small Russian town. The plot revolves around a group of corrupt provincial officials who panic upon hearing that a government inspector is visiting their town in secret. Mistaking a penniless, self-important young civil servant named Khlestakov for the feared inspector, they shower him with bribes and flattery in an attempt to cover up their misdeeds. Delighted by the attention, Khlestakov plays along, boasting wildly and exploiting the situation for his own gain. The farce spirals as lies pile upon lies, until the truth is finally exposed with the announcement of the real inspector’s arrival.
The production’s naturalistic set vividly established the world of provincial authority and pretension, with detailed furnishings that grounded the farce in a recognisable reality. A well-placed chaise longue suggested both comfort and self-importance, while a gold bust and formal portraits lined the space with symbols of status and hollow respectability. The iconic doors, used to excellent comic effect, became central to the action as characters burst in and out in a flurry of panic and deception, reinforcing the play’s rhythm and escalating chaos.
Act One was driven by a brilliantly coordinated ensemble whose dynamic physical theatre gave the production its immediate energy and clarity. Moving and reacting as a unified force, the cast functioned much like a Greek chorus, amplifying the town’s collective panic and moral decay through exaggerated gesture, rhythm, and carefully timed movement. This stylised approach not only heightened the comedy but also ensured the farce remained visually engaging, with the ensemble seamlessly shifting between characters, observers, and conspirators. The result was a lively, cohesive opening that established both the tone and the world of the play with confidence and flair.
Auditions for the production were oversubscribed, revealing such a wealth of talent at Salesian School that a second cast was formed for Act Two. This additional ensemble rose confidently to the challenge, delivering performances that were just as confidently characterised. Their flair and commitment ensured continuity in energy and quality, highlighting the depth of talent within the school.
The performances in the first half were truly outstanding, with each actor bringing depth and vitality to their role. The Mayor, played by Nathan W, commanded the stage with a perfect balance of authority and comic vulnerability, while Khlestakov, played by Rhys, dazzled with his flamboyant energy and quicksilver wit. Anna’s portrayal by Lauren-Rose was nuanced and compelling, adding emotional texture to the ensemble. Dobchinski, played by Leah, and Bobchinsky, played by Naomi, provided delightful comic relief, their chemistry and timing elevating every scene they shared.
Act Two was invigorated by the arrival of a new cast, who stepped seamlessly into their roles with the same talent and aptitude as those in Act One. The Mayor, played by James, retained his commanding presence, blending authority with comic desperation in a way that kept the audience laughing out loud thanks to his hysterical physicality and side-splitting facial expressions. Austin, who played Khlestakov, portrayed him with an audacious flamboyance that pushed the boundaries of decorum, leaving the audience blushing at his brazen confidence and suggestive undertones. In contrast, Anna exuded pomp and exaggerated provincial etiquette, perfectly embodying her pretentious charm while maintaining a warm, if somewhat overbearing, rapport with Maria. Their interactions revealed a convincing mother-daughter dynamic, with Anna’s ostentatious airs and Maria’s eager compliance underscoring both the affection and the comic superficiality of their relationship. Dobchinski, played by Tom, and Bobchinsky, played by Nathan S, continued to provide delightful humour, their timing and chemistry ensuring the comedic momentum never faltered. Equally impressive were the professionals, shopkeepers, and police, whose authentic and spirited performances created a vivid sense of community and heightened the play’s satirical edge. Act Two felt like a natural continuation of the first, proving that the production’s strength lies in the consistency and brilliance of its performers.
Every element of this production felt meticulously woven together, creating an interpretation that was both unified and compelling. If time allowed, each cast member would deserve individual recognition for their nuanced contributions, as the ensemble worked in perfect harmony to bring depth, humour, and vitality to the production. It was a rare example of collective excellence, where no single performance overshadowed another, but rather all combined to deliver a truly integrated and memorable theatrical experience.
This production stands as a testament to the power of ensemble theatre. With a cast of remarkable size, every performer contributed with precision and passion, creating a tapestry of characters that felt alive and interconnected. It was not just a play, but a celebration of collaboration where no role was too small and every moment mattered. A truly fantastic achievement that reminds us why theatre, at its best, is a shared triumph.
National School Theatre Awards
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