As an NSTA representative, I had the distinct pleasure of attending the St George’s College production of The Government Inspector on Tuesday 2nd December 2025. Under the expert guidance of the directors, Jamie Garbett and Grace van Barthold, this rendition of Gogol’s farcical comedy was hilariously effective.
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 case of mistaken identity: the town’s leaders learn that a government inspector is coming to investigate them, and in a panic, they mistake a lowly civil servant, Khlestakov, for the inspector. Desperate to cover up their misdeeds, they shower him with bribes and flattery, while Khlestakov gleefully exploits their ignorance. The farce escalates until the real inspector’s arrival is announced, leaving the officials humiliated and the audience laughing at the absurdity of unchecked power.
The set for The Government Inspector at St George’s College was a triumph of naturalistic design, evoking the opulence and authority of a 19th-century Russian provincial town. Richly detailed period furniture anchored the space, while imposing portraits and an ornate chandelier added a sense of grandeur and self-importance befitting the corrupt officials who inhabit it. The clever use of revolving scenery allowed for seamless transitions between locations, maintaining the play’s brisk pace without sacrificing authenticity. Every element contributed to an immersive environment that mirrored the characters’ pretensions and heightened the satirical tone of the production.
In the opening scene, Dobchinsky (played by Danny) and Bobchinsky (played by Rocco) set a tone of frantic gossip and comic urgency. Their breathless chatter and exaggerated anxiety immediately plunged the audience into a world of petty panic and provincial absurdity. The rest of the act was driven by razor-sharp comedic timing and vivid characterisation. Each official’s escalating panic was played with precision, and the interplay between characters – particularly their frantic attempts to outdo one another in flattery – added to the hilarity. The transition from the grand, imposing government room to the modest, slightly shabby inn was a shrewd staging choice. This combination of dynamic pacing, strong ensemble work, and clever set changes ensured that Act One delivered both laughter and thematic depth.
Noah delivered an impressive performance as the Mayor, tackling a demanding role with confidence and precision. With a large number of lines to learn, he demonstrated excellent articulation, ensuring clarity throughout. His expressive facial work and strong focus brought depth to the character, while his rapport with fellow cast members created believable and engaging interactions. Particularly memorable were his moments of sharp comic timing and his playful asides to the audience, which added an extra layer of entertainment and charm to the production.
Tamara gave a commanding performance as the Inspector, opening Act Two with excellent stage presence that immediately captured the audience’s attention. Her transitions into drunkenness were handled with nuance and humour, adding depth and unpredictability to the character. She exuded confidence throughout, and her portrayal of a male character was convincing and well observed, blending physicality and vocal choices to great effect.
The supporting cast as a whole was superb. Katie should be congratulated on her engaging and bold interpretation of Osip, servant to the misidentified inspector. Austin, who played a gambling scoundrel with sincerity and wit, also deserves recognition. Anna, played by Grace, and Maria, played by Ava, are equally worth mentioning; their tense, antagonistic relationship was depicted with amusing disposition and impressive physicality.
The St George’s College production of The Government Inspector was a triumph of precision and creativity. The fantastic dual-purpose set, complemented by effective lighting and sound, established the perfect tone for such a demanding play. Slick and well paced throughout, the performance showcased an excellent ensemble whose sharp timing and seamless entrances and exits kept the energy high from start to finish. It was a polished, engaging interpretation that balanced humour, pace, and visual flair to deliver a thoroughly entertaining evening of theatre. We laugh at the absurdity on stage, yet beneath the satire lies an uncomfortable truth about power, greed, and human folly – one that still resonates today.
National School Theatre Awards
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