Corruption, bribery, pay offs siphoning off citizens’ taxes and lifeblood in a small town? What could be more symbolically representative of politics whether such machinations take place in Russia or the United States today? In good times, officials steal roundly and with less accountability because citizens are economically well placed to go about their lives. In harsh economic times the sub rosa avarice of bureaucrats, who serve themselves first and serve the public never, always raises a hue and cry. When the little people are squeezed, they pressure their overlords to uphold the “sanctity of their positions.” Usually, the miscreants don’t and must be brought to heel. And sometimes there is even justice.
For playwright Nikolai Gogol, such a scenario, laden with hypocrisy and condemnation was a golden treasure trove of comedy. He has proven this with Revizor adapted by Jeffrey Hatcher into The Government Inspector, currently enjoying an extended run at New World Stages.
What a marvelous production this is. It is relevant to our political times which encapsulate the play’s themes. This satire of bureaucrats, government officials, and their general incompetence and corrupt misapplication of their mission and public service is a relief and respite from disheartening nightly news. For that alone, it is a must-see. Apart from that, this production is a must-see because it is just terrific.
For Jeffrey Hatcher who was commissioned to adapt Gogol’s Revizor into a version which would be performed for the 2008 Guthrie season, it was a “kick.” He clarifies that it was an election year. The barnyard of democrats and republicans was in full cacophonic frenzy. Hatcher’s enjoyment is evident in this adroit adaptation. Indeed, he steps up Gogol’s humorous scenario of malevolent politicians who have the tables turned on them, as they conspire to cover-up their cronyism, graft and malfeasance.
Hatcher delivers the best of Gogol and allows the Russian playwright’s genius to shine. With finely tuned direction (Jesse Berger), and exceptional ensemble work, The Government Inspector is madcap, zany, and high comedic exhilaration.. Hatcher nimbly tweaks the playwright’s work just enough to enhance the hysteria in the comedy, the acute jokes and the incredible witticisms. His writing makes this production so completely sumptuous, you will want to feed on it again and catch it a second time for the artful ironies and slick phrases that ring with truth and reality at every laugh riot of a turn.
How satisfying it is to see the petty, self-dealing bureaucrats hoisted on their own greedy petard when they are duped by one of their own, who is even more mercenary than they. This is a normally improbable justice that we are privy to see as it is unwittingly launched by error. When the government officials receive their own comeuppance, we are assured that the lofty are most greatly impugned and punished by their own shame, humiliation and self-deception. At this time in our social and political history, we are thrilled to laugh riotously at the characters’ machinations and their unhappy conclusions which remind us that “what goes around comes around.” What a pleasure!
The performances are the jewels that provide the glitter and the piquant vibrancy of this production. Without this ensemble, the jokes would scintillate but not with the power to strike as hard and send us as furiously as they do into the comic heavenlies.
In the first scene, we are introduced to the conflict and meet the dastardly mayor (Michael McGrath is wonderfully on point with every hysterical line, every turn of phrase), and his legion of nefarious officials, the illuminating and funny Tom Alan Robbins, William Youmans, Stephen Derosa, James Rana, Luis Moreno. Hatcher/Gogol pull back the veil as the functionaries chatter and conspire and we are allowed us see how they have buried all the financial duplicities and discover who is taking what and how the mandate and mission of the judge, the principal, the hospital, and law enforcement have been mismanaged to a preposterous degree. (It’s kind of like appointing an EPA director who will dismantle all of the environmental regulations to fund anti-green corporations.)
As for privacy concerns? All the town gossip, all of the secrecies and personal intimacies and weaknesses are explored and savored for broadcast by The Postmaster (the unforgettable Arnie Burton), who enthusiastically reads every line in each letter, sharing the juiciest and most damning information to his cronies for entertainment. Burton’s portrayal of the Postmaster is moment to moment LMAO; the comedy comes out of the personality of the character which makes his performance absolutely sublime. In this town there is no detail which is not known or kept quiet that Arnie’s Postmaster doesn’t blabber with gusto. He certainly is a tool of the corrupt political machine; he helps it keep abreast of its enemies to forestall any dangers to its power structure.
At the meeting of these wicked corrupt, they discuss their grave problem which is a threat to their livelihood and career positions. An investigator has come to the town in disguise to explore the level of malfeasance. They fear that he will hold them to account. All the officials and even two local landowners (the funny Ben Mehl and Ryan Garbayo), must work together, discover the hidden identity of this “spy” and turn him over to their side with bribes and payoffs. It is an intrigue that holds danger for the officials and promise for the little people who we don’t really see as we are in thick with the conspirators, a completely enjoyable and refreshing sardonic view.
What has been a boisterous and satiric introduction is jettisoned into a hyperbole of hilarity in the next scene where we meet a lowly civil servant and ineffectual would-be suicide Hlestakov (the unforgettable and prodigiously talented Michael Urie), and his clever servant Osip (the versatile Arnie Burton). Hlestakov can’t quite “do the job” with a pistol to free himself of this unrequitable earthly plane, his gambling debts and the ignominy of a meager, zero-of-a-life, which he has badly used.
Because Hlestakov is incompetent at suicide, we have an hour and one-half of side-splitting laughter. Urie fashions comical uproariousness by using all the acting tools of his instrument. He flawlessly surfs the cresting waves of farcical action which he has helped to inflate. He is rather like a fine composer assisted by the incredible accompaniment of the ensemble, who spin their superbly tuned acting instruments into a wild symphony of raucous delight.
In this production Urie has stretched his talents to new heights. He is reminiscent of some of the comic greats; select any one of them in film, television or theater. He distills the substance of his lines then infuses them with the character of Hlestakov filtered through and around himself so that the civil servant who dupes the corrupted officials, and he, Michael Urie, are indivisible. Not only does Urie have seamless timing, he anticipates the power of pauses which he capitalizes on with grace, fluidity, and an uncanny communication with the watchful, listening audience. Very simply, he captures Hlestakov’s being and rounds it out with Chaplinesque force and will.
As grand accompaniments, Mary Lou Rosato (various roles), Kelly Hutchinson (various roles), Mary Testa (the mayor’s wife), and Talene Monahon (the mayor’s daughter), are divine comedians. Without them the production would fly at a lower pitch. They are integral to the revelation of pretense behind the mayor, who is a wanna-be aspiring to nobility but must wallow in the mud of his position as a small-town functionary. And they (Testa, Monahon) provide the grist upon which Urie’s Hlestakov bakes the fabulous bread we devour to nurture our souls with exuberance and glee.
Indeed, all of the servant portrayals, all of them more clever and shrewd than their masters/mistresses are exceptionally delineated as characters and specifically portrayed by the actors. If one considers that in less than one hundred years they are to “inherit” after the Revolution, there are no insignificant characters here, but they are the most prescient in biding their time waiting, perhaps to dispatch here and there the fools they serve.
The dynamic arc of the play’s development is expertly unfolded so that by the conclusion we have feasted and are sated. We recognize how thrilling it is to take part in this rollicking spectacle which is perfectly congenial in its staging, set design, lighting, costuming, and the thematic symbolism of its physical, emotional, and intellectual levels. This seemingly effortless production took loving care, sagacity, and genius to effect the terror of its satire, the bounty of its humor, the innovation of its celebrated cast. Kudos to Jesse Berger, who magnificently brought the production together, and who had the quick-witted spirit and grace to understand how to let it “all hang out” by using the structure of these artists’ inner freedom to live within the boundaries of Gogol’s classic.
If you don’t see this production you will have missed something truly wonderful and riotous. If you do see it, expect the audience to break into laughter and applause frequently because the infection of joy is abundant and bounces liberally between audience and cast. The two hours with one intermission race by.