Flintlock’s production of The Government Inspector is a four-man show that sticks close to Gogol’s original script but in a unique, highly stylised way. In the play, a town prepares for the visit of an undercover inspector, and the audience watch as their corruption and greed are exposed in a lively and cynical social satire that is still resonant today.

The production is characterised by mad, lively choreography, larger-than-life characterisations and music with attitude. The four actors perform with remarkable energy from start to finish, and even perform some musical numbers during the interval – barely giving themselves a moment to rest and recover from the fast-paced and physically demanding first half before they launch back into the second! They are masters of the snappy character change, each playing several very distinct characters with such different personalities and mannerisms that at times I forgot these were the same actors at all. They also dealt very originally with the challenges of so small a cast by hijacking members of the audience to fill in the extra parts (and generously offering cue cards to prompt them if they were demanded to speak, so that this would not feel quite so intimidating…)

Flintlock’s play makes simple but effective use of design to suit the piece. The set is simple (just a few boards and chairs) but is painted chaotically to suit the lively, energetic performance. Quirky music with a circus vibe underscores slapstick movement sequences. The cast of The Government Inspector wear brightly coloured cropped trousers, socks with suspenders, shirt and braces. In their highly-stylised costumes and with highly-stylised movement, they are like cartoon characters brought to life, full of animated energy.

The result is a production of The Government Inspector that is as timeless as it is unique. Though the company have not strayed far from Gogol’s own words, the piece does not seem aged or antiquated; the themes of bribery and corruption are as relevant today as when the script was written. This production bursts with humour of all kinds, from satire to slapstick, and would suit an audience of any age. If you do intend to book though, be warned that front-row seats are not for the faint-hearted: you may well end up tumbling willy-nilly into the story yourself…