Venue Details

A.C.T.
near the corner of Geary and Mason 415 Geary St. San Francisco, CA 94102
415-749-2228
Website Get directions
2.8 / 5 Rated by 50 members
Rodney Anderson
Review from Rodney Anderson
Red Velvet 445 events 335 reviews

It was okay but lacked comic timing. Had it's moments. The actor playing the Mayor had the best lines and timing. Gregory Wallace was his usual overacting self when it comes to these farces.

reviewed Apr 12 2008 report as inappropriate
Rhonda Shrader
Review from Rhonda Shrader
Red Velvet 186 events 129 reviews

Give this tedious performance a miss. What should have taken 90 minutes, dragged on for three hours with a single intermission.

This experienced director should have judiciously edited the piece--unlike 19th century audiences, we get the gags,...continued

reviewed Mar 21 2008 report as inappropriate
Barry R.
Review from Barry R.
Red Velvet 131 events 89 reviews

Gregory Wallace was incredible. Scenery and sets fabulous. Rest of company adequate. Pacing too slow and show too long. tell the director this is not sacred scripture, things can be zipped through in gogl's unintentional farce.

reviewed Mar 25 2008 report as inappropriate
Les Tift
Review from Les Tift
Red Velvet 83 events 47 reviews

It really wasn't a good show, but the actors were trying. The play could use some editing as the second act was far to long and included a separate bribe scene for each of the 8-10 characters. I really wouldn't recommed this show, but it was...continued

reviewed Mar 22 2008 report as inappropriate
View All 31 Reviews
More Information

Quotes & Highlights

“A wackily comic repast fit for a czar” —Time

Description

Packed with sizzling scandal, local flavor, and politicians behaving very, very badly, The Government Inspector could easily be set in Anytown, USA. This famous ensemble comedy by Nikolai Gogol (A.C.T.‘s The Overcoat) plays out in a backwater Russian village, where government leaders and local cronies are willing to give a visiting official money, women, and whatever else he wants—just as long as he gives them a good report back at the capital. But are they even greasing the right man’s palms?

By Nikolai Gogol

Translated and adapted by Alistair Beaton

Directed by Carey Perloff

Nikolai Gogol’s first collection of stories, Evenings on a Farm Near Dikanka, was published in two volumes in 1831 and 1832. He became famous overnight, and in 1835 and 1836 he published several stories that have become canonical, including “Nevsky Prospect,” “The Diary of a Madman,” “The Coach,” and “The Nose.” Gogol’s dramatic masterpiece, The Government Inspector, was produced at the court theater by special order of the czar in 1836. It was taken by many to be a realistic satire on governmental corruption, but the satire bit too deeply and, despite the czar’s endorsement, the play was viciously attacked by the reactionary press and officialdom. Gogol, his health broken, left Russia, complaining that his work was universally misunderstood. He continued work on his projected three-part masterpiece, Dead Souls, but by the late 1840s he had fallen under the influence of an ultraconservative religious fanatic, who convinced Gogol that his fictional writings were unholy. During a regime of fasting and prayer, Gogol burned several manuscripts, including part two of Dead Souls, just ten days before his death on March 4, 1852.

Carey Perloff (Artistic Director) is celebrating her 16th season as artistic director of A.C.T., where she most recently directed acclaimed productions of Philip Kan Gotanda’s After the War (an A.C.T. commission that premiered in March), Tom Stoppard’s Travesties, Bertolt Brecht/Kurt Weill’s Happy End and A Christmas Carol (a new adaptation by Perloff with dramaturg Paul Walsh). Perloff has directed for A.C.T. the American premieres of Stoppard’s The Invention of Love and Indian Ink and Pinter’s Celebration and The Room; A.C.T.commissioned translations of Hecuba, The Misanthrope, Enrico IV, Mary Stuart, Uncle Vanya and A Mother (based on Gorky’s Vassa Zheleznova); David Mamet’s new adaptation for A.C.T. of Granville-Barker’s The Voysey Inheritance; the world premiere of Leslie Ayvazian’s Singer’s Boy; and major revivals of _A Doll’s House, Waiting for Godot, The Three Sisters, The Threepenny Opera, Old Times, The Rose Tattoo, Antigone, Creditors, Home, The Tempest _and Stoppard’s The Real Thing, Night and Day and Arcadia.

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