revisor is a parable for our times, adapted in a uniquely expressionistic form of dance and theatre from Nikolai Gogol’s play The Inspector General (Revizor in the original Russian) by writer/performer Jonathon Young and choreographer/director Crystal Pite. This is the same team (including composer/sound designer Owen Belton and scenic designer Jay Gower Taylor) that in 2015 brought us the brilliant Betroffenheit.
With revisor Young, Pite and their collaborating performers Doug Letheren, Rena Narumi, Matthew Peacock, David Raymond, Ella Rothschild, Cindy Salgado, Jermaine Spivey and Tiffany Tregarthen have raised the bar again, with great inventiveness and spectacle, leading us into a nightmare-in-progress, reflective of the very political deceit, fake news, divisiveness and government corruption that dominate our airwaves today.
Gogol’s 1836 play, both a farce and a satire, trades in the same themes. He developed the play from an anecdote related to him by Pushkin, about the case of a lowly clerical figure sent to a regional outpost of the czarist empire on some minor assignment. The clerk is mistaken for an official of influence and authority and soon has the local department head and others toadying before him. For Young and Crystal, the play presents “a matrix for both voice and body . . .malleable and resonant.”
Inspiration for this adaptation of The Inspector General came from accounts of a 1926 non-naturalist production of the play by the Russian theatre director Vsevolod Meyerhold (1874-1940). Meyerhold eschewed method acting for a kind of physical theatre that harked back to commedia dell’arte and expressed the symbolism he found in the text in the physical movements of his actors.
Ingeniously, Young et al created a spoken text that works like a score, the performers mouthing the words as they are heard overheard while performing exaggerated movements as if they were human puppets. These movements tell the tale of deceit, for the emotions they express often belie the words the actors are mouthing.
The performance of the farce in a series of tableaux – with Doug Letheren as Director of the Complex, Jermaine Spivey as the Postmaster, Tiffany Tregarthen (in removable beard) as the Revisor and a blousy, Cindy Salgado as the flirtatious Anna, wife of the Director – opens and closes the piece. What transpires in the middle is a dance deconstruction of The Inspector General, plumbing the emotional depths of the play, while stage directions are voiced overhead. Expressionism reaches its height with the appearance of a figure bearing a huge set of antlers that then get used as crutches.
The movement of the 10 performers is extraordinary, very dreamlike, an effect heightened by Owen Belton’s electronic, industrial soundscape and Jay Gower Taylor’s abstract video projections that trace needle-like paths on the scrim like an electronic circuit gone mad. The words of the text are repeated and broken down into phrases that apply the idea of the revisor to the dance – constantly regrouping, revising the movement, getting down to the elemental level.
All to say, catch revisor if you possibly can, and hope that there’s a chance to see it more than once, for its complexity demands revisiting.
Created by Crystal Pite + Jonathon Young
A Kidd Pivot Production presented by Canadian Stage
At the Bluma Appel Theatre, Toronto, until March 16
Photo of Ella Rothschild, Cindy Salgado, Jermaine Spivey, Tiffany Tregarthen, Doug Letheren, David Raymond, Rena Narumi, Matthew Peacock by Michael Slobodian.