The Real Inspector Hound

The Real Inspector Hound was originally written in 1961-2, yet only premiered in 1968 – an intriguing fact, I wonder why? So, a very early play by Stoppard, it reflects his experience as a theatre critic in Bristol. As I began watching the 2 critics watching and discussing the Whodunnit, I wondered whether it was the work of a playwright constantly under attack from pompous, self-obsessed reviewers, and was thus interested to read that Stoppard had started out as a critic himself. It is a play-within-a-play parody of the delicious drawing-room murder mystery: house guests, servants, a Major of course; actresses, card games, gunshots and all. But of course, being a Stoppard play, it is fast-paced, clever, inventive and full of erudite and biting wit and originality. As Director Matthew Lloyd Davies says in his note: “ ‘Hound’ represented my (theatre) world through the lens of a playwright who wanted to take that world and shake it up, and make us look at it, differently. In the end though, it’s just entertainment. Stoppard even says himself of the play, it’s to make people smile and laugh.” This GTG production certainly did that!

Both GTG and we the audience were delighted to be back in Priorsfield School, after a long Covid absence, with its well-equipped theatre, and black painted, I guess, drama studio providing an atmospheric bar. GTG always offer a very warm welcome to all,

The well-designed programme contained a page on Stoppard, and interesting notes from the Chair and from the Director. Useful real cast profiles were included, plus spoof profiles of the ‘cast’ in the murder mystery.

For this production we had a traverse stage, with the audience sitting on both sides of the long performance area. This made us all feel more immersed in the action, and we enjoyed being able to see the audience on the other side. The set was of the typical country house drawing room, with sideboard and chaise longue – not typical however was the presence throughout of a body under the couch! A card table played an important role, and interestingly the chairs were set outwards, so that one could see at least 2 of the characters, this I found very effective. And of course, the all-important telephone was placed to the side of the couch. The French windows leading to the brightly lit back garden of the Muldoon residence were to one side of the stage. The 2 critics were seated on a platform to the other side, which made it easier to observe them than at the side of a normal stage.

Lighting was very effective throughout.  Sound effects, especially the sound of the Major being bumped down the stairs in his wheelchair, were good.

Costumes were suitably ‘Country House Weekend’ with tennis slacks for Felicity, glamorous cocktail outfit for Lady Muldoon, smart double-breasted suit for Simon, tweeds for the Major.

From the moment Moon found her seat, and Birdboot emerged from the row behind us, and took his seat alongside her, this production fizzed and buzzed along at a cracking pace. Within seconds we learnt of Moon’s frustration at playing second fiddle to the missing Hicks, who is evidently Top Dog amongst the critics on his publication. Moon (Polly King) is also well aware of Puckeridge, just waiting to step into her shoes should she no longer come up to scratch. She deliberated over exactly the right phrases to use, and we wondered at her fear of possibly losing her position as No 2. Such rivalry!

Her colleague Birdboot (Eddie King), in complete contrast, seemed totally at ease, confident of his position, nonchalant even, and pleased with his many opportunities to escort glamorous young actresses, making their careers with flattering reviews, and enjoying their ‘company’ in the process. He oozed relaxed confidence, even bringing a box of chocolates to the show, much to the surprise of Moon. His confidence soon fled, however, when his wife phoned!

Simon Gascoyne (Keith Thomas) appeared mysteriously out of the misty marshes, suavely dressed in crisp double-breasted suit. He didn’t seem to have been invited, but was encouraged to stay, and make up the four for cards. The young tennis-playing guest Felicity (Ify Ugboma) was shocked to see him, as she had fallen foul of his lothario ways very recently. The lady of the house, Cynthia Muldoon, was played with grace, charm, and passion by Rosalind Robins. The Major (Steve Alais) was bumped down the stairs in his wheelchair. All these parts are caricatures, of course, and this GTG cast gave deftly melodramatic performances, with excellent comic timing.

Talking of comic timing, Mrs Drudge the cleaner edged about the stage, dusting everything oh so carefully, taking everything in, and serving tea with an exceedingly shaky hand.  A great performance from David Dray, that also allowed our brains time to take in the fast and furious Stoppard dialogue, and the weirdness of the play.

The whole thing is a delightful mickey-take of the whodunnit genre. Simon gets shot; Inspector Hound (Anne Turner) arrives. The phone rings in the interval. Birdboot answers it. The second half starts, with Birdboot still on stage. He becomes the Simon character. The whole thing is entirely bizarre, exceedingly funny, and goodness knows who the Real Inspector Hound is!

This was a well-cast and well-directed production of the calibre we have come to expect from Godalming Theatre Group. A great evening’s entertainment!

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