Perhaps the most well-known of J.B Priestley’s time plays, it is curious to note that this tale of the English high society received its premiere in Soviet Russia, soon after the end of the Second World War in Europe. The way in which Priestley shows the rich as cold, uncaring and callous would no doubt have met with Stalin’s approval back then but the stark differences between the well-off and poor mean that the play still has a lot of relevance for British society today, as Ken Loach’s recent films clearly demonstrate.
‘An Inspector Calls’ is one of a select group of plays, which together with the likes of ‘Hobson’s Choice,’ ‘When We Are Married’ (also by Priestley) and certain Ayckbourns amongst others, are both widely performed as favourite amongst amateur theatre groups and from time to time receive big professional presentations. The reason is because it is a sound and intriguing thriller with a good mix of ages and genders but also relatively easy to perform. Stephen Daldry’s production turns this predictable scenario on its head with an astonishingly complex and surreal set, more than doubling the cast and making liberal use of music and special effects, including heavy rain, to creative both a remarkable spectacle and chilling atmosphere as we are introduced to the world of the Birling family.
This is one of those shows which is difficult to review without giving away spoilers but here goes. It certainly contains many visual surprises and is an idea play to take a non-theatregoer as a case-study in just how dynamic and engaging a theatrical experience can be. The acting is powerful if somewhat melodramatic and there is something of the soap opera in which all the main characters are one by induced to reveal dark secrets. However, the gradual stripping away of everyone’s dignity and reputation is well handled and speaks to us all, not just in the way the rich may mistreat the poor but how all of our actions can interplay to affect the lives of others.
An interesting aspect of the staging, aside from the spectacle, was the use of symbolism. A key example is the house in which the rich family reside being physically above the street level, characterised by a bombed-out phone box and dirty cobbled street. It is also a place of light set against a dark foreboding world. There is no apparent way for the ordinary people to reach up to their exalted level but it is the mysterious inspector who finds a way, coaxing the socialites to come down to the level of ordinary people. The dramatic use of rain soaking the stage also takes on a symbolism, similar to the way King Lear’s madness after losing his kingdom is set against the backdrop of a storm. The former mayor’s house is not just opulent; it is literally the ivory tower in which his family insulate themselves from the cares of the world.
The large cast of around twenty ranged from the central figure of the Inspector, played with conviction by Liam Brennan, to an ensemble of varying ages, representing the ‘ordinary people'. Chloe Orrock shone as Sheila, Mr Birling’s daughter; the only family member to get a proper handle on the family’s various wrongs against a former servant. Jeffrey Harmer as Mr Birling was as mean and uncaring as any character you’ll find in Dickens with the rest of his family being cut from the same cloth; a veritable group of villains indeed.
‘An Inspector Calls’ is a powerful play given a total makeover and one of the most stunning pieces of theatre you are likely to see as well as providing some lasting food for thought.
Reviewer - John Waterhouse
on - 19/11/19
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