The longevity of Stephen Daldry’s staging of J B Priestley’s An Inspector Calls gives rise to irony. When first staged decades ago, it was seen as a revitalisation of a classic play making it more relevant to a modern audience. Now, the success of Daldry’s version means it is close to being perceived as the definitive interpretation of the text.
Although the text places events in 1912, the air raid sirens that open the current production push them forward to World War II. Self-made man Arthur Birling (Jeffrey Harmer) has achieved financial success, and he and his wife Sybil (Jackie Morrison) are able to celebrate their acceptance into polite society with the engagement of their daughter Sheila (Pena Iiyambo) to a member of the local gentry, Gerald Croft (Tom Chapman). However, the arrival of a mysterious Inspector Goole (Tim Treloar) draws attention to skeletons concealed in the Birlings’ closet. The Inspector believes the family may be implicated in a suicide, and his investigations raise uncomfortable questions about the relationship between the family, and by extension all members of the privileged elite, and the wider community.
Author J B Priestley did not believe there is no such thing as society, and the play articulates his view we are all part of a single community and must be aware of the impact our actions may have upon other people and offer help where needed. The viewpoint seems more relevant than ever in view of the inability of members of the former government to accept any responsibility for economic chaos or the loss of faith in politicians. Director Stephen Daldry supports Priestley’s beliefs with startling visual staging.
The Birling family have no redeeming graces—the older generation are swaggeringly arrogant and the younger giddy, careless and downright irritating. Daldry undermines the pretensions of the family. Although the play might be classed as a drawing-room drama, with events taking place in a posh dining room, Daldry makes clear the setting, and the associated self-importance of the characters, is of no consequence. Ian MacNeil’s set design reduces the Birling residence to an insignificant scale, like a child’s doll’s house, and locates it above the stage. The focal point becomes, therefore, the bombed-out street outside the house which occupies most of the stage and upon which the Inspector drags family members to compel them to consider the impact of their actions and face the wordless judgement of the wider community.
The audience is invited to see themselves as part of the community offended by the Birling family. The stage at The Lowry looks dilapidated with warped floorboards and curtains hanging askew. To the sound of air raid sirens, a group of urchins rush through the theatre to open the play. In a highly atmospheric first scene, the curtains open to reveal the derelict street in the pouring rain. There are some delightful cheeky touches—before Sybil Birling steps onto the street, a servant rolls out a red carpet and a second Inspector, who appears fleetingly, is female and, in a trenchcoat and hat, resembles TV’s Vera.
On opening night, several school parties attended at The Lowry. It would be interesting to know their reactions to how the play depicts the attitude of previous generations towards women. Mrs Birling and her daughter leave the room to allow men to talk business, and everyone condescends towards Sheila Birling, who is regarded as a silly girl despite being of age to become engaged.
Melodrama is not held back. Plot points are emphasised by dramatic music and by speeches made direct to the audience. Inspector Goole’s entrance deliberately brings to mind the classic image of Max von Sydow in The Exorcist. The production teases the audience with the possible supernatural nature of the Inspector—at one point, Tim Treloar leaves the stage and mysteriously appears in, and conducts enquiries from, the circle.
Surprisingly, rather than an aloof remote figure, Tim Treloar’s Inspector is a flamboyant, sarcastic character. His interrogation methods at times resemble a comedian baiting a reluctance audience.
Stephen Daldry’s version of J B Priestley’s An Inspector Calls remains as audacious and engaging as when it was first staged, and still effective in communicating the author’s compassionate viewpoint.