I enter the theatre to a thick-red, golden-tasseled curtain adorning the stage, and a small wooden Edwardian speaker in the corner. The theatre was full of all ages, and as soon as the lights went down, an immediate rush of silence ensued.
The music began to play as three children came onto stage, messing around and hitting the speaker until it began to blast music, pulling on the curtains playfully. They suddenly find themselves in front of the Birling Residence, as the curtain lifts. The scene is set, as the smoke and rain appear on stage creating a menacing and daunting feel to this middle-class, Edwardian home, which in itself was on stilts, beside a lamppost and a classic British red telephone box. The sounds of murmuring appeared from within the house, as the family began to celebrate the occasion of an engagement.
As the play rolls continued, I was immediately taken aback by the casting- each and every one of them felt so natural in their roles. I must especially give credit to who I feel stole the show- Jackie Morrison, who plays the Matriarch of the family Sybil Birling, who was able to create a love-to-hate character so effortlessly, with touches of humour and darkness, perfectly combined. Everyone was brilliant, but Morrison I felt stole the show, even though she had the second-to-last amount of stage time of the main characters, just in front of Eric. The choice to cast Leona Allen as Sheila was also new to me- a black actress in the role, while the rest of the family was portrayed by white actors. This however played to the advantage of the play, as Sheila is the character who is different in mentality to the rest of her family, and showing this visually was very engaging and clever, and Allen played Sheila just in the way I had imagined her when I first read the script, spoiled, yet understanding of her situation.
The script itself was written in 1945, and very little had changed in this production, which I felt added to the atmosphere of the play, allowing for the Edwardian feel to really shine through in the language. Each actor utilised the script to its max, delivering a satisfying performance of this world famous play. Themes were really coming through in the way the actors delivered their lines, showing the disparity between classes at the time, and attitudes towards the likes of women, in the way they talked about Sybill, Edna, Eva and Sheila, and attitudes towards business and marriage in a highly capitalist 1945, which Priestley wrote this play in protest of.
The stage itself was its own actor- a large doll-like house on stilts that opens up to reveal a single room- a dining room- where most of the play takes place. And when the Birling’s world falls down- so does their house in the most beautiful symbol within this production, of many. The actors also utilised the street in front of the house, usually when in conversation with the Inspector, as if bringing themselves down to her level.
I must also thank Theatre Severn- the venue in Shrewsbury, Shropshire. A beautiful building with a glorious stage and very comfortable seating. I had an issue in ticketing, but the staff were on hand and resolved it quickly and efficiently- which I must thank them for.
Though I have been familiar with this play for many years, having studied it at Secondary School, I felt this production really gave the original script the homage it deserves. A classic play about the political context at the time, brought into a modern day world at a time it needs it most- whether you agree with its message or not, you must admit that it still has a meaning today, and can be applied to any political thinking. The National Theatre did ‘An Inspector Calls’ justice for its original script, and I would highly recommend seeing it- just for the production and actors if not the message it’s trying to deliver.
Get tickets to see An Inspector Calls On Tour, showing across the country until 31st May 2025.
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