An Inspector Calls

An Inspector Calls

Let’s get this out of the way first; if you are studying J.B. Priestley’s An Inspector Calls for either English or Drama GCSE, you absolutely must see this production.

This was the first time I had seen the show staged, and it was nothing like what I had expected.

The performance opens with some non-verbal scenes performed by younger members of the cast. Then, the curtain rises to reveal the Birling household, a set that, amusingly, resembles the architecture of the New Wimbledon Theatre itself, though that is merely an aside. The initial action unfolds within this miniature house, as we, the audience, along with the cast members from the prologue action observe. It is an unusual and intriguing introduction. Through this choice, it becomes clear that the early small talk is not of great dramatic importance.

Soon enough, the miniature house is cleverly opened up like an enormous dolls’ house, revealing a single interior room. The remainder of the stage space is used to excellent effect for the wider action.

Tim Treloar takes on the role of Inspector Goole and, interestingly, portrays him as an over-the-top, antagonistic Welshman. In my mind, Goole had always been slower and more deliberate, with long, dramatic pauses, which is why I so enjoy seeing live theatre, it offers the opportunity to witness fresh interpretations of familiar characters. Throughout the production, Goole remains mostly on stage, while the family members move in and out of the house.

This inventive approach extends beyond the Inspector. Leona Allen gives a marvellous performance as Sheila Birling; she is commanding and assertive, yet grounded and relatable, much as you might expect. In fact, her portrayal reminded me somewhat of Charlotte La Bouff from The Princess and the Frog. Director Stephen Daldry clearly had a strong vision for this production, one that is further enhanced by Ian MacNeil’s exceptional set design.

At intervals, the action is punctuated by additional non-verbal scenes, echoing the show’s opening and offering a definite foreshadowing of the war. Later in the play, Goole is surrounded by performers forming a chorus, reinforcing the sense of this as a morality play and evoking the presence of an ‘everyman’ figure.

Towards the conclusion, as the Birlings retreat once more into their house, the grotesque is heightened as limbs poke unnervingly from windows and doors, accompanied by their exaggerated, unsettling laughter. It is an effective, chilling moment that leaves a lasting impression.

The production runs without an interval, which is rather handy if you are booking it for a school trip.

Overall, this is an inventive, visually striking, and thought-provoking staging of a classic text. It deepens and enriches one’s understanding of the play and offers a dynamic experience for both students and theatre lovers alike.

Photos by Mark Douet