Sydney review- An Inspector Calls: a high production standard

By Paul Kiely

An Inspector Calls

By J B Priestley

Co-Directed by Ali Bendall and Mark Bull

A Genesian Theatre Production By Arrangement with ORiGiN Theatrical

On Behalf of Samuel French

A Concord Theatricals Company

2B Gordon Street, Rozelle

Season: 10 January – 22 February 2025

Bookings: https://genesiantheatre.com.au

               Duration: 160 minutes approx (including two intervals)

It is a sign of greatness when a playwright can entwine issues of social justice and inequity with questions of personal ethics and self-reflection.

In ‘An Inspector Calls’, J B Priestley cleverly challenges the audience to grade his characters on a scale of morality. In doing so, the mirror of judgement is squarely in front of us and the image may not always be pretty.

 ‘An Inspector Calls’  which is considered to be one of Priestley’s most influential plays,  deals with the class structure of Edwardian England. With themes of inequality, entitlement, exploitation and sexism, this three-Act drama will keep your attention from beginning to end.

The play is set in 1912 in the dining room of the Birling residence. Arthur Birling (David M Bond) is a renowned wealthy industrialist, magistrate and former Mayor of the town. His family are celebrating the engagement of daughter Sheila (Rebecca Liquorish) to the son of a friendly competitor, Gerald Croft (Simon Pearce).

Arthur dominates the conversation, espousing the virtues of capitalism. He refers to the near completed Titanic as an example of entrepreneurship and technology, boasting it is ‘unsinkable.’

Their gathering is soon interrupted by the arrival of Inspector Goole (Vincent Andriano). He is investigating the apparent suicide of a young woman named Eva Smith.

Everyone present will be grilled, one by one, as to their contribution to the events leading up to her suicide. Arthur is questioned about his company’s refusal to grant Eva and her co-workers a pay increase. As a worker advocate, Eva lost her job.

Sheila confesses to her role in getting Eva dismissed from her subsequent job in a dress shop.

Gerald Croft’s short-term affair with Eva is exposed by the Inspector, even though the relationship began from good intentions.

Next in the hot seat of interrogation is Arthur’s wife Sybil Birling (Annabel Cotton). Sybil, the haughty head of a large charity, refused financial help to the ‘immoral’, pregnant Eva.

Finally, Arthur’s young drunken son Eric (Harry Charlesworth) is humiliated by Inspector Goole as he admits to getting Eva pregnant.

Throughout the Inspectors’ inquisition of the Birling family and guest, he constantly checks his pocket watch, a hint of the unexpected plot twist yet to come.

The end of the play has a mysterious explanation – a method used by Priestley to expose the contradictions and hypocrisy of English high society. His message is simple: we all must be accountable for our actions and be aware of their unknown consequences on people less fortunate than ourselves. For Goole acts as a metaphor for our conscience at work, how we rationalise our actions, biased towards the good side of our character.

Ali Bendall and Mark Bull co-directed ‘An Inspector Calls.’ Their cast selection could not have been better. Each actor relished their role and delivered dialogue with precision timing and passion. Accents were perfected with the requisite degree of ‘plum in mouth.’

The whole creative team were exemplary. Costumes were intricate in period detail whilst the set was spacious and typified Edwardian décor.

Sound and lighting effects worked hand in hand. Portraits of family members hanging the dining room were bathed in an eerie red glow as their interrogations took place. Adding to the haunting effect were slight set changes with each Act. A portrait might be off balance, the clock’s pendulum falls off its support or a pelmet becomes loose.

Whenever Inspector Goole became assertive and raised his voice, the dining room lights would flicker with thunderous noise.

‘An Inspector Calls’ has lessons for everyone. Well-written with a plot full of surprises, it is deservedly a great twentieth century English drama. Entertaining for all ages.

This is the opening play at the impressive new venue for the Genesian Theatre. It has set a high production standard for their future shows. Strongly recommend!