'An Inspector Calls', Theatre Royal, Glasgow, 22/2/12

After more than a decade has passed I have finally seen the legendary Stephen Daldry production of J.B. Priestley's play. Thrilling, exciting, mesmerising and ultimately theatrical, this is a production that surpasses anything that cinema could never hope to emulate.
The reason I have never seen the production before was that whenever the production toured I would always miss it or it would miss me - I recall that it went to my hometown for the first time in 1999, a week after I moved to London! But such is life and all good things ...

It is, of course, a given that any touring version will be a slightly reduced production where all the elements that make up the design are, usually, on a smaller stage and here that was the case. I recall seeing original production shots many years ago and even the original set model (as part of the touring 'Make Space' exhibition) where the stage (the National Theatre!) seemed vast and the design elements of telephone box, cyclorama etc. were more spread apart than here. Here it appeared that some of these pieces were repositioned although none of this detracted from the production itself which was still dominated by the three story, doll-house-like, Birling family home; a physical manifestation of the wealth and security of the people who reside within. Ian MacNeils' designs and Rick Fisher's lighting compliment each other whilst the music by Stephen Warbeck sets up atmosphere, mood, and tension well (though I felt, at times, it bordered on excessive).

The sheer scope of the concept and design serves the play superbly, pulling it out of the box set of old. Indeed much has been said over the years since the premiere in 1992 of this production about such things that I shan't go on about it. But it is testament that the production still appears fresh, although it is a production that now dwarfs any further productions of the play which, inevitably, seem stale hearkening back to the original proscenium arch, one room production. Daldry creates a never ending feast for the eyes with the stage becoming the metaphoric landscape for the devastation of the Birling family. As the family is torn apart, so does their world crumble where once they sat, content in their doll house shielded from the rain that pours onto the world outside.
From its framing device of the Second World War (a nod to the period in which the play was written) Daldry's conception grips you and the interweaving of the observers of the 1940s with the events of the play which occur in 1912 was such that one never questions the different time periods living side by side. The play is a moral one and here we become part of those who observe and ultimately judge the actions of the people onstage. The 1940s 'supernumeries' (as listed in the programme) invite us to ask of ourselves whether the time period we live in or the class we may consider ourselves to be are reason enough to abandon those who are in need, to be selective in our morality and actions.

The cast were excellent but Tom Mannion as 'Inspector Goole' was a stand out whilst Karen Archer as 'Sybil Birling' perfectly encapsulated the toff attitude of privilege. Geoff Leesley as 'Arthur Birling' and John Sackville as 'Gerald Croft' were also wonderfully cast. Kelly Hotten as 'Sheila Birling' and Henry Gilbert as 'Eric Birling' shone as the siblings who, though spoilt and selfish, ultimately come to realise the truth about themselves and that lessons are for learning. Janie Booth as maid 'Edna' may have had few lines but she was in danger of stealing the spotlight with her wanderings onstage and her simple, uncomplicated facial expressions. Of the 'Supernumeries' Dino Molinari as 'Small Boy' stood out although all served the production well.
I am glad I managed to catch this wonderfully theatrical piece and hope to do so again when next it tours.