A drawing room play that asks what we owe to one another, J.B. Priestley’s An Inspector Calls is a scathing indictment of the British class system, focusing on a wealthy family being interrogated by an inspector over their connection to a young woman who recently committed suicide. Co-directors Ali Bendall & Mark Bull note that the play is ‘a story that exposes the cracks beneath the surface of human nature, exploring themes of accountability, morality, and social responsibility.’ Set in pre-WWI England, Priestley uses the Birling family as a cautionary tale of what happens when we refuse to learn from our mistakes. Genesian Theatre’s production brings an Agatha Christie-esque whodunit vibe to the play, as the moral crimes of each member of the Birling family are investigated.
While the play starts off strong, there does come a point where it feels like it has run out of things to say. Engaging performances from the cast make up for the shortcomings of the script - this is a well-balanced ensemble who are able to create characters that feel lived-in. Vincent Andriano plays the titular inspector. In Andriano’s hands, Inspector Goole alternates between aggressively shouting down the Birling family and dismissing them with a sharp retort; relentless in his quest to get the Birlings to admit fault. Andriano does a great job in moving the plot forward and changing the energy of a scene.
Rebecca Liquorish and Harry Charlesworth are standouts as Sheila and Eric Birling. Liquorish delivers a superb performance, giving Sheila an emotional arc that truly feels earned as she reflects on what it means to wrong someone who has done nothing to her. In a lesser actor’s hands, it would be easy for her to be unlikeable, but there is an air of affability to Liquorish’s Sheila. Liquorish also displays good comedic timing, diffusing the tension with quick one-liners. (‘We didn't think you meant Buckingham Palace.’) Charlesworth is a delight to watch on stage, playing Eric with sensitivity and a boyish charm. Like Sheila, Eric is left grappling with the devastation he has unknowingly caused and Charlesworth’s final moments on stage are some of the play’s most interesting.
Annabel Cotton is excellent as Sybil Birling - Cotton’s Sybil is cold, aloof, and haughty, convinced of her social and moral superiority over those around her, and that she has both the power and duty to decide who, among the working class, is deserving of charity. Sybil’s interrogation sequence is arguably the best scene in the entire play and Cotton performs it brilliantly. David M Bond is condescending and overbearing as Arthur Birling, the patriarch of this odious family. Simon Pearce’s Gerald Croft is equally unlikeable - coming across as self-righteous, spineless, and somewhat dishonest, Gerald is as desperate to avoid the consequences of his actions as Arthur is. Meredith Blee rounds out the cast as Edna, the Birling’s maid.
Costumes by Susan Carveth are - as always - stunning, with wonderful attention to detail. Lighting and sound design by Michael Schell enhances the mood and atmosphere, with portraits of each Birling family member being bathed in red light as they were being interrogated. The dining room lights would also flicker as Goole lost his temper, giving a supernatural element to the show. There are a few moments of awkward staging which means that actors have their back to the audience and performances are lost, but overall this is a tightly-directed and enjoyable production.
The first production in Genesian’s new Rozelle venue, this is sure to go over well with regular Genesian Theatre-goers. Running until 23 February, there are plenty of opportunities to catch it before it closes!
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