Review: An Inspector Calls (Alexandra Palace Theatre)

Review by Sophie Wilby

⭐️⭐️⭐️

An Inspector Calls has had a spot on the GCSE syllabus list for many years, and rightfully so. Though written in 1945, in many ways JB Priestly’s writing transcends time. With its overall message of social responsibility for one another, it remains as poignant today as it did almost 80 years ago. Perhaps this also explains why this production of An Inspector Calls is the longest-running revival of a play in history. First opening at The National Theatre in 1992, Stephen Daldry’s revival has toured the globe, securing numerous accolades including four Tony Awards. It is certainly an impressive history, and one that sets a very high bar, which is why writing a three-star review has left me as surprised as the Birling’s are when Inspector Goole interrupts their celebratory dinner party. 

Wealthy, frivolous and entitled from the off, the Birling’s do very little to earn the favour of the audience. We see the family celebrating the engagement of Sheila (Leona Allen), the daughter, to Gerald Croft (Tom Chapman). Their high spirits are soon dampened by the arrival of a mysterious inspector (Tim Treloar) whose ring at the door interrupts Mr Birling’s (Jeffrey Harmer) speech which sets up the premise of the play - “a man has to mind his own business and look after himself and his own”. The Inspector, known only as Inspector Goole, begins to question each member of the family in turn about their connection to a young woman who committed suicide, and we soon learn that the Birlings and Gerald were known to this woman, and that their actions led to her tragic death. Though the audience is quick to understand this, however, not all of the Birling’s agree. Against the consistent protests of Mr and Mrs Birling (Jackie Morrison), Sheila in particular realises the pattern and laments her actions. Though initially portrayed as young, silly, and vapid, she is the first to realise what Inspector Goole is doing in his questioning, and how each of the party is a piece of the puzzle. Later, she is joined in her guilt by her drunken brother Eric (George Rowlands) as they alone accept responsibility for their actions. 

As the inspector, Tim Treloar is vivacious, his suppressed rage exploding at key moments of his interrogation whilst otherwise adopting a mocking, almost playful air. It is an interesting take on the role, highlighting the ridiculousness of the family’s airs and graces. As Mr and Mrs Birling, both Jeffrey Harmer and Jackie Morrison succeed in portraying their proud and pompous attitude, which falters only briefly, soon to be restored. As Gerald, Tom Chapman portrays his self-importance and self-righteousness well to highlight his position as a younger Mr Birling. George Rowlands receives both sympathy and disgust from the audience, as his pitiful drunken condition is contrasted with the repulsiveness of his treatment towards the deceased woman. Leona Allen is, however, a standout in her performance as Sheila, battling between the naivety of a sheltered life and her intelligent understanding. 

Theatre is, of course, subjective. The history of this production speaks for itself, and yet it wasn’t a performance that spoke to me. Despite being a fan of the play itself, I struggled to connect with this particular performance. The opening of a small boy running onto the stage to play with the curtain before it rose to reveal the dramatic set left me confused - as did his presence seated on the side of the stage throughout much of the beginning of the show. 

The dramatic staging was certainly impactful, with Ian McNeil’s claustrophobic but finely decorated house on stilts taking centre stage amongst rolling clouds of smoke and drizzly rain. Sitting on a dreary, grey, poorly lit street, the house certainly shone out, clearly intended as a reflection of the wealth and exuberance of the family as well as creating the perspective of the audience as outsiders, looking in. When multiple family members were in the house, however, it felt cramped and they often blocked each other. With the majority of the scenes taking place in the street, I struggled to connect with the sense of place being established. At one point, it was as though The Inspector was inside the house talking to the family, and yet he placed his hat on the boy sitting to the side of the stage who promptly ran away. At another, The Inspector was standing in the slips of Alexandra Palace, talking down to his fellow actors on stage. Whether perhaps this was to demonstrate his moral superiority over the family I am unsure, but it felt entirely unnecessary and disconnected me from the performance. In essence, for me, it was as though the set was focused towards emphasising the broad messaging of the play rather than being fit for purpose. 

I can appreciate that the action taking place on the street may reflect the point that the actions of the family impacted wider society, as well as suggesting their fear of being viewed negatively by the public. So too, did the presence of several extras appearing ominously in the background, dressed to reflect different members of society such as a soldier (which also serves as a hint towards the fact that they are on the cusp of the First World War). Whilst this may also be intended as a visual clue to the famous climactic speech delivered by the inspector “One Eva Smith has gone – but there are millions and millions of Eva Smiths and John Smiths still left with us, with their lives, their hopes and fears, their suffering and chance of happiness, all intertwined with our lives, with what we think and say and do” but it just felt unnecessarily distracting to me. 

Part of the popularity of An Inspector Calls, I believe, is in the ease with which Priestly’s writing can be understood. There is little in the way of subtext, and this lack of subtlety being reflected on the stage felt a little like overkill to me. Costuming too, is used in a similar overt way, particularly with regards to Sheila. Her pure white, almost wedding-like gown in which she first appears is soon dirtied by the rain (which again, fits my point about struggling to establish a clear sense of place) and she eventually strips off this gown as if to reflect her change in attitude by the conclusion of the play. Whilst the metaphor of this action can be understood, in real terms it meant that she was then in her undergarments around her family which felt unrealistic. The Inspector himself slowly removes layers - first his coat, and then his suit jacket - as if to reflect his peeling the layers of the Birling’s stories. At one point his jacket is folded by Mrs Birling, then quickly screwed up and thrown, as if to reflect the consideration of her guilt which she quickly dismisses, instead viewing herself more favourably. 

Perhaps the most obvious use of staging to reflect the story is the house crashing dramatically forward, with cutlery and cups smashing noisily to the ground, intending to reflect the breakdown of the family dynamics. Though undoubtedly impactful, eliciting shock and awe, I was at times left feeling that this was perhaps overkill. As the family picked around the ruined tableware, polishing a candlestick or moving around broken crockery, to reflect their attempts to piece back together their broken family, I felt distracted by their actions, losing the focus on Priestley's words. The house is then brought back together by Gerald, as he explains away his theory of The Inspector being nothing more than a prank. As he, along with Mr and Mrs Birling, return to the now upright house, Sheila and Eric remain on the street reflecting that they alone have been impacted by the night's events and that only they are changed.

Though I can appreciate the choices made in Daldry’s direction, I may have favoured a more traditional approach. However, I am sure that I am in the minority with such an opinion, which I can well understand. As you might expect from a play that is a longtime GCSE text, the audience was filled with students. Judging by their reaction, it was a production that surprised and delighted them. Audible gasps could be heard at the big reveal at the close of the play, followed by rapturous applause. And I am glad of it. If it is a production to inspire a younger generation of theatregoers then that can only be a good thing. I have seen it be described as a spectacle of a play, and with that, I would agree. While such a spectacle didn’t land with me, I am glad that Priestly’s work is still being brought to life as it remains a message that we all need reminding of from time to time.

An Inspector Calls plays at Alexandra Palace Theatre until September 21st before continuing its UK tour, with dates currently booking until May 31st 2025

For tickets and information visit https://aninspectorcalls.com/tour-dates

 Photos by Mark Douet