Review by Anja Bless
When past sins come knocking, will you be ready to accept responsibility? That question is central to the moralist drawing room drama, An Inspector Calls, now being shown by Genesian Theatre Company in their new location in Rozelle.
At the peak of a celebratory dinner for the newly engaged Gerald Croft (Simon Pearce) and Sheila Birling (Rebecca Liquorish), the doorbell rings and an Inspector Goole (Vincent Andriano) enters the scene. He is investigating the circumstances of the death of a young woman, Eva Smith, and in a seemingly classic mystery and crime style it becomes quickly apparent that every person in attendance has had some role in the tragedy. However, An Inspector Calls is not about finding the one who is guilty of the death itself, but rather how the callous actions of others can lead a person to it. JB Priestley’s classic play uses Victorian society dynamics to critique the cruelties of class-based society, the weaknesses of individuality, and the veneer of propriety.
The setting of a well-dressed Victorian dining room (by Mark Bull, Ali Bendall, Tom Fahey, and Peter Curtis) and the costuming by Susan Carveth, along with the self-satisfied tone of the diners on which the play opens, does well to set the scene for this production. David M Bond as Arthur Birling is suitably pompous (although his makeup was too strong for such a brightly lit set, and in contrast to the style of the other cast members). Birling is pleased with his improved societal standing from the prospective engagement of his daughter and ready to provide advice on the dangers of ‘community’ and the promises of capitalism. His wife, Sybil Birling (Annabel Cotton) is equally comfortable in her role as lady of the house, ready to ensure that all propriety and decorum is maintained, including ignoring her son, Eric Birling’s (Harry Charlesworth) fondness for drink. The confident use of a mid-North English accent by most of the cast also helps to situate the play in its fictional manufacturing town, although Pearce’s Gerald Croft often slips out of his accent which stands out amongst the rest of the cast (Pearce’s makeup could also be improved as its overly light shade gives him a ghostly appearance next to his cast members).
The arrival of Inspector Goole marks a distinct tonal shift in the piece as an apparent mystery unfolds, and Andriano’s forboding presence and stature suits the character well. It appears that the Directors (Mark Bull and Ali Bendall) chose to lean into Goole’s more supernatural and omniscient characteristics, as his moods are reflected in the lighting and sound design of Michael Schell. This is largely effective, especially as it becomes clearer that Goole is no ordinary Inspector. However, at times the combination of shifting lights, a slowly dismantling set, and Andriano’s strong delivery of Goole’s judgements of the Birlings, over-dramatises Priestley’s pointed critiques of Victorian society. Similarly, Liquorice’s portrayal of Sheila Birling, while at times moving in her distress at causing harm to the ‘poor girl’ in question, also relied too often on yelling to communicate her concerns, which undermined the pertinence of her message. This was a similar challenge for Charlesworth as Eric Birling. In contrast, Cotton’s performance as Sybil Birling weaved deftly through the decorum and emotions of a Victorian lady whose family is cracking apart, and through her restraint carried notable stage presence.
A tempering in the zealousness of some of the performance and more subtlety in the lighting choices would have therefore helped to refine this performance of An Inspector Calls into an excellent production. As it stands, this is an enjoyable and well-timed critique of the dangers of class inequality, and a promising start for the Genesian Theatre Company as they settle into their new home.
