Staging (An Inspector Calls)

An Inspector Calls is a classic play by J.B. Priestley that explores themes of social responsibility, class, and morality. Set in 1912, it is a tense, thought-provoking drama that uses its characters and their interactions to highlight the flaws of a capitalist society. Staging this play effectively requires careful consideration of the characters, set, lighting, and pacing, all of which contribute to creating the atmosphere of suspense and revealing the play's key themes.

Understanding the Play’s Themes and Tone

Before starting your work on staging An Inspector Calls, it’s important to understand the major themes and tone of the play:

• Social Responsibility: The play critiques the attitudes of the upper class and explores the consequences of selfishness and lack of empathy.
• Class and Social Inequality: The contrast between the Birling family’s wealth and the struggles of people like Eva Smith should be evident in the staging and performance.
• Suspense and Dramatic Irony: Priestley uses dramatic irony to create tension. The audience knows that the characters are unaware of the Inspector’s true role, which adds to the suspense.
• Morality: The characters are challenged about their actions and the moral implications of those actions. This should be reflected in their performances and blocking.

Characterisation and Relationships

The interactions between characters are central to the play, and their relationships evolve over the course of the evening. Each character's position within the family and society should be emphasised through physical positioning, body language, and facial expressions.

• Arthur Birling: As the patriarch, Birling should be staged in a position of authority, perhaps standing while others are seated. His confidence and self-assuredness can be highlighted through his posture; upright and open. Birling’s arrogance can be accentuated by making him physically dominate the stage in scenes where he is speaking.
• Sybil Birling: As the matriarch, Sybil should reflect the same level of pride and self-importance as her husband, but with an air of coldness. She may stand or sit in a formal, upright way, maintaining a distance from others, which conveys her sense of superiority. Her disapproval of those beneath her class should be evident in her gestures, facial expressions, and physical distance from the other characters.
• Sheila Birling: Sheila’s character arc is one of the most dynamic in the play, moving from naïve and somewhat superficial to self-aware and remorseful. At the start, she can be staged as more giggly or self-absorbed, perhaps sitting primly or fidgeting in a way that reflects her upper-class upbringing. As she becomes more aware of her own responsibility, her body language should shift to reflect her internal conflict, with her posture becoming less rigid and more open.
• Eric Birling: Eric, in contrast to his sister, should appear more awkward and uncomfortable at the beginning of the play, which can be reflected in his body language; slouching, avoiding eye contact, and fidgeting. His gradual revelation of his role in Eva Smith’s fate can be highlighted by his physical discomfort, becoming increasingly more tense and agitated as the truth comes out.
• Gerald Croft: Gerald, who is engaged to Sheila, should be staged as the charming, well-mannered man at first, perhaps standing or sitting with a more confident, self-assured air than the Birlings. However, as the Inspector’s investigation deepens, his confidence should gradually give way to guilt or unease. His reactions to the other characters should reflect the social pressures of class and his relationship with Sheila.
• Inspector Goole: The Inspector is central to the play’s dramatic structure, and his presence should command attention. He should be staged as calm, authoritative, and enigmatic. Standing slightly apart from the family (at a distance or centre stage), his stillness can create a sense of power and control. His ability to unsettle the characters should be clear in his measured tone and deliberate actions. The contrast between the Inspector’s calmness and the Birlings’ agitation is key.

Set Design and Setting

An Inspector Calls is traditionally set in the Birling family's dining room in their comfortable, upper-class home. The set design plays a significant role in reflecting the themes of the play and should create a sense of privilege and wealth while subtly reinforcing the social divide that is central to the story.

• The Dining Room: The set should convey a sense of wealth and formality. The room could include a large dining table, elegant chairs, and a fireplace, with rich curtains and furniture typical of an early 20th-century middle-class home. The lavishness of the set contrasts with the poor conditions of Eva Smith’s life, highlighting the stark social inequalities.
• Symbolism of the Set: The stage should be arranged so that there is a clear physical divide between the characters and the space around them. For instance, the family may be gathered around the table at the start of the play, indicating unity, but as the evening progresses and secrets are revealed, their positioning can shift to reflect the unravelling of their carefully constructed lives.
• Entrance and Exit: The entrance of the Inspector should be striking. As a mysterious figure, he could enter from a different part of the stage or even from behind the audience, disrupting the comfortable, familiar world of the Birlings. This entrance creates an unsettling atmosphere and draws attention to his authority.

Lighting and Sound

Lighting and sound in An Inspector Calls play a crucial role in creating atmosphere and reflecting the changing moods of the play.

• Lighting: The lighting should be used to reinforce the tension and mood shifts. At the beginning of the play, the lighting can be warm and welcoming, representing the Birlings’ comfortable, upper-class world. However, as the Inspector’s investigation deepens and the mood darkens, the lighting can become harsher, with shadows creeping in, creating a sense of unease and discomfort.
  • During moments of revelation or tension, you might use focused lighting to highlight certain characters or create a stark contrast between those in the room and the Inspector’s presence.
  • The use of dim lighting during key confrontational moments (such as when secrets are revealed) can intensify the drama.
• Sound: Music and sound effects can add to the atmosphere. For instance, the ringing of the telephone announcing the Inspector’s arrival could be a jarring moment that interrupts the calm. The occasional use of ominous sound effects (such as distant sounds of a bell or wind) can build suspense, especially during moments of uncertainty.

This video describes the dramatic devices in An Inspector Calls.
 

Movement and Blocking

• Physical Movement: The way characters move on stage is crucial in conveying their emotions and reactions. For example, as the family’s world unravels, their movements may become more erratic, with characters shifting their positions to reflect their internal conflicts. Eric may fidget or move uneasily, while Sybil may maintain a rigid, upright posture throughout, even in moments of discomfort.
• Blocking: Blocking should reflect the relationships between characters and their shifting power dynamics. The Inspector can be positioned at a distance from the family, while the Birlings often gather around the table, showing their unity at the start. As the investigation progresses, you may want to rearrange the characters, with the family becoming more isolated from one another, creating physical distance that mirrors their moral disconnection.

Pacing and Timing

• Pacing: An Inspector Calls has a clear dramatic structure, with rising tension leading to moments of revelation and crisis. The pacing should be controlled to build suspense. The Inspector’s methodical questioning should be deliberate and measured, while the responses of the Birlings can become increasingly erratic as they are confronted with their involvement in Eva Smith’s fate. Pauses between lines can heighten the tension, particularly in moments of dramatic irony, where the audience knows more than the characters.
• Timing of Revelations: The timing of each revelation about the Birlings' involvement in Eva Smith’s life is crucial for building tension. Ensure that each character’s reaction is fully realised, and allow the silence or discomfort to linger after each new piece of information is revealed.

The Final Scene

The final moments of An Inspector Calls leave the audience with lingering questions about responsibility and morality. The stage should reflect this sense of uncertainty.

• Lighting and Music: As the play ends, the lighting can become darker, symbolising the characters' moral reckoning and the looming consequences of their actions. The stage can be left in semi-darkness to mirror the ambiguity of the conclusion.
• Posture and Positioning: The characters should be physically distanced, perhaps standing apart, reflecting the emotional distance between them and the fallout of their actions. The Inspector’s departure should be abrupt and unsettling, leaving the family members to reflect on their behaviour.

Conclusion

Staging An Inspector Calls requires attention to detail, as each element; from characterisation and movement to lighting and sound, helps convey the play’s underlying themes of social responsibility and morality. The contrast between the comfortable world of the Birlings and the stark realities of the Inspector’s investigation is key to creating an engaging performance. By carefully considering the relationships, staging, and atmosphere, you can bring this powerful social commentary to life.