Her attitude towards Eva being pregnant is not shocked and amazed like Sheila; instead she is unconcerned and insists that it is not her responsibility: “I’ll tell you what I told her, go and look for the father of the child. It’s his responsibility.” Here the actress should try to emphasise the fact that she has repeated this a lot of times and this is the final time she is going to say it. As Mrs Birling says this she does not know that Eric is the father. This is made exciting for the audience because by this time the audience will have realized this but Mrs Birling has not yet realized the dramatic pattern which has unfolded: “I blame the young man who is the father of the child…..he should be made an example of. If the girl’s death is due to anybody, then it’s him.” After this quote she suddenly realizes about Eric. At this point all her confidence and pride is lost. Mrs Birling starts to understand the dramatic pattern and also realizes what she just said was about her own son: “I mean….it’s ridiculous, I don’t believe it, I won’t believe it.” Here she starts to become agitated and distressed. In addition to the stage directions I would direct the actress playing Mrs Birling to end the act by looking very shocked and look like she is going to have a nervous breakdown. She should also hesitate in her speech and start to stammer. This adds to the dramatic ending at the end of Act Two by showing how the once – proud Mrs Birling is no longer in control.
The Inspectors general behaviour during this section is also dramatic because he has great authority and power over the Birling family. The factor that makes it most dramatic is the fact that all the characters are aware of this but they don’t admit it. One of the important features in this section is the way the Inspector uses different techniques to make Mrs Birling answer his questions. Priestly has shown him to have ‘uncanny’ knowledge.
At first he asks rephasiry questions: “Mrs Birling you’re a member of Brumley Woman’s Charity Organisation, aren’t you” As she does not answer, he calmly continues, this time using the technique of a rephrasiry question: “It’s an organization in which women in distress can appeal for help in various forms. Isn’t that so?” When he uses this technique, the Inspector should take on a factual tone and raise his eyebrows at the end. This question results in a response from Mrs Birling so the Inspector decides to continue using the same technique: “There was a meeting of the interviewing committee two weeks ago?” At this point Mrs Birling rebels and does not co-operate with the Inspector so he replies with a more assertive and sterner tone: “Do you want me to tell you in plain words?” This shows that he is prepared to confront Mrs Birling with the brutal truth. When Mrs Birling realizes this; the Inspectors next tactic is to use a series of short questions to reveal the primary facts: “Not as Eva Smith.....As what then?” This tactic is dramatic because it increases the pace of the investigation and the pressure on Mrs Birling.
Later on, the Inspector asks a question: “Was it owing to your influence, as the most prominent member of the committee that help was refused the girl?” In her reply Mrs Birling is non-committal so the Inspector reiterates the question in a more powerful tone: “Was it or was it not your influence?” When the actor is about to say this he should stand up or stamp his foot to show that this is a crucial part of the investigation which Mrs Birling has evaded.
Another side of the Inspectors personality is portrayed with his next method: “No, I don’t…..As I wasn’t there I don’t know what she asked from your committee.” When the actor is performing this dialogue, I would direct him to say this with a hint of sarcasm. (As if it was obvious) In response to this sarcasm, Mrs Birling again is non-committal so in the Inspectors next dialogue he shows that he is being confrontational: “You have no hope of not discussing it, Mrs Birling.” By saying this, he is implying that he disagrees with her, speaking sternly and confidently showing the Birling family how much power he has. In demonstration of this power, the Inspector makes a shocking statement: “Then the next time you imagine it just remember that this girl was going to have a child.” When performing the actor should bow his head down and act sad but not emotional. After this Inspector tries to show Mrs Birling the consequences of what she has done by using emotive vocabulary, illustrating the theme of social responsibility: “She came to you for help, at a time when no woman could have needed it more. And you not only refused it yourself but saw to it that the others refused it as well.” In addition to the stage directions I would direct the actor to start getting angry and act as if he is stressing this to Mrs Birling: “She was here alone, friendless, almost penniless and desperate. She needed not only money but advice, sympathy and friendliness. You’ve had children. You must have known what she was feeling. And you slammed the door in her face.” By saying this, the Inspector is trying to force Mrs Birling to face her moral liability, which is that being a woman, she should help another woman (linking back to the aim of the play). This leads on to more questions and gradually the Inspector loses patience: “Don’t stammer and yammer at me again, man. I’m losing all patience with you people. What did she say?” This dialogue is very dramatic because it shows the aggressive side to the Inspector and how he uses it by not allowing Mr Birling to speak over him. He goes on to say: "I warn you, you’re making it worse for yourself. What reason did she give by not taking any more money?” By saying this he is using another technique which we have not yet come across. To encourage Mrs Birling to co-operate with him he threatens her. The actor’s facial expression should suggest that it is entirely Mrs Birling’s decision on what to do. This technique receives a result so he goes back to using a rephrased question: “..…Then she came to you for help because she wanted to keep this youngster out of any more trouble – isn’t that so?” This sequence adds to the dramatic theme of the play because it portrays how the Inspector changes from calm to aggressive and how this all builds up into a dramatic trap: “Who is to blame then?” Mrs Birling goes on to say that father of the child is responsible. She has already fallen into the trap by not knowing that the father of the child is her own son. Taking advantage of this he uses Mrs Birling’s words against her: “So he’s the chief culprit anyhow.” The Inspector is now in a position of power and control: “Don’t worry Mrs Birling, I shall do my duty.”
Another way in which the Inspector traps Mrs Birling is by using a rhetorical question: “No hushing up, eh. Make an example of the young man, eh. Public confession of responsibility.” Here he forces Mrs Birling to condemn herself. She replies by asking what is he waiting for. The Inspector says: “To do my duty.” To really bring out the drama the actor should present a sly grin on his face and through this Mrs Birling should suddenly realizes how she has fallen into the trap. The last thing the Inspector says for Act Two is another rhetorical question to remind Mrs Birling of what she has just said: “if he is, then we know what to do, don’t we?”
Even though the Inspector does not seem it, he is a very dramatic part to this section. He changes from being impassive to showing a crescendes of more emotion.
Sheila, however, does not change that much in this section. She (and Eric) are the only characters who feel guilty and bad towards their past actions. The audience see her as a sweet girl who is innocently trying to help her parents realize and face the truth, whereas on the other hand her parents look at her as an annoying little girl who has no knowledge of the world.
When the Inspector says that her mother met Eva just two weeks ago, Sheila’s emotional reaction is filled with astonishment. Her verbal reaction is full of shock so that she just blurts out: “Mother.” If I could be in control of her physical reaction I would direct her to (if sitting down) immediately stand up after hearing this and also show a surprised and slightly hurt expression. Sheila’s reaction shows how she is annoyed with her mother for not saying this before and also slightly hurt. This would add increasingly to the dramatic tension because Sheila, like the rest of the audience, is wondering under what circumstances Mrs Birling met Eva just two weeks before her death.
Throughout this section Sheila is shown with a range of techniques to try to warn her mother about what is going on: “Mother. She’s just died a horrible death – don’t forget.” By saying this, Sheila is asserting herself against her mothers’ authority. By the actors facial expression the audience should be able to see how shocked Sheila is by her mother’s attitude towards Eva’s ‘impertinence.’
Further on in the section the Inspector uses emotive vocabulary to describe Eva’s death. This has a big effect on Sheila: “No, no, please! Not that again. I’ve imagined it enough already.” Sheila’s dialogue reveals her to be distressed and desperate: “….Horrible, how could she have wanted to kill herself.” She is shocked and horrified when she hears about Eva being pregnant. Despite all this, Sheila gains hold of herself and studies the facts carefully: “Mother, you must have known.” At this point Sheila starts to rebuke her mother and responds to the Inspector’s ‘word picture’ of Eva’s suffering: “Mother, I think it was cruel and vile.” By saying this, Sheila is starting to realize what the Inspector is getting at and is showing that she is on his side. When Mrs Birling is discussing about punishing the young man Sheila is the first character to realize that Eric is the father and she almost instantly tries to prevent her mother from saying anything more: “Mother – stop – stop.” This part of the section is very dramatic because at the same time Sheila is helping the audience to realize as well: “But don’t you see –“ Despite all her efforts she fails in her aim so this results in her mother falling in the Inspector’s trap. Sheila should act loud and alarming so her mother is aware of her presence.
At the end of the scene Sheila is very upset about what has happened but is also very relieved: “Mother, I begged you and begged you to stop.” At this point in the Act, Sheila is more caring towards her mother and tries to explain the reason for her previous actions. To bring out the drama, I would direct the actress playing Sheila to provide a few hand gestures towards her mother so she can express her feelings through verbal and physical expressions.
Mr Birling, on the other hand, hardly has any time to express his feelings. At the beginning of the investigation he tries to confuse the Inspector into reconsidering his strategy by saying: “Is there any reasons why my wife should answer questions from you Inspector?” Mr Birling is trying to assert authority over the Inspector. Compared with the rest of the play, after this dialogue, Mr Birling does not say much concerning the investigation. This is dramatically interesting because Mr Birling and most of the audience have realized that he cannot force the Inspector to co-operate with his methods so in turn he will not get involved in Mrs Birling’s questioning. When he hears that his wife is directly responsible for Eva’s death he supports Sheila in rebuking her mother by dubiously saying: “I must say Sybil, that when this comes out at the Inquest, it isn’t going to do us much good. The press might easily take it up –“ He is showing how he is not concerned about the morality of this but more about his public figure. Mrs Birling however rejects both of these opinions which leads to the closure of that conversation.
Near the end of the act Mr Birling is the last character to realize Eric’s position and how it will lead to Eric being questioned: “My God! But – look here.” By saying these last two words he is trying to stop the progress of the Investigation and remembering his previous attempts he knows he can’t succeed.
The actor can effectively bring out Mr Birling’s character by showing various facial expressions even when no verbal language is heard. This will add light to different areas of Mr Birling’s personality.
Eric’s personality however is not very clear as we do not hear or see much of him throughout this section. The beginning of the play is dramatically interesting because as Eric exits the Birling house the audience are intrigued into wondering why. In directing the drama I would definitely bring this point out by directing the actors and actresses present on the stage, to stop the conversation and show a synchronised gesture towards the door. This will build up the dramatic tension because everybody will be confused about what’s gong on.
The front door slamming at the end of the Act would build up the dramatic tension again. When Eric enters, his physical appearance confirms their suspicion: “Eric enters, looking extremely pale and distressed. He meets their inquiring stares.” His physical appearance suggests how he has felt disturbed and distressed which leads to him being genuinely sorry for his past actions.
To bring the maximum amount of drama out, I would set the spotlight on the characters just before the end of the scene. When they hear the front door there should, again, be a synchronised gesture towards the door, also where the spotlight is now set to. As Eric enters, the curtain falls quickly, which in turn results in Eric being the last character the audience saw. The audience will also be eager to see the final act and this pause in between builds up most of the dramatic tension.
By all these methods of dramatic tension Priestley is adapting a modern, murder mystery theme. Often there is only one culprit and the role of the detective is to reveal the culprit, whereas in Priestley’s play he is exploring class division and is showing how everyone is responsible for Eva’s death. In response to this the family cannot adapt themselves to face reality. In this section only Sheila can but further on so can Eric.
This section of the play also leads to Eric’s interrogation which in turn completes the plays imaginary jigsaw of responsibility. All these techniques that Priestley uses, contribute to a recreation of ‘courtroom drama’ into the Birling’s household.
Eventually, as the play progresses, the audience begin to grasp Priestley’s methods of dramatic tension and towards the end of the section I am studying, the tension transfers inside the audience. This results in them helplessly wanting to witness Eric’s inquiry and also wanting Mrs Birling to face her proud snobbery.
