At the end of the play the set is the same but some of the characters are different; the set helps to show this. The set highlights their power and separation from everyone else, for example as soon as Gerald is back from outside the room everything begins to change, and there are superstitions of the Inspector not being real.
At first the play convinces the audience that they are safely within the limits of what is real and normal, and then in the end the feeling of reality is shattered and the family move into an unreal, mysterious situation. By using the solid and naturalistic stage setting Priestley created that sense of reality while the mysterious role of the inspector and the time-switch at the end of the play introduce the unreal elements. The use of time is part of the structure of the play, which suggests that until people face up to their actions then the same mistakes will be repeated.
Throughout the play “An Inspector Calls” sound and lighting effects are very important.
At the start of the play the lighting is described as ‘pink and intimate’ and then ‘brighter and harder’ when the Inspector arrives. The ‘pink and intimate’ lighting at the beginning gives the impression that the Birling family see life through rose-tinted glasses; it is a self-deluding cheerful atmosphere. When the lighting is expressed as ‘brighter and harder’ it suggests a tense atmosphere. The brightness of the light is bringing out the truth, there is no shadowing and the investigation by the Inspector begins. Sheila learns a lot throughout the play and takes on the Inspectors role, this is highlighted by the lighting effects when the Inspector ‘moves nearer a light-perhaps a standard lamp.’ The lighting throughout ‘An Inspector Calls’ plays a very large part in truth, ‘give us some light’ this suggests truth to the audience.
Sound effects are very important in the understanding of theme to the audience. The play uses bells, the telephone and doorbell. The theme of the bells suggests warning, such as an alarm. Every time a bell is sounded, the audience expect something to happen, it symbolises a point of importance in the play.
The first bell on page ten to be heard in “An Inspector Calls” is the doorbell, the Inspector arrives just when Birling is extolling the virtues of selfishness. This bell draws the audience’s attention to what Birling is saying. It is very ironic, how Birling is speaking of his views on selfishness, and not knowing everything is about to change. This bell is about to change everything.
The second bell is sounded when Gerald returns, the characters all look at each other in alarm, this bell presents a moment of suspense. Is it the Inspector again?
The final bell is the telephone at the end of the play, page seventy two, it is very significant as it marks the end of the play and is a build up of suspense, bringing bad news, and allowing the audience to see the same mistakes the family have made. The bell is quoted as ringing ‘sharply’ this suggests to the audience the play is over.
All bells in the play are extremely significant to the audiences understanding as they indicate there is a twist in the plot.
Priestley, a socialist wanted to make sure his message of shared responsibility got across to the audience, therefore his stage directions had to be very specific. This gives the audience no choice to have different ideas apart from his. The stage directions are very important because of this reason and therefore should be read closely as they are just as important as the text.
Before a character speaks there are words such as ‘thoughtfully,’ and ‘slowly,’ these are stage directions, and are very important as they help the audience to understand the theme and character of “An Inspector Calls”.
Priestley’s description of Inspector Goole as creating ‘an impression of massiveness, solidity and purpose’ is a key characteristic, helping to explain his otherwise surprising ability to dominate the arrogant and hypocritical Birlings and Gerald. On several occasions, the Inspector is described as ‘cutting through massively’, or ‘taking charge massively’; reiterating his dominance and forcefulness. He is also described as ‘cutting in, calmly’ or ‘cutting in with authority’. Stage directions such as these help the Inspector to show his personality to the audience, and to keep the play moving forward at a quick pace; he refuses to let the Birlings to distract him from his inquiry. Just before his final speech he is described as ‘taking charge masterfully.’ All these stage directions help the audience to understand the Inspector is a very dominating character. He is in control; he is not intimidated by the family. The inspector often has stage directions that inform him to speak ‘sternly,’ ‘severely,’ ‘very deliberately.’ This shows he is in emotional control of himself, while in contrast the Birlings often speak ‘miserably,’ ‘bitterly,’ ‘wildly.’ They are much less in control of their emotions.
The stage directions give a helpful indication of how different characters respond to the Inspector’s interrogation, and how they regard him as a character. For example, Sheila is the only member of the family to perceive that there is something strange and exceptional about the Inspector. At the end of Act One she ‘laughs rather hysterically’ and tells Gerald that ‘he (the Inspector) knows,’ before looking at him ‘almost in triumph’. On page twenty nine, the Inspector is said to regard Sheila ‘calmly’ it illustrates an unspoken understanding between her and the inspector and leaves the audience making her more sympathised with. Sheila’s sensitivity towards the Inspector, and her genuine remorse for her part in the tragedy, are reflected in the ‘urgent’ manner in which she tries to prevent her mother from offending the Inspector by the snobbish and arrogant manner she displays towards him.
Stage directions highlight the contrasts between the characters and their reactions to the death of Eva. For example, Sheila ‘almost breaks down, buy just controls herself,’ which indicates the heartfelt remorse she feels, which Gerald is merely ‘distressed’ at the news of her death. Gerald probably shows the least emotion of any character, while Eric and Mr Birling often speak ‘angrily’ or shout ‘furiously’, which reflects their emotional instability. Sheila is ‘astonished’ to hear that her mother has seen Eva only two weeks previously, while just a few lines later, Birling is in turn ‘astounded’- but only because Eva called herself ‘Mrs Birling’, not that he is horrified that his wife has been connected with the suicide of a young women!
Mr Birling does not change his views or attitudes over the course of the play. Though he reveals more of his contempt for weakness and his anger at the foolishness behaviour of others, he cannot see that his actions towards Eva were wrong, and the audience feel that if the events were repeated he would still feel justified in sacking her. Mr Birling has very superficial manner, speaking to Gerald ‘confidently.’ Birling speaks ‘sharply,’ towards Eric who replies ‘defiantly’ this shows conflict between the two; they do not have a good stable relationship. Birling tries to push the blame onto someone else easily ‘with marked change of tone,’ even his own family. ‘Birling looks as if about to make some retort, then thinks better of it, and goes out, closing door sharply behind him.’ This shows he always wants to be right. He doesn’t have an answer, so all he can do is storm out. Mr Birling is a very proud, arrogant man and this is shown through his use of words.
Mrs Birling is described as a ‘rather cold woman.’ Her coldness and lack of conscience make her unsympathetic, while her keen awareness of the rules of polite behaviour makes her seem out of touch with what really matters. The stage direction ‘staggered’ is often used for Mrs Birling and it suggests her complete surprise, and shows how sheltered she really is. Mrs Birling stands up to the inspector ‘with dignity’ but her weak spot is her son Eric, she is ‘alarmed.’ She is ‘stung’ it is not remorse that makes Mrs Birling own up, it’s the Inspector’s persistent questioning that makes her tell the truth. There is no sympathy, indignation- she doesn’t do it from a warm heart.
Mr and Mrs Birling ‘exchange bewildered and rather frightened glances,’ they are no longer trying to dominate the Inspector like at the beginning of the play. Birling ‘tries to protest’ to the Inspector, but Mrs Birling ‘rather cowed’ is intimidated by Goole, even after pretending afterwards she wasn’t. Mrs Birling does not accept her responsibilities ‘I don’t believe it I won’t believe it.
There is a romantic feel of Sheila and Gerald thinking they’re in love at the beginning of the play- ‘for a moment they look at each other.’ This is a contrast to the reality that comes out later. Sheila is the character that is touched by the tragedy the most, she ‘recognizes it with a little cry’ the audience can see from this how highly strung she is. They are sympathetic to her. It makes the audience understand the fault of her short temper, it’s not a sin. Priestley wants the audience to see how well she identifies, she’s trying to learn.
Eric like Sheila feels sympathy for Eva Smith. When he has to admit how he behaved towards her he has a stronger sense of guilt than the others because the consequences of what he did are so much worse. In the play we can see he is not in control, ‘Eric suddenly guffaws,’ and he ‘goes for a whisky.’ Eric speaks ‘miserably,’ and ‘unhappily.’ He is ‘nearly at breaking point’ this shows how emotional Eric is, he does not have any intention of getting out.
Gerald has the self-confidence of someone who is at ease whoever he is with. The audience do feel some sympathy for Gerald, who speaks ‘carefully to the inspector,’ this illustrates to the audience that he is trying to tell the truth. This sympathy stays with the audience until the end of the play where the audience can tell he has not learnt. He believes the Inspector is not real and shares this with the family, ‘he looks round. .’ Gerald is pleased; he thinks he has found a way out for them, even though there is no forgiveness of this tragedy. This unsympathetic feeling is also reflected towards Mr and Mrs Birling who also do not learn. Mr Birling speaks ‘excitedly’ towards Gerald and Mrs Birling speaks ‘triumphantly.’ Their emotions haven’t been touched at all. They are not affected at all; it shows how superficial they really are.
The stage directions through out the play help the audience to understand the characters, and in the end ‘they stare guiltily and dumbfounded,’ they have not learnt, except for Sheila and Eric.
I think Priestley has great control over the audience and getting his opinions of theme and character across.
The stage directions help to enhance the audience’s understanding of the characters and their emotions. They reflect the characters’ different responses to the news of their role in Eva’s death. It adds to the plays dramatic impact.
Priestley has great control over time in the play. His timing of entrances and exits is crucial for example; the Inspector arrives immediately after Birling has told Gerald about his impending knighthood about how ‘a man has to look after himself and his own.’ The unity of time and place is achieved by the events all taking place in the dining room and the action running continuously through all three acts. Even when there is a break between acts where an interval might be placed, the start of the next act takes us to the same point in time at which the audience had left the action. Each part fits together and helps to complete the jigsaw of events and involvements. As the pattern develops the audience is able to predict what will happen next.
In conclusion I think that Priestley’s instructions for staging add to the audience’s understanding of theme and character in “An Inspector Calls” extremely well. John Boynton Priestley leads the characters and the audience from a state of ignorance to a state of knowledge.
