Mystery Most Foul

An Inspector Calls – Chicago Shakespeare Theatre

Following an elegant family dinner at Arthur and Sybil Birling’s comfortable home in northern England, the arrival of a mysterious man is announced. He claims to be police Inspector Goole who inexplicably shares with them the sad news that Eva Smith, a young working-class woman, has tragically committed suicide. No one at the family gathering, including young Gerald Croft, who has just officially proposed to Arthur’s daughter Sheila, nor Arthur’s son Eric, recognize the young woman’s name. It then begs the question: why is the inspector involving this family in the unfortunate incident?

As the evening progresses during the one-act, more and more information is confessed by each family member, increasing their connection to and the horror of the girl’s death. However, as with any mystery, the joy of this production is in discovering how each “innocent” suspect will unwittingly reveal his or her implication in the death. Then there’s another question, which remains long after the final curtain: who is Inspector Goole? His name might imply that he’s actually a ghoul, a ghost of some sort. He might also be someone personally connected with the poor, dead girl, or he might be a manifestation of the family’s collective conscience. Who or whatever Goole is, his ability to draw information from this self-entitled family and to shame them into understanding that people’s actions are not isolated, is the message of this play. Whether good or bad, everything we do or say effects others, a theme found in several holiday productions, like “It’s a Wonderful Life” and “A Christmas Carol.” No man is an island and everyone bares a responsibility for his fellow man are the humanitarian themes found in J. B. Priestly’s theatrical mid-20th century classic.

Ian MacNeil’s elaborate, simply astounding scenic design must be experienced to be fully appreciated. It’s breathtaking, and defies gravity while exciting the imagination. The scenic design is like something out of a classic science fiction film. Director Stephen Daldry’s production is heightened theatrically so as to include gallons of mysterious fog, a deluge of rain and a cloud-filled sky that would rival any Stephen Spielberg movie. The Birling mansion appears to materialize out of the mist, arriving from the heavens, and it opens up like a a dollhouse or an oversized Faberge Egg, revealing a tastefully appointed Edwardian dining room.

Also on the stage is a weathered red British telephone booth, along with a collection of assorted properties, deftly handled by Diana Payne-Myers, as the family’s elderly maid, Edna. Rick Fisher’s Tony Award-winning lighting design not only washes the scene in mysterious shadowing, but finely focuses our attention on each character’s confession, as the surrounding area darkens leaving the character soliloquizing bathed in a revealing glow. Stephen Daldry’s production is expertly paced, heightened with melodrama and top-notch theatricality. His hand is subtle as he leads his talented actors through their paces while directing the audience’s attention where needed.

This cast is peopled with a company of talented professional actors, each of whom crafts a finely-layered character who Goole peels like an onion. Inspector Goole is played with steely calm, precision and Scottish determination, by Liam Brennan. While interrogating these affluent one-percenters, he commands the attention of everyone around him, both onstage and in the audience. Jeff Harmer’s grandiose portrayal of Arthur Birling is perfect and he inhabits this Edwardian patriarch with his blustering, staunch resolve. Christine Kavanagh, as his wife, Sybil, is every inch the lady of the house, eventually rising up like the tiger she is. Andrew Macklin is all smooth business, calm and control, a younger generation version of his father-in-law to be. Hamish Riddle’s silly, spoiled party boy, Eric, and lovely Lianne Harvey as his conscientious sister, Sheila (and undoubtedly the voice of the playwright), are the only family members who seem, by the play’s end, to have learned anything from the tragedy. The rest of the group find ways to absolve themselves from all blame…that is, until the final moments when an unexpected twist occurs.

This production is a rare and wonderful treat. Chicago Shakespeare Theatre must be congratulated and heartily thanked for bringing this theatrical delight to the Windy City. Such a magnificent production of this thought-provoking drama would seldom be expected to be seen outside of Broadway or London’s West End. The spectral, supernatural production design, gorgeous costumes, intrepid performances and the haunting message that’s buried within this delectable period mystery, will reverberate long after the final curtain. Although referred to as a drawing room classic, Priestly’s best-known work is a superbly entertaining indictment of society’s hypercritical ways, presented with wit, taste and artistry by one of the world’s finest theatres. Do not miss this production! 

Highly Recommended

Reviewed by Colin Douglas

Presented February 19-March 10 by Chicago Shakespeare Theatre and the National Theatre of Great Britain in the Yard at Chicago Shakespeare Theatre on Navy Pier.

Tickets are available in person at the box office, by calling them at 312-595-5600 or by going to www.chicagoshakes.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.