Deceit is a human frailty frequently portrayed in drama. But when the sham that’s perpetrated is one of self-deceit, additionally exacerbated by its combination with extreme hubris, the drama can be heightened on several levels.
JB Priestley’s An Inspector Calls presents us with a picture of a family whose relations, both within and without, are predicated on the maintenance of sham and façade. Their orientation and worldview of isolation are constituted exclusively in black and white, denying or ignoring the more colorful, yet oh-so-messy world of different classes that exists beyond. But, if only the deceit can be maintained, then perhaps the illusory walls of their happiness and security might remain unbreached, intact…
Priestley’s premise is that the real world, which can only be kept at bay for so long, is composed not of classes, but rather of individuals, and that we all share responsibility for one another. He uses the device of an ethereal Inspector whose knowing questions about the death of one young woman work to hold up to the others a mirror that reflects their own self-absorbed actions, isolation and the often-dire results. Consequently, some of the characters (predominantly the youth) see and accept their responsibility and guilt, which for them, though painful, becomes the hopeful breath of real life on the figurative mirror. For others, living a life connected to a real world composed of people unlike them is too daunting. For them, mere existence and self-image can only be perpetuated through the guise of self-deceit.
Writing the play at the end of the human horrors of the Second World War, Priestley aptly chose to set his story in 1912, when Britain and the entire world blithely teetered on the precipice of enormous social and political changes. Yet, widespread self-deceit left not only the British Empire and its class system but also much of the world ill-prepared for the impending rough reconstitution. The audience, unlike the unconscious characters, is all-too aware of these looming events, perhaps best represented by the imminent ill-fated voyage of the Titanic – a wonderfully cruel symbol for the hubris of a heedless, headlong rush through dark, dangerous waters.
But beyond the few hours spent enjoying the drama of Priestley’s allusions, illusions and delusions, is there anything one might take away from An Inspector Calls? Here at Lakeside, we live as rather privileged guests in a country in which we are continually reminded of the needs of our hosts. We live amidst - not separate or apart from - their relative need and poverty. Yet, a plethora of volunteer and charitable organizations and activities here also enables us to offer donations of our time, our money, our expertise, our benevolence, our connectedness. What a wonderful, relevant reminder, then, is Priestley’s play: that we can celebrate our connectedness in part by participating in such organizations and activities that might satisfy us and serve others.
As part of preparing for the play, I have compiled a comprehensive list and descriptions of these local volunteer and charitable organizations and activities. This information is posted on the Inspector website at http://neal.checkoway.com/inspector/volunteer. I encourage you to review this list and to choose the activities that best fit your vision for sharing.
As a final note, I wish to express my appreciation for the wonderful assistance of others that I received in bringing An Inspector Calls to the LLT stage. As a virtual newcomer, I am gratified by the support provided by a relatively-experienced, talented cast and by an enthusiastic, creative crew. I also wish to thank the following local merchants who generously donated furniture and materials for our production: Denise McFarland of Arden Casa de Muebles, Antonio Sanchez of Tapicolor, Tom Thompson of Barbara’s Bazaar and Judy Eager of Eager and Associates. Muchas gracias.
Email Neal at: neal@checkoway.com