We sat down with Christine Kavanagh who plays Mrs Bingley in Stephen Daldry’s production of JB Priestly’s classic thriller An Inspector Calls on a 30th anniversary tour of the UK.
- An Inspector Calls is an absolute classic in the theatre world – how does this production bring a new light or energy to a play most audiences will have experienced already?
We are lucky that An Inspector Calls is studied so much in schools, and so we can bring this production to people, and we love having schools in our audiences, other works are not performed nearly so frequently. People often think of plays like this as being stuffy period dramas, but the reason this production by Stephen Daldry is a landmark production is that it is given its full weight. It was first staged in 1945 in Russia and written as an experimental piece of theatre, and this production stays with that. Everything you think you’re going to see at the theatre is turned on its head. You think you’re going to see a costume drama, but it seems to be 1945, you think you’re going to see a set that is grounded but it appears to be floating mid-air. I cannot urge people to come along to see An Inspector Calls enough, not just because of this incredible production but also because the actual message of the play is so important – that we are all responsible for each other and that privilege and wealth need to be examined. It’s not a bad message for our times. It’s not a play that people see that frequently, and if it’s your first experience of theatre then it’s a great place to start.
- Stephen Daldry, your director, has a fantastic track record – how have you found the rehearsal process? Is it part of your career’s allure/benefits to work with a range of directors in your career and experience different approaches?
I’ve been fortunate in my career, as I have been in the business over 40-years, to have worked with some truly great directors including Trevor Nunn, Simon Godwin and now, Stephen Daldry! Of course, it goes without saying that there are some directors who you wish to work with, and Stephen Daldry is most definitely in that category. He thinks outside the box, which is what most great directors do, he has quite an eclectic career and amazing curiosity. In rehearsal it has been a treat as he seems eternally youthful and still has the joy and love of theatre. It was like having a masterclass because Stephen is the originator of the production. My advice to young people is definitely try and work with great directors, and work with great work. When you choose your audition pieces, choose great writing whether it is contemporary or classic. Always choose the best and lean on that strength as well as your own talent. It’s a marriage made in heaven to work with a wonderful director on a great script.
- It’s a big tour you’re embarking on – how do you find all the travel and performing in the same show for so long?
It’s very simple – Angela Lansbury was once asked ‘how do you learn your lines?’ and her reply was ‘It’s my job’. I would suggest this would apply to touring as well, it’s my job! You always have to know what you’re getting yourself in for that this is a touring production with long hours and hard work but it’s a fantastic play and great company. You do have to look after your health and find good accommodation but it is a treat. You meet new people, you meet young audiences and you get to experience art galleries and museums across the countries. It’s a great job!
- Are there any parts of Mrs Birling’s character that you really resonate with?
Not much, she is a monster, and I am quite a pleasant person, and I have a sense of humour and she doesn’t, but I absolutely do resonate with the fact that she is a very opinionated person, and let me tell you, I am quite opinionated too, but hopefully with more charm and humour than her. I suppose the strongest resonance is that we are both mothers, matriarchs. I don’t resonate with her much at all, but she is a fantastic character to play.
- Are there any themes in the play that people might not normally notice that you’d like to point out for them to experience An Inspector Calls in a new way?
Oh I think you should come and see the show and find out for yourself! However, I would say that a theme people don’t often think too much about is time. Priestley messes with time, as does Stephen Daldry. We look at the past and find out how the past affects the future and wanting people of privilege to examine their privilege. The play was written in 1945, during the Second World War, and set it in 1912, just before the First World War. Here we are in 2022 with war happening across the globe. A great line from the play is “We don’t live along, we are members of one society” and we are all responsible for each other, which is not a bad lesson to think about today. The play includes discussion of the exploitation of women, of strikes and of the disparity of pay and wealth, all of these timeless themes.
- Finally – what do you prefer – the stage or the studio (for TV)?
They’re all different, but they are all the same principal – acting. The one that I really love actually is radio, but I do love it all!
(Tickets and dates can be found here) www.aninspectorcalls.com