You know that feeling when the doorbell rings and your stomach just drops? That’s the entire vibe of J.B. Priestley’s 1945 masterpiece. But let’s be real: the play lives or dies on the strength of the An Inspector Calls actors cast in those iconic roles. If the Inspector isn't eerie enough, or if Sheila feels too much like a caricature, the whole "we are members of one body" speech just falls flat. It becomes a lecture instead of a thriller.
I’ve watched dozens of versions. From the grainy 1954 black-and-white film to the lavish 2015 BBC production and the endless rotations of the Stephen Daldry stage revival. It’s fascinating how different performers interpret the Birlings' guilt. Some play Arthur Birling as a bumbling idiot; others make him a genuine predator. The nuance matters.
The Men Behind the Spectacles: Who Is Inspector Goole?
The Inspector is the hardest role to pin down. Is he a ghost? A manifestation of conscience? A time traveler?
Alastair Sim set the gold standard in the 1954 film. Most people know Sim from A Christmas Carol, but his Goole was something else entirely. He didn't shout. He sort of... loomed. Sim used his expressive, heavy-lidded eyes to make the Birlings feel small. It was a masterclass in stillness. He played the character with a slight smirk, as if he already knew the ending of the book and was just waiting for the characters to catch up.
Fast forward to 2015. David Thewlis took a wildly different approach in the BBC adaptation. Thewlis—who most of us recognize as Remus Lupin from Harry Potter—brought a gritty, northern exhaustion to the role. He felt like a man who had seen too many dead bodies in the morgue. While Sim felt supernatural, Thewlis felt like a social worker with a grudge. It changed the entire dynamic of the story.
Then there’s the stage. If you’ve seen the National Theatre’s touring production, you’ve likely seen actors like Liam Brennan or Clive Francis. In the Daldry version, the Inspector has to compete with a literal house collapsing on stage. He becomes a conductor of chaos. It’s a massive physical challenge that requires a booming voice to cut through the rain and the mechanical noise of the set.
Why the Birlings Are Harder to Play Than You Think
It is easy to play Arthur Birling as a "pompous windbag." That's the trap.
If Arthur is just a joke, the play loses its teeth. Ken Stott (2015) was brilliant because he made Arthur genuinely dangerous. You could see the business mind working behind the bluster. He wasn't just a man worried about his knighthood; he was a man protecting his empire. Stott’s performance reminded us that the Birlings of the world aren't just annoying—they are the architects of the system that killed Eva Smith.
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And then there's Sybil. Miranda Richardson played her in the BBC film with a chilling, porcelain-doll fragility. She was so convinced of her own righteousness that she didn't even blink when the truth came out. It’s a stark contrast to the stage versions where Sybil is often played with more operatic grandiosity.
The kids are where the heart of the play usually sits.
- Sheila Birling: In the early acts, she’s "mummy’s girl." By the end, she’s the only one who truly learns. Chloe Pirrie (2015) did an incredible job showing that transition. You could see the makeup practically melting off her face as she realized her complicity.
- Eric Birling: Usually played by actors who can do "disturbed and drunk" well. Finn Cole, famous for Peaky Blinders, brought a certain predatory desperation to Eric. He made it clear that Eric wasn't just a victim of his father; he was a perpetrator too.
Honestly, the chemistry between the An Inspector Calls actors playing the siblings is what makes the final act work. If they don't seem like they've spent a lifetime annoying each other, the "socialist awakening" feels forced.
The Eva Smith Problem: To See or Not to See?
In the original play, Eva Smith is never seen. She’s a photograph in a pocket. A name on a ledger.
The 2015 film broke this rule. They cast Sophie Rundle to actually play Eva/Daisy in flashbacks. This was controversial among purists. Some argued that seeing her took away the "everywoman" quality of the character. If she's one specific person, she isn't "millions and millions of Eva Smiths."
However, Rundle was heartbreaking. By putting a face to the victim, the film made the Birlings' actions feel more like a crime drama and less like a morality play. It changed the stakes. When you see her drinking the disinfectant, it’s a lot harder to dismiss the play as just a "GCSE English requirement."
Comparing the Greats: A Look at Casting Choices
When you look at the history of the play, the casting usually reflects the era's politics.
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In the 1982 BBC miniseries, Bernard Hepton played the Inspector. He was very "establishment." It felt like a polite disagreement between gentlemen. Contrast that with more modern stage versions where the Inspector is often dressed like a manual laborer or a trench-coated detective from a noir film.
The casting of Gerald Croft is also a huge indicator of how a director views the play. Is Gerald a tragic figure who almost escaped his class? Or is he a younger version of Arthur? Kyle Soller played him with a slick, handsome arrogance that made his "rescue" of Daisy Renton feel like a calculated hobby. It made his eventual return to the "it was all a hoax" mindset feel inevitable and sickening.
The Challenge of the "Stage vs. Screen" Performance
Acting for a camera is about the eyes. Acting for the back row of the balcony is about the lungs.
In the long-running Stephen Daldry production, the An Inspector Calls actors have to deal with a surrealist set. The house is on stilts. There is literal mud on the stage. The actors often end up drenched in water.
- Physicality: Actors like Nicholas Woodeson have talked about the sheer exhaustion of the role. You aren't just delivering lines; you're navigating a collapsing world.
- Voice: The 1954 film allows for whispers. In the theater, the "fire and blood and anguish" speech has to shake the walls.
- Timing: On film, the editor decides when the tension breaks. On stage, the actors have to hold that silence. Sometimes, a silent stare from the Inspector can last thirty seconds, and the audience has to sit in that discomfort.
Why We Keep Recasting This Play
The reason we keep seeing new An Inspector Calls actors every few years is simple: the play is a mirror.
Every generation thinks they’ve solved the problems of class and responsibility, and every generation is wrong. Seeing a new actor play Eric Birling brings a fresh perspective on "modern" youth and entitlement. Seeing a new Sheila shows us how young women are still navigating the pressures of image versus integrity.
I remember seeing a local production where the Inspector was played by a woman. It completely shifted the power balance. Suddenly, the Birlings' dismissiveness felt less like classism and more like blatant misogyny. That’s the beauty of Priestley’s writing—it’s sturdy enough to handle these reinterpretations.
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Identifying the Best Versions for Study
If you are a student or just a fan of the theater, you have to watch at least two versions to get the full picture.
The 1954 film is the "classic" choice. It’s tight, well-paced, and Sim is legendary. It’s arguably the most "ghostly" version.
The 2015 BBC film is the "emotional" choice. It fills in the gaps. It shows you the factory. It shows you the infirmary. It makes the political personal.
The National Theatre (Daldry) production is the "artistic" choice. It treats the story like a fever dream. If you can't see it live, there are filmed versions of the stage play available through various educational portals.
Actionable Steps for Exploring the Cast Further
If you’re looking to dive deeper into the world of An Inspector Calls actors, here is how to get the most out of your research:
- Watch the 2015 BBC Adaptation first: It’s the most accessible for modern audiences and features heavy hitters like David Thewlis and Ken Stott. Pay attention to how the camera lingers on the actors' faces during the "interrogations."
- Listen to the Radio Plays: The BBC has produced several radio versions. Without the visual cues, you have to rely entirely on the actor's voice. It’s a great way to see how the dialogue carries the tension.
- Compare the "Monologue": Find clips of three different actors delivering the Inspector’s final speech. Notice where they pause. One might emphasize "responsibility," while another emphasizes "anguish."
- Read the Stage Directions: Priestley was very specific about how the actors should look and move. Compare his notes (e.g., Arthur being a "heavy-looking, rather portentous man") to the actors actually cast in the roles. You’ll find that modern directors often ignore these descriptions to make a point.
- Check the National Theatre Archive: If you’re near London or have an institutional login, look at the past cast lists. You’ll be surprised how many famous actors got their start in the Birling dining room.
Understanding the actors is the key to understanding the play. It isn't just a script; it's a living, breathing confrontation. Every time a new actor puts on that trench coat, they are asking us the same question: are we responsible for each other? So far, the answer hasn't changed, and that’s why we keep watching.