PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. PRIESTLEY By Andrew Bailes SUPERVISORY COMMITTEE: PROF. RALF REMSHARDT, CHAIR PROF. TIM ALTMEYER, MEMBER A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS UNIVERSITY OF FLORIDA 2012
2 2012 Andrew Bailes
3 John Donne
4 ACKNOWLEDGEMENTS I would like to thank David Young for his wisdom and humor. I would like to thank Charlie Mitchell for being a terrific coach and Tim Altmeyer for teaching me ownership. Thanks to Kathy Sarra for providing me with a new body, to Tiza G arland for making it powerful, and to Yanci Bukovec for giving it a rich voice. Also, thanks to Ralf Remshardt for his insight. Finally, infinite love and appreciation to Elle Bailes for her continuous support and trust
5 TABLE OF CONTENTS CHAPTER 2. TEXTUAL ANALYSIS THE PL 12 .13 3. THE PROCESS CHARACTERI VOCAL EXPLO PHYSICAL EX 4. THE PRODUCTION PERFORM 22 SELF EVALU 5. CONCLUSIO APPENDICES APPENDIX A PRODUCTION PROGRAM APPENDIX B PRODUCTION PHOTOS APPENDIX C CHARACTER ANALYSIS BIOGRAPH ICAL SKE
6 Abstract of Project in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts PLAYING THE ROLE OF INSPECTOR GOOLE IN AN INSPECTOR CALLS BY J.B. PRIESTLEY By Andrew Bailes May 2012 Chair: Ralf Remshardt Major: Theatre English playwright J.B. Priestley wrote An Inspector Calls in 1945. Since then, the play has received several successful revivals. In this production of the classic drama, directed by David Young, I played the role of Inspector Goole. The following paper will document my creative process throughout the rehearsal period and into actual performances. This document is broken into five separate chapters. The first is an introduction in which I offer personal insight into my expectations of this experience. Secondly, I will provide textual analysis of the script along with a brief historical synopsis of when and why it was written. I will then discuss the rehearsal process, including characterization as well as physical and vocal explorations. This is followed by an evaluation of the performance. Finally, I will conclude with an opinion of how this pr ocess has developed my acting techniques and strengthened my confidence as a performer.
7 CHAPTER ONE INTRODUCTION In my years of experience as a graduate student at the Unive rsity of Florida, I have employed two words to shape and define my acting technique: economy and ease. Coming from a strong exaggeration in order to tell a story. However, I quickly learned an actor need not work so hard to deliver a successful performance; the playwright has alrea dy built that foundation for hi m. On the contrary, an a ctor should simply look at his scene partner, find an objective, a nd utter his lines. With this straightforward technique, an actor will effectively communic I now strive to incorporate economy and ease into my performances so that I may selflessly act as vessel for the playwright. Firstly, economy mea ns that I need not be boisterous in order to sell a performance. All I h ave to do is truthfully play my objective, working from the core of my being. Through that truthful pursuit, I will create straightforward blocking that is both grounded and effective. Secondly, ease means that my job as an actor is to utilize the Alexander Technique in order to ach ieve an essence of grace. By developing an effective, constructive kinesthetic awareness, I allow a relaxed and graceful state of being. Thu s, I am free to create a truthful character and react to my acting partner in moment t o moment responses. I was ecstatic to incorporate this newly discovered acting practice into my thesis performance of Inspector Gool e. From the first rehearsal all the way into performances, I An Inspector Calls with respect and reverence, thrilled to engage in nsightful direction I was able to work from
8 my core and create a character that was grounded in truth. The result was a performance that
9 CHAPTER TWO TEXTUAL ANALYSIS The Play At the opening of An Inspector Calls lights rise to reveal the Birling family dining room. A rthur Birling proposes a toast to their many successful years ahead, including, perhaps, a possible business merger between Birling and Company and Crofts Limited. Mrs. Sybil Birling hastily overindulgence. However, Shelia and Gerald delight in their betrothal. After Mr. Birling lectures the thr ee youth s about politics and the rapid growth in industry, Mrs. Birling retreats into the drawing room with Shelia and Eric, leaving Mr. Birling alone to discuss his political agendas with Gerald. When Eric reenters, Mr. Birling pontificates about fending for one self without looking out for others. The three are interrupted by the arrival of Inspector Goole, who informs them that a young woman named Eva Smith has committed suicide by swallowing a large amount of disinfectant. Inspector Goole reveals to M r. Birling that Eva Smith once worked for Birling and Company. After being shown a photograph, Birling admits that he knew Eva Smith, and that he fired her after she organized a strike over miniscule wages. When Shelia returns to the dining room, Inspect family. Inspector Goole tells Mr. Birling that each family member is connected death. Birling and Company, stating that after two months of unemployment and living in lodgings, she
10 Shelia announces that she regularly shops at complained about her, Shelia asks to see a photograph of her. Shelia discovers Eva Smith is the same worker she com after her, Gerald and Eric demand to see the photograph; Inspector Goole refuses, sayi ng that he interrogates one person at a time. Shelia returns and confesses that her complaints over Eva Smith stemmed from jealousy of the girl. Inspector Goole reproaches Shelia for her selfish her name to Daisy Renton. The mentioning of this name startles Gerald. Inspector Goole departs for the drawing room with Eric in search of Mr. Birling, and Gerald admits to Shelia that he had an affair with a woman nam ed Daisy Renton. Inspector Goole retur ns to interrogate Gerald, but is interrupted by the arrival of Mrs. Birling, who insists that she knows nothing about a girl named Eva Smith. Mr. Birling reenters and demands that Inspector Goole continue his interr ogation. Inspector Goole asks Gerald to elaborate on his history with Daisy Renton, and Gerald admits that she was his mistress for several months. When Gerald asks to be excused from the Birling home, She lia returns her engagement ring. She tells Geral d that although their relationship is over, she appreciates his honesty. Inspector Goole continues his interrogation by showing Mrs. Birling the photograph of Eva Smith. When Mrs. Birling insists that she does not recognize the girl, both Inspector Goole and Shelia accuse her of lying. Inspector Goole reminds Mrs. Birling that a woman interviewed
11 remembering her case, saying that she refused help to the girl becau se of her gross impertinence. Mrs. Birling reveals that the girl claimed she was pregnant and needed help because she no longer wanted to take stolen money from the that it and reveals that he also had an affair with Eva Smith and fathered her child. Eric elaborates on his relationsh ip with Eva Smith and admits that he stole money from Birling and Company so tha t he may f inancially support her. When Eric asks Inspector Goole how he knew Shelia was pregnant Inspector Goole informs him that the girl for help and that she refused that help. Eric accuses Mrs. Birling of murdering Eva Smith and his unborn child. Inspector Goole informs the Birling family th at he does not need to know any more information. He tells them that although Eva Smith committed suicide, they are all responsible for her death. Inspector Goole stat es that no man live s alone and that people responsible for one another. He insists that if men and women do not one day learn that lesson, then they will be taught it in fire, blood, and anguish. He then departs the Birling residence. After Inspector Goo le leaves, the Birling family questions whether he was a real police inspector. Gerald returns to the residence and says that he just spoke to an officer who claims by calling the police station When Gerald dials the infirmary to inquire whether a girl died there by swallowing a large amount of disinfectant, he is informed that no girl has committed suicide in weeks. Gerald, Mr. Birling, and Mrs Birling delight in the newly discovered news; Shelia and Eric still wallow over their actions. Mr. Birling attempts to lighten the mood, but Shelia scolds him for his callous behavior. The phone rings, and Mr. Birling answers it to discover that a girl
12 has just committe d suicide by swallowing a large amount of disinfectant and a police inspector is on his way over to ask them some questions. The Playwright John Boynton Priestley was born on September 13, 1894. The son of a headmaster, Priestley was raised in the wool merchandizing city of Bradford in Yorkshire. After his mother boy influenced by his socialist father, a man he described as unselfish and public spirited. When Priestley left school at the age of seventeen, he took a job as a junior clerk a t a firm in the Swan Arcade, a dull positi on that offered miniscule wages. Priestley spent his time outside of work writing and submitting his literary work. His first publication came in 1913, and he found continued success in the following years. Af ter serving as a lieutenant in World War I, Priestley studied literature, history, and political science at Cambridge. His first book, Brief Diversions was published in 1922, although it did not sell well. Priestley continued publishing articles and wor ks of criticism in various magazines and journals. His first novel, Adam in Moonshine was published in 1927, and his first play, Dangerous Corner was published in 1932. Throughout his successful literary career, Priestley published over one hundred boo ks. Describing himself as essayist, novelist, and century English literature. A passionate supporter of community, Priestley was highly active in public service.
13 an avid socialist who believed in the strength of public unity, and this philosophy is vast ly represented in his work. Context After writing An Inspector Calls J.B. Priestley found himself in Russia for the premier e of his new drama; the play was performed simultaneously at two separate theatres. Naturally, Russia served as a welcoming co official who objected to it being produced would have been accused of objecting to a moving and Russian a udiences in 1945, An Inspector Calls did not reach England until the following year. The play made its New York premier e in 1947. With An Inspector Calls Prie stley created a tightly fashioned play that preaches the well constructed play of continuous action, in An Inspector Calls Priestley displays a firm and to personify his own ideals in the tit le character, Inspector Goole. Throughout the play, Goole harsh ly exposes the Birling family and exemplifies the playw class separati on. In creating Goole, Priestley was able to preach the importance of solidarity as Goole states: One Eva Smith has gone but there are millions and millions of Eva Smiths and John Smiths still left with us, with their lives, their hopes and fears, thei r suffering and chance of happiness, all intertwined with our lives, with what we think and
14 responsible for each other. And I tell you that the time will soon come when if men will not learn that lesson, then they will be taught it in fire and blood and (Priestley 54 5) considering the current Occu py movement th at is spreading in cities around the world, even here at the University of Florida with Occupy Gainesville. Frustration over the growing financial gap between the rich and the poor is reaching staggering levels, and Inspector Goole serves as another voice of reason in such societal turmoil. With Inspector Goole, Priestley created a character that exudes crafty precision and fastidiousness, an uncanny figure that looms over the Birling family and preaches the value of personal sin but strong feelings of social responsibility; for him, the eyes of God do not exist but one must avoid, by adherence to the strictest code of of c ooperation, if only out of fear over the repercussions of greed and self indulgence, for in insightful manifestation of responsibility and morality might lead one to believe Goole is ominous or otherworld ly, especially when the Birling s discover that he is not really a police inspector. Indeed, even Goole is at times mysterious : Even the raisonneur the enigmatic Inspector Goole, is taken outside time as his very existence is called into question: is Goole a policeman or merely an imposter? Still another possibility exists: Goole i s the embodiment of the
15 Birling s inspect himself a need which, if he could, he would deny. Goole is one of An Inspector Calls is a brilliant if ironic twist o n the common cause, the plot device which he makes use of i n so many of his works. (DeVitis and Kalson 203) Regardless of whether Goole is a police inspector or imposter, human or supernatural, the d be observed and revered for its profound simplicity.
16 CHAPTER THREE THE PROCESS Characterization After reading for director David Young in early June I was ecstatic to discover that he wanted me to play the part of Inspector Goole. I looked forward to implementing my newly discovered acting process and sink ing my teeth into such a juicy role. This character would allow me to exude confidence in my acting skills and create a truthful foundation on which to build the portrayal of an assertive vigilante of justice. Prior to rehearsals, I read the script several times. I highlighted my lines and familiarized myself with the language of the play. Knowing that Dr. Young planned to trim some dialogue out of the script as well as set the action in the United States rather than England, I made sure not to commit myself entirely to what was written, as I understood that certain changes were to be made. I researched the playwright, identifying with his commitment to preaching the values of solidarity. I also conducted some background information for my character, Inspector Goole. When the rest of the actors were cast in August, Dr. Young assigned each actor a character analysis to complete before rehearsals began (see Appendix C). A porti on of the actors to discover their character by determining an objecti ve and creating an analysis stemming that objective as well as given circumstances from the pl ay wants, from whom and under what circumstances, if we are to be propelled into genuine verbal I determined that Inspec tor Goole is a strong willed socialist vigilante vowing to expose the evil deeds of greedy capitalists who a buse their power over the lower class.
17 Although I enjoyed creating this background information, I understood that I could not indulge in too much creative license for any overindulgence might interfere with the embellishment and solely play my objective: I want to expose a family of their selfish wron gdoings and lecture them on the significance of creating an equal society. I knew that it wa s of the utmost importance that I keep my objective simple and st raightforward so that it became effortless to both recall and maintain throughout rehearsals and in performances. Playwright David Mam et elaborates on this practice: devoid of the desire to manipulate, and clear, directed to a concrete, easily stated end, our performances become p from my core, relying on my own strengths to provide characterization. This approach helped me to diminish fears of overanalyzing my acting process a habit of which I am often gui lty Throughout my tenure at the University of Florida, I have been encouraged not to i ntellectualize my characters but instead simply play their objectives from the core of my being Although intellectualizing characters might serve some actors in their thoughtful. However, t hroughout this particular rehearsal process and with the help of many acting professors, I felt I finally succeeded with creating Inspector Gool e. It certainly was not an easy process. There were several highs and lows throughout the journey of creating a cohesive play. Often times during the rehearsal run, I felt as though each actor was in a different play, performing their own stylistic inter pretation. There was also a cast member who fell ill and missed the first week of rehearsal. His absence brought forth disastrous results when he returned without his lines memorized, and it took him several weeks to acclimate
18 himself once he returned. lack of preparation led to uneasiness amongst the cast. Halfway through rehearsals, one of my acting professors Tim Altmeyer, watched a rehearsal and gave us sobering notes about ou r lack of unity. notes were insightful, i t became obvious that he and my director had differing opinions about how the show should be directed. I soon found myself conflicted between trying to please two well respected professors, and I became extremely frustrated. However, I soon de cided that I could not please both Dr. Young and this other professor; what I could do, though, wa s own my work and do it for myself. This insightful discovery brought forth tremendous results, and I soon became confident with the character I was playing. The cast was also finally able to get on the same page and work together, and by tech week, we had a viable show. Vocal Explorations Upon starting rehearsals, Dr. Young gave me three words that he thought described Inspector Goole: dry, dangerous, and myste rious. He also told me to w portrayal of Addison DeWitt in the film All A bout Eve for further inspiration. While watching ccent, and I decided to implement t he lilt into my own vocal exploration. I soon realized that in order to realistically portray this quality of voice as well as incorporate the three words Dr. Young encouraged me to explore, I needed to delve into the lower third of my vocal range. Thank fully, I had been working with Yanci Bukovec and the Lessac System in order to achieve this vocal dexteri ty. I discovered that b y warming up with a Y buzz prior to every rehearsal, I was able to bring my voice into the lower third, thus creating a bone co nducted tone that achieved a vocal quality that both pleased my director and filled the performance space.
19 In the first few rehearsals, I noticed that I was falling into a slight vocal cadence, and I was afraid that I might lose the strength of Inspector melodious with my language. To remedy this pattern, I decided to concentrate on playing my objective and remember that I am t alking to other actors on stage rather than absentmindedly reciting lines. I understood that if I actively listened to each actor, responding moment to moment, I would remain active in my speeches and therefore make b old choices that will lead to interesting lin e deliveries. I knew that k eepi ng the action moment to moment was imperative to creating grounded and truthful performances. I also concentrated on playing with various vocal energies, actively picking operatives in my speeches in order to vocally achieve my objecti ve. Rather than commit myself entirely to one single line interpretation, I explored several readings throughout the rehearsal pro cess, keeping in mind Yanci Dr. Young also reminded me of this fact several times while encouraging the cast to never settle wi th their first choices. Instead, I treated the rehearsal process as a vocal playground, experimenting and playing as freely and openly as possible. Physical Exploration uld perhaps be my biggest challenge as an actor. With Dr. Young insisting that I create a larger than life character I soon realized that I needed to create a powerful inspector while at the same time maintain an easy, present demeanor. My Alexander Te chnique professor, Kathy Sarra, gave me some terrific advice on how to enlarge my character while working from my core. Kathy told me to think forward an d up,
20 allowing space between my arms and torso rather than artificially creating it. I also realized that at times during rehearsal, the contemplative demeanor of Inspector Goole often created a downward pull during my performance because I would look the floor for inspiration before stating my next line Kathy suggested that I look up to the heavens for inspiration rather than the floor which was a terrific idea W hen thinking up and out character, the body is properly aligned, thus creating a better working entity. All of this, of course, stems from proper usage of Prima lengthening of habitually contracted muscles of the spine, with the result that the upright posture of s elf, I was able to work from my core and create a dominating character that towered over his surroundings, all the while remaining truthfully grounded and present. An excellent warm up exercise that helped me achieve an active Primary Control was floor wo rk. Meeting privately with Kathy, I recorded her conducting a floor work exercise taken Bodystories: A Guide to Experimental Anatomy In this exercise, I lay on my back with my knees elevated, spending fifteen minutes in constructive rest. This exercise encouraged upright posture by releasing tension from contracted muscles, enabling me the Our ability to plan and to shape our environment makes us responsible for what we create an d for how we choose to live in that creation. Thus, our responsibility is to remain able to respond, moment to moment, to the choices which occur actively engage with my fellow actors, responding moment to moment with confidence and ease. A nother visceral state of physical awareness that I implemented into my work was borrowed from my movement instructor, Tiza Garland: while performing, an actor should
21 envision their body reflect ed in the ground un derneath them and they a re attached by the sole s of their feet; therefore, the actor must remain connected to that second body by anchoring their feet to those of their mirrored self Imagining this constant physical connection always r eminded me to remain grounded, a key element in creating a dominating character. I also worked with several rehearsal costume pieces and stage properties, which are a crucial element in discovering character work early in and throughout the rehearsal process. The costume department gave me a rehearsal trench coat to wor k with, and it helped add more definition to my character Indeed, rehearsal clothes are a necessa ry commodity; they help the actor prepare for wha t to expect when their actual costume arrives, and the trans ition into that costume is relatively se amless The large tren ch coat was also instrumental in helping me develop that larger than life characteristic Dr. Young encouraged me to explore. I also used a note pad and pencil early in the process, which were great props to work with. Playing with the props gave me a feel for my character because it allowed me to perform motivated tasks as Inspector Goole
22 CHAPTER FOUR THE PRODUCTION Performance In the rehearsals leading up to opening night, I felt more and more connected with the show and my character. A s my confidence grew, so did my ownership of Inspector Goole. The trick, of course, wa s to remain active in every performance listening to each line as if it were the first time I heard it. I actively pursued every objective, each one differentiating with th e character s I interrogate d I found various methods of accosting Mr. and Mrs. Birling a s well as Shelia, Gerald, and Eric I attack ed Mr. Birling, menacingly towering over his bear like figure, both figuratively and literally. I would sharply undercut Mrs. Birling, outplaying her wit as if it were a game of chess With Shelia, I remain ed warm and open, manipulatively hooking her into my question s until the truth of her actions was finally revealed I was blunt with Mr. Croft, never once granting him permission to take a single step ahead of me. Finally, I sympathize d with Eric while never really condemning his actions; his drunken d esperation had already crumbled him and I was simply there to play checkmate. I found pure enjoyment, both as the character and an actor, in l istening and activ ely responding to each family member while playing individual objectives. In turn, I owned the moment, and it became more and more fun with every performance In regar ds to listening to each confession which was of the utmost importan ce to me, Dr. Young also advised me else wa s talking, which he insisted wa s an old detective trick. Although for the sake of giving proper focus to the individual talking on sta ge, I could not shift my energy towards another actor t he entire time. However, I found it was a great tactic for my character in sorting out the truth, and it help ed in play ing t he mysterious quality with which Dr. Young desired me to experiment I also found
23 some small story, which was that he was a vigilante of justice who ex posed greedy, upper class pluto crats on a regular basis. Eva Smith in the bar at the Palace Variety Theatre he mentions t hat the girl was entrapped by a n alder man named Joe Meggarty determining that he would be my next case. A ll of these active perusals kept the performance fresh and engaging. After smooth and easy technical rehearsals, opening night had finally arrived. I was sure to keep myself properly hydrated and well fed, ensuring that I did not fall victim to sickness during the run of the show. My opening night routine consisted of ar riving at the theatre two hours before curtain and meditating in order to relax my mind after a busy day of anticipation Bodystories and I commenced in fifteen minutes of constru ctive rest. This led to vocal warm ups, a series of Y buzzing and call exercises. Finally, I was ready to get into costume. Normally a loud and boisterous person, I spent the moments leading up to curtain quiet and relaxed, which I believe led to a focu sed performance. I hugged every member of the cast and crew and wished them a successful show, and I went to my place of entrance at five minutes before curtain. As the lights came up on my entrance, I remained free and easy. Rather than focusing on who was in the audience, I remained within the world of the play, concentrating on my objective: to expose the Birling family. I relished in accomplishing my objective, and the result was a confident and graceful character that forwarded the action of the pla y. down, I was proud of the character I had created. Fortunately, the production became better and
24 better with every performance. I do not think I have ever worked on a s how that improved so greatly from opening to closing night. However, that is not to say that the show was of poor quality when it opened. The show simply became richer, more alive, with no one in the cast becoming rote in the middle of the run. We all r emained active and present, which led to an amazing string of performances of which I am truly proud. Self Evaluation Closing night brought upon a whirlwind of bittersweet emotions. I was thrilled to complete a process that achieved my every goal. On t he other hand, I was saddened to finish what was to be my last performance at the University of Florida. Wrapping up my final monologue, I could not help but choke back tears mixed with both joy and sorrow. Indeed, this was a show that I would remember f orever. After discussing my performance with several peers and faculty members, I was ecstatic to discover that they were delighted with my work. My classmates said that I owned my character with graceful ease. One of my former students told me that he was blown away by the show and that he would have paid the price of a Broadway ticket to see it; he came back a second time. Another student said she thought I dominated the stage. Many students came up to me asking the meaning of the play and my theory of who Inspector Goole really was, and I found myself happy to discuss my opinions as well as their own. Humorously enough, I received many compliments about my handlebar mustache, which was my own personal grooming choice. More than anything, I was hum bled to hear praise from Tim Altmeyer, the acting instructor who cam Tim told me that he loved the show and said that I had improved tremendously from what he saw during the rehearsal
25 period. I almos t cried. He said that I was present and actively listening, taking control of the room. He also mentioned that the cast did a wonderful job layering tension throughout the entire performance. His compliments led me to believe I accomplished my goal of i mplementing economy and ease into my performance. Above all, I was proud of the fact that I took ownership of my role, for I believe taking ownership is the key to creating a truthful and engaging performance. I played Inspector Goole from my core, conju ring confidence from within myself and implementing it into an active and graceful performance, all while remaining free and easy the entire time.
26 CHAPTER FIVE CONCLUSION Although I am saddened to see An Inspector Calls end, I am thrilled to pursue my next theatrical endeavor, for I know I will carry this performance with me along with the years of training that has led me to this point. With several courses teaching me the value of economy and ease, I have built a foun dation upon which I will thrive as a performance artist. I look forward to the years ahead, but I know that I will always look back on this performance and remember the seminal moment when I finally discovered how to make a character my own; and I will sm ile, thanking the performance faculty at the University of Florida for teaching me the value of confidence, grace, economy, and ease.
27 WORKS CITED Braine, John. J.B. Priestley New York: Harper and Row Publishers, 1978. Print. DeVitts, A.A., and Albert E. Kalson. J.B. Priestley Boston: Twayne Publishers, 1980. Print. Gelb, Michael J. Body Learning New York: Henry Holt and Company, 1994. Print. Hagen, Uta. Respect for Acting Hoboken, NJ: John Wiley and Sons Inc., 2008. Print. Hughes, David. J.B. Priestley: An Informal Study of his Work New Y ork: Books for Libraries Press, 1970. Print. Mamet, David. True and F alse: Heresy and Common Sense for the Actor New York: Vintage Books, 1997. Print. Olsen, Andrea. Bodystories: A Guid e to Experimental Anatomy Lebanon, NH: First University Press of New England, 1998. Print. Priestley, J.B. An Inspector Calls New York: Dramatist s Play Service Inc., 1972. Print.
28 APPENDIX A PRODUCTION PROGRAM
36 APPENDIX B PRODUCTION PHOTOS Inspector Goole (Andrew Bailes) Inspector Goole (Andrew Bailes)
37 Shelia Birling (Jessamyn Fuller) and Insector Goole (Andrew Bailes) Gerald Croft (Paul Sabayrac) and Inspector Goole (Andrew Bailes)
38 Sybil Birling (Michelle Bellaver) and Inspector Goole (Andrew Bailes) Gerald Croft (Paul Sabayrac), Eric Birling (Linden Tailor), Shelia Birling (Jessamyn Fuller), Edna (Rebecca Hamilton), Inspector Goole (Andrew Bailes), Arthur Birling (Michael Martinez Hamilton), and Sybil Birling (Michelle Bellaver)
39 APPENDIX C CHARACTER ANALYSIS 1.) How does your character get up in the morning, eat, go through the day, and go to bed at night? Inspector Goole wakes up early, at 5:00 every morning. He follows a rigid, militant schedule of scouring the newspapers for potential cases, researching existing files, exercising, and eating a well balanced breakfast. His diet consists of lean and healthy meals, providing enough substance so that he is not distracted by an emp ty stomach. Eggs, soup, meat, and vegetables furnish Goole with the necessary nutrition to prepares himself incessantly, ready to take on the most unexpected turn of even t. His daily rituals include studying the stories of victims found in newspapers; familiarizing himself with cases so that he can confront those responsible and bring them to justice. After an endless number of hours learning the facts, he then seeks out those criminals so that they are forced to admit their crime. Goole wants society to exist harmoniously, and he feels the need to balance the world by ridding it of evil. Simply put, he is a superhero. r Goole sleeps soundly, peacefully dreaming of all the reconciliation he has brought to victims everywhere. 2.) Write what happens to your character between the scenes and before the play begins. Before the play begins, Goole familiarizes himself with the case of Eva Smith and the Birling family. He makes sure that he has every fact checked before entering the house, ready to pounce on the family like a lion, forcing them to admit their evil deeds. Upon his exit, Goole drops an anonymous tip to the r ightful authorities about Eva Smith and guilty statement. Goole is ultimately the device through which a perpetrator admits their
40 wrong; without him, many decei tful criminals are able to weasel out of numerous crimes. bleak truth. 3.) Where do you shop, and what does your block look like? Concerning himself with justice more th an vanity, Inspector Goole rarely spends time toying with frivolous material possessions. However, he does realize the importance of dressing the part, and so he purchases ornate and intimidating garments that establish deference between him and those ind ividuals he is interrogating. Understanding the importance of timing, Goole never leaves without his pocket watch. His small apartment is tucked away on a quite block so as not to reveal his secret identity, that of an everyday superhero seeking to bring common upper class criminals to the justice they deserve. He lives alone and rarely interacts with his neighbors, although he does give them a nod and smile before retreating into the brick building surrounded by oak trees. 4.) Think of how your c haracter might dance; think of an animal that your character reminds above. Although he is gracious and full of ease, Goole would never admit to being a dancer. He does waltz to the phonographs collecting dust is his apartment, although it is only with himself and by himself. To Goole, dancing is a sign of weakness, one of which he would never reveal outside of the privacy of his own home. As previously mentioned, Gool e attacks his perpetrators with a vengeance, pouncing on them as if he were a lion. An elegant creature that possesses as much menace as ease, the lion is oft revered as the king of the jungle. So it is with Goole, who dominants his assailants with an ir on fist. Goole walks with grace and strength, intimidating his antagonists by using an air of
41 confidence and coolness that is inebriating. He leads with his chest and almost floats in the air. 5.) Try to find some music that reminds you of your character. Ride of the Valkyries Written as a famous battle cry, the number has served many soldiers throughout history in igniting a passion and fervor before entering the battlefield. The same is true for Inspector Goole, as he prepares himsel f for war with the Birling Family, ready to bring them to justice. 6.) What is your cha Physically? Emotionally? Inspector Goole appears to float about physically, as if he were a ghost. He exudes confidence, and his composure consists of so much grace and ease that he is almost completely without tension. He is careful not to reveal emotion, especially while interrogating individuals; therefore, he is stern and very nearly emotionally vacant. However, his emotional void is only a game he plays with perpetrators so that they see him as a brick wall, one who is both menacing and domineering regardless of the stakes. 7.) Goole only utilizes humor to best serve his agenda. If it does no t bring Goole closer to solving a case, he will not come and he will not sacrifice that integrity for the sake of a joke. He simply will not stand for it, and wi ll not support it among others. 8.) How does your character serve the playwright? Inspector Goole personifies J.B. represents a socialist idealism that Priestley hoped to impart among upper class theatre
42 audiences. Just as Goole lectures the Birling Family on class equality, so too does Priestley wish to educate society on the dangers of capitalism and class separati on. 9.) What do you think the play is about? Why did J.B. Priestl e y write it? As already mentioned above, An Inspector Calls is essentially a drawing room drama preaching the values of socialism over a capitalistic society. J.B. Priestly utilized Inspec tor Goole as a Priestly was able to point a finger at the dangers of capitalism and its negative effects on class separation and segregation. 10.) Steps: a. WHO AM I? I am a strong willed socialist vowing to expose the evil deeds of greedy capitalists who abuse their power over the poor, lower class. Through my confident and diligent investigations, I impersonate inspectors in order to interrogate pe rpetrators about their wrongdoings. After hearing a confession, I then contact the proper authorities so that they may properly punish the criminal for their heinous crimes. b. WHAT ARE THE CIRCUMSTANCES? i. What time is it? It is an evening in the sprin g of 1912. At this time in history, the gap between the rich and poor is widening, and the upper class society shuns the lower working class. It is a historical event that sounds all too familiar. ii. Where am I? I am in the cold, upper class estate of th e Birling Family, a dining room of fairly prosperous proportions.
43 iii. What surrounds me? A massive dining room table adorns the center of the room, and an ornate fireplace layered with expensive artwork and sculptures lies behind me. Massive doors leading to other elaborate rooms surround me. The room is well decorated, yet gives off a stale, sterile aesthetic. iv. What are the immediate circumstances? I have interrupted the Birling demise. I plan on interrogating each family member about their connection with the victim until they admit their guilt in causing Eva Smith to take her own life. The family is pertur bed that I spoiled their evening, yet I could care less about their selfish feelings when taking into account the horrible death of such an innocent victim. c. WHAT ARE MY RELATIONSHIPS? To Eva Smith: the obligation of rectifying her death through exposing t they are the perpetrators of this awful crime, and they encompass the evil horrors of a vicious capitalistic society. d. WHAT DO I WANT? i. Main Objective I want to expose the Birling Family of their selfish wrongdoings and lecture them on the importance of creating an equal society. ii. Immediate Objective I want to interrogate the Birling Family on their
44 e. WHAT IS MY OBSTACLE? The Birling Family believes that they are not at fa ult. They possess a sense of self righteousness that will be difficult to crack. In their successful financial growth from middle to upper class, they earnestly believe that they are entitled to elite deference from the poor. f. WHAT DO I DO TO GET WHAT I WANT? I interrogate. I reveal. I strategize. I show them their wicked, selfish ways. I lecture. I yell. I reiterate. I lecture. I cross examine. I preach. 11.) What is your character thankful for? Goole is thankful for the many lives he has rectifi ed by diligently seeking out the evil capitalistic perpetrators who caused their demise, including one Eva Smith. Through his exposing and lecturing, Goole has found peace. 12.) What style do you feel the play fits into? An Inspector Calls fits the mold of drawing room drama, yet at its core is a message o f warning to society: class separation is evil. Priestley created a dark, twisting plot that delivers a simple theme, that all of society is created equal and should be treated as such.
45 BIOGRAPHICAL SKETCH Andrew Bailes graduated from Flagler College with a Bachelor of Arts in English and Theatre Arts. Upon graduation, he joined the artistic staff at Florida Studio Theatre in Sarasota, ilities included conducting playwriting workshops in Sarasota and Manatee County schools, teaching numerous sponsibilities included composing study guides, co organizing the Young Playwrights Festival, stage managing professional productions, and house managing the Gompertz Theatre. Andrew was also a member of the critically acclaimed FST Improv Troupe. While at the University of Florida, Andrew performed in Streamers (Billy), In the Blood (Doctor), Noises Off (Garry) and The Grapes of Wrath (Pa Joad) Andrew was also an active o ws for Florida Players BASH This is Our Youth He also had two original play s staged through F lorida P layer Shotgun Party and Front Porch Play Andrew directed and performed in An Evening of Imp rov a two act improv show that had a successful three night run at the Constans Theatre in July, 2011. Along with these performance, playwriting, and directing credits, Andrew also had the privilege of teaching several undergraduate courses at UF, includ ing Theatre Appreciation (THE 2000), Oral Performance of Literature (ORI 2000), Acting for Non Majors (TPP 2100), Acting One (TPP 2110), and Improv and Social/Political Issues (TPP 3124). Andrew looks forward to a brisk spring semester in Chicago, where h e will be interning at Victory Gardens Theater.