Interview: Liam Brennan Talks About Returning to the Role of Inspector Goole in AN INSPECTOR CALLS

Liam Brennan has played the role of Inspector Goole in An Inspector Calls in the West End and on Broadway - he returns to the role this year as part of the touring 30 year anniversary of The National Theatre's production. He speaks to BroadwayWorld about returning to the role.

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What's your earliest theatre memory?

Well, I was never taken to theatre as a kid particularly, but in the sixth year at school a handful of us went to the old Royal Scottish Academy of Drama in Glasgow, where I subsequently studied, and saw a production of The Crucible.

If you could go back and see one show from the past, what would it be?

I remember I was still fairly young when I saw a touring Hamlet in the Theatre Royal in Glasgow. It was Mark Rylance playing Hamlet, and I was pretty blown away by that. I remember I went back about three times - it was the first time I saw Hamlet and Mark Rylance.

What attracts you to this play?

I remember reading it as a teenager and being gripped by it. I saw the black and white movie with Alastair Sim. I suppose I love the mystery of it - sometimes it's frustrating not to get all the answers, but in this play it's is quite satisfying not to know who or what Goole is. I like that element of mystery and the thriller element - it's pacy. We play to a lot of school audiences on the tour and the play seems to grip them.

You're bound to have entire auditoriums filled with GCSE students who are studying the play. Why do you think it is important that young people study this play?

Its basic themes are eternal. If there is a message, it's about looking after people - especially those who have nothing - tolerance and kindness. Pointing out bad behaviour and cruelty don't go out of fashion. It's all wrapped in a thriller story. It has that package. Young people don't feel bludgeoned over the head by the messages because the play is hugely entertaining.

What attracts you to Inspector Goole?

You're the kind of the engine of the piece, so it's a very satisfying part to play. It also feels like there's a lot of variety through the different interrogations - each family member has a different tone. It's fun playing someone who is figuring something out. We like puzzles and to watch someone solving a puzzle.

You've played the Inspector in a previous West End revival and on a UK tour, plus then on Broadway. You've been involved with the show since 2015. How has your perception of the character and play changed over the years?

I don't think it's particularly changed that much. If I looked back and watched a video of a performance in 2015, I'd probably just notice that it's a more relaxed and confidence performance. I don't think my perception of him has changed, nor have I changed much; there are no more answers to the Inspector for an actor who's played the character many times to someone who's read it. I say to the school kids that if I take the decision that he's a ghost, what do you do about that? What is good ghost acting? You have to try to feel real and think of yourself as a human being doing a job.

Equally, how has your perception of the play changed during this current rehearsal process? Do any lines stand out this time?

Not particularly - I've done it so many times, I've mined it, but there's always cast changes that give a different feel to the production. It's just nice to have some new faces to the cast, but I suppose it's about trying to spot new things and keeping it fresh. There hasn't been any revelations about lines or moments that stand out this time.

Are some of the other characters more likely to be reinvented - are they fixed in time, or is it an adaptable play?

They're fairly fixed. Obviously the new actors bring their own tone and flavour, but there is something about the nature of the piece that means their journeys are specific.

This is the 30 year anniversary production of Stephen Daldry's 1992 production of An Inspector Calls at The National Theatre - why is this such a long-lasting piece?

I think it's a clever and affecting story. It's a great night in the theatre: it's not overly long and there's something genuinely exciting about it. A lot of people have studied it, and there's a great affection for the work; people come back and see the production more than once. It just seems to have a magic about it somehow.

Do you have a favourite moment from the play?

I think the kind of battle with Mrs Birling is such a ding-dong - he feels she's going to be the hardest nut to crack. I enjoy the battle of wills during that interview, or interrogation I should say.

Which of the other characters do you find interesting? Who would you want to have a cup of tea with?

Eric is an interesting, if troubled, young man. I enjoy that final interrogation - he's young and has the potential to change.

If Priestley is posing a question through An Inspector Calls, what is it? And do we get an answer?

I suppose the Inspector's final speech at the end of the play where he says we're responsible for each other means he's drawing attention to what happens when we don't look out for someone. Therefore we have to believe in the concept of community and supporting other people.

Why do audiences come to see An Inspector Calls and what will they leave thinking?

I think they enjoy taking away the element of mystery. When we do Q&A sessions, people will interact and give their theories on the Inspector. Hopefully not too many people need to be convinced of that basic need for community in society, but perhaps people do need to hear that. Plus it's just a really good night in the theatre with a message that isn't lecturing but wrapped up in a brilliant piece of entertainment.

An Inspector Calls is touring until March 2023.

Photo credit: Mark Douet.

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