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An Inspector Calls
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This article is about the play. For other uses, see An Inspector Calls (disambiguation).
An Inspector Calls
Written by
J. B. Priestley
Date premiered
1945
Place premiered
Moscow, Soviet Union
Original language
English
Subject
A mysterious inspector interrogates a wealthy English family about their responsibility for the death of a young working class factory girl.[1]
Genre
Drama
Setting
The Birlings' home in Brumley, England; April 1912
An Inspector Calls is a play written by English dramatist J. B. Priestley, first performed in 1945 in the Soviet Union and in 1946 in the UK. It is one of Priestley's best known works for the stage, and is considered to be one of the classics of mid-20th century English theatre. The play's success and reputation has been boosted in recent years by a successful revival by English director Stephen Daldry for the National Theatre in 1992,[2] and a tour of the UK in 2011–2012.
The play is a three-act drama, which takes place on a single night in April 1912,[3] focusing on the prosperous upper middle-class Birling family,[4] who live in a comfortable home in the fictional town of Brumley, "an industrial city in the north Midlands".[3] The family is visited by a man calling himself Inspector Goole, who questions the family about the suicide of a young working-class woman, Eva Smith (also known as Daisy Renton). The family is interrogated and revealed to have been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death. Long considered part of the repertory of classic "drawing room" theatre, the play has also been hailed as a scathing critique of the hypocrisies of Victorian/Edwardian English society and as an expression of Priestley's socialist political principles. The play is studied in many schools in the UK as one of the prescribed texts for the English Literature GCSE (General Certificate of Secondary Education) examination.
Contents
[hide]
1 Plot
2 Characters
2.1 Inspector Goole
2.2 Eva Smith/Daisy Renton
2.3 Sheila Birling
2.4 Eric Birling
2.5 Arthur Birling
2.6 Sybil Birling
2.7 Gerald Croft
2.8 Edna
3 Criticism and interpretation
4 Productions
5 Adaptations
5.1 Film
5.2 Television
5.3 Radio and audio
6 Awards and nominations
7 References
8 Further reading
9 External links
Plot[edit]
At the Birlings' home in April 1912, Arthur Birling - a wealthy mill owner and local politician - and his family are celebrating the engagement of daughter Sheila to Gerald Croft, the son of one of Birling's competitors, Croft Limited. In attendance are Arthur's wife Sybil and their adult children Sheila and Eric. Eric, the younger, has a drinking problem that is discreetly ignored. After dinner, Arthur speaks about the importance of self-reliance. He talks about his impending knighthood and about how "a man has to look after himself and his own."
A man calling himself Inspector Goole arrives, interrupting the evening and explaining that a woman called Eva Smith has killed herself by drinking strong disinfectant. He implies that she has left a diary naming names, including members of the Birling family. Goole produces a photograph of Eva and shows it to Arthur, who acknowledges that she worked in one of his mills. He admits that he dismissed her from Birling & Co. 18 months ago for her involvement in an abortive workers' strike. He denies responsibility for her death.
Sheila enters the room and is drawn into the discussion. After prompting from Goole, she admits to recognising Eva as well. She confesses that Eva served her in a department store, Milwards, and Sheila contrived to have her fired for an imagined slight. She admits that Eva's behaviour had been blameless and that the firing was motivated solely by Sheila's jealousy and spite towards a pretty working-class woman.
Sybil enters the room and Goole continues his interrogation, revealing that Eva was also known as Daisy Renton. Gerald starts at the mention of the name and Sheila becomes suspicious. Gerald admits that he met a woman by that name in the Palace Bar. He gave her money and arranged to see her again. Goole reveals that Gerald had installed Eva as his mistress, and gave her money and promises of continued support before ending the relationship. Arthur and Sybil are horrified. As an ashamed Gerald exits the room, Sheila acknowledges his nature and credits him for speaking truthfully but also signals that their engagement is over by handing the ring, that Gerald had bought for her, back to him.
Goole identifies Sybil as the head of a women's charity to which Eva had turned for help. Despite Sybil's haughty responses, she eventually admits that Eva, pregnant and destitute, had asked the committee for financial aid. Sybil had convinced the committee that the girl was a liar and that her application should be denied. Despite vigorous cross-examination from Goole, Sybil denies any wrongdoing. Sheila begs her mother not to continue, but Goole plays his final card, making Sybil declare that the "drunken young man" who had made Eva pregnant should give a "public confession, accepting all the blame". Eric enters the room, and after brief questioning from Goole, he breaks down, admitting that he drunkenly raped Eva before meeting up with her several times later and then stole £50 (equivalent to $4,543 in 2016) from his father's business to help her when she became pregnant. Arthur and Sybil are upset by this, and the evening dissolves into angry recriminations.
The implication resulting from Goole's questioning is that each of the people there that evening had contributed to Eva's despondency and suicide. He reminds the Birlings that actions have consequences, and that all people are intertwined in one society, saying, "If men will not learn that lesson, then they will be taught it in fire and blood and anguish", alluding to the impending World War. Goole then leaves.
Gerald returns, telling the family that there may be no "Inspector Goole" on the police force. Arthur makes a call to the Chief Constable, who confirms this. Gerald points out that as Goole was lying about being a policeman, there may be no dead girl. Placing a second call to the local infirmary, Gerald determines that no recent cases of suicide have been reported. The elder Birlings and Gerald celebrate, with Arthur dismissing the evening's events as "moonshine" and "bluffing". The younger Birlings, however, still realise the error of their ways and promise to change. Gerald is keen to resume his engagement to Sheila, but she is reluctant, since he still admitted to having had an affair.
The play ends abruptly with a telephone call, taken by Arthur, who reports that a young woman has died, a suspected case of suicide by disinfectant, and that the local police are on their way to question the Birlings. The true identity of Goole is never explained, but it is clear that the family's confessions over the course of the evening are true, and that they will be disgraced publicly when news of their involvement in Eva's demise is revealed.
Characters[edit]
Inspector Goole[edit]
A mysterious interrogator who introduces himself as "Inspector Goole", claiming that he has seen the dead body of Eva Smith/Daisy Renton earlier that day after her slow and painful suicide by swallowing disinfectant, and that he has been given "a duty" to investigate the Birlings’ responsibility for her death. He makes a brief reference to a diary left by Eva/Daisy although this is never seen or explicitly referred to. Throughout the play, it is suggested that Goole knows everything about Eva/Daisy’s life and the Birlings’ involvement in her death, and is interrogating the family solely to reveal their guilt rather than to discover unknown information. Both during and after his interrogation of the family, the Birlings query whether he is actually a real inspector, and a phone call made by Mr. Birling to the local police station reveals that there is no Inspector Goole in the local police force. Many critics and audiences have interpreted Goole’s role as an "avenging angel" or a supernatural being because of his unexplained omniscience, his prophetic final speech in which he says that humanity will learn its lesson in "fire and blood and anguish" (referring to the First World War, two years after the setting of the play 1912)[3] and even because of his name, which is a homophone for the word "ghoul" (meaning "ghost") and is also the name of a seaside town (which could possibly be a reference to the time period in the play when Eva Smith stays in a seaside town with money that Gerald Croft had given her).[5] It is suggested in the final scene that Goole's interrogation of the family will foreshadow a further interrogation to follow by the "real" police force, and that Goole's purpose has been to warn the family in advance and encourage them to accept responsibility and repent for their bad behaviour, like The Ghost of Christmas Yet to Come. Goole also forces the characters to question their very own lives, and if the ones they were living were true. In addition he also feels a responsibility to make the Birling family feel guilty for their actions. His identity remains ambiguous throughout the play.
Eva Smith/Daisy Renton[edit]
She is the unseen working class woman whom Goole claims has committed suicide whilst pregnant with Eric Birling's baby, and who has been mistreated by each member of the Birling family and by Gerald Croft. Through reports from other characters, she is described as "pretty" with soft brown hair and big dark eyes, and it is explained that she has no family and must work for her living. Her beauty is commented on by all the characters. Her beauty attracts both Gerald and Eric to her, with Eric sexually exploiting her. Sheila comments disparagingly that Eva looked prettier when she wore a certain dress than Sheila did herself, and seems threatened by Eva's beauty, confessing that if Eva had been plain she would have been unlikely to have had her fired. It is also suggested that Eva/Daisy is somewhat morally principled, as she refuses to accept stolen money from Eric, despite her dire financial situation, although about to become Gerald Croft's mistress before he abandoned her. Eva/Daisy appears to be a victim who is judged by the (female) characters for not acting in a manner appropriate for someone of her class. Sheila imagines that Eva laughed at her disparagingly and so "punishes" her by having her fired. Sybil also criticises Eva for appearing proud and putting on airs and graces, and for being "impertinent" rather than being meek and grateful to her social superiors. The audience is invited to dwell on Eva/Daisy's vulnerability and her suffering at the hands of an exploitative employer, her sexual abuse at the hands of Eric, her powerlessness caused by her sex, class, and poverty and her victimisation on the basis of a sexual double standard.
At the end of the play, Gerald suggests that Eva Smith may not have been the same person but rather a collective personification of all the different working class women that the family had exploited, invented by Goole to make the family feel guilty. Yet the final phone call, announcing that a police inspector is shortly to arrive at the Birlings' house to investigate the suicide of a young girl, leaves open the possibility that Eva Smith really did exist after all.
Sheila Birling[edit]
Sheila is the Birlings' eldest child. She is described as a "pretty girl in her early twenties", delighted about her engagement to Gerald Croft. She starts out as a playful, self-centred girl who loves attention. She also knows of Eric Birling's heavy drinking. Throughout the play, she becomes the most sympathetic family member, showing remorse upon hearing the news of her part in the girl's downfall, and attempting to encourage the family to accept responsibility for their part in Eva's death. She is shown to be not as naive as originally thought, revealing her suspicions about her fiancé's infidelity. Despite continual criticism from her father, she becomes more rebellious toward her parents, supporting her brother against them and assisting Goole in his interrogations. At the end of the play, Sheila is much wiser. She can now judge her parents and Gerald from a new perspective, but the greatest change has been in herself: her social conscience has been awakened and she is aware of her responsibilities. The Sheila who had a girl dismissed from her job for a trivial reason has given way to one who acknowledges the wrongdoing of herself and her family. She represents the younger generation's break from the exploitative behaviour of her class.
Eric Birling[edit]
He is the Birlings' youngest child, often presented as awkward and embarrassed. Eric is revealed to have made Eva Smith pregnant as well as to have stolen some money from his father's business to support Eva (although she refuses the money once she knows it is stolen). An alcoholic, his drinking habits are known by everyone except his mother who wants to think of him as a child, and not accept that he is no longer her innocent child but a grown man. After the Inspector leaves, he and Sheila are the only two who feel guilty over Eva's death. In the beginning of the play, Eric is shown as a rebellious young man who is very full of himself; however, towards the end of the play his true personality is revealed. By the end of the story Eric has learned his lesson and feels as guilty as Sheila does for his part in Eva Smith's death. He feels as if he cannot talk to his family, especially his father, about his problems - "You are not the kind of father that a chap could go to when he's in trouble" - so he bottles them up inside himself.
Arthur Birling[edit]
Arthur Birling is described as "a heavy-muskel, rather portentous man in his middle fifties", husband of Sybil, and father of Sheila and Eric Birling. He represents the capitalist ruling class, repeatedly describing himself with pride as a "hard-headed businessman", and the head of a patriarchal family structure, and is arguably the main subject of Priestley's social critique. Dominant, arrogant, self-centred, and morally blind, he is insistent throughout about his lack of responsibility for Eva's death and quotes his economic justification for firing her as being the importance of keeping his labour costs low and quelling dissent, which he says is standard business practice. Although he is authoritative and has risen to a position of economic and social prominence, he inadvertently reveals his social rank to be lower then that of his wife's when he compliments the cook right at the start of the play, and by his continual need to assert his social importance. His status as an alderman and former Lord Mayor of Brumley is repeated several times in the play, with increasing comic effect. Early in the play, he also makes a series of thoroughly-explained and justified predictions about the future world, all of which the audience knows will not come true, such as describing the Titanic as "unsinkable, absolutely unsinkable" and saying that "the Germans don't want war". He appears pleased at the economic and social cachet brought by his daughter's engagement to Gerald Croft, and resents Goole's intrusion on the family. He remains unaffected by the details of Eva's death, and his own concerns appear to be retaining his social standing, avoiding public embarrassment by the leaking of such a scandal, insisting that Eric accounts for and repays the stolen company money and that Sheila should 're-consider' her relationship with Gerald in-order for him to maintain a promised Croft-Birling merger.
Sybil Birling[edit]
Sybil Birling is the wife of Arthur and mother of Sheila and Eric Birling. She is her husband's "social superior" and is keen to show him the correct etiquette that is expected from an upper-middle class family. As the leader of a women's charitable organisation, she assumes a social and moral superiority over Inspector Goole, whose questioning style she frequently refers to as "impertinent" and "offensive". Like her husband, she refuses to accept responsibility for the death of Eva Smith, and seems more concerned with maintaining the family's reputation, even going so far as to lie and deny recognition of the photograph of Eva. She fearlessly expresses her prejudices against working class women, like Eva, whom she accuses of being immoral, dishonest, and greedy. It is Eva's use of the assumed name "Birling" that makes Sybil turn her away from her charity and she doesn't see why she did this until it is too late. Also, she seems detached from the rest of the family as she does not realise Eric's alcohol problem (either she's blind to it or fails to accept it and still insists on unsuccessfully covering it up around the Inspector). She is around 50 years old, as mentioned in the pre-play stage directions, highlighting she belongs to the older generation.

Gerald Croft[edit]
The son of Sir George Croft of Crofts Limited, a competitor of Birling and Company, he is at the Birling residence to celebrate his recent engagement to Sheila Birling. Gerald is revealed to have known Eva and installed her as his mistress, becoming "the most important person in her life", before ending the relationship. After the revelation of his affair, he is not blamed as heavily as the other characters (Sheila commends him for his honesty and for initially showing Eva compassion, even though he is shown as cowardly and thoughtless for taking advantage of a vulnerable woman). He is caused to confess as soon as he shouts out in shock at hearing the name he had known Eva by (Daisy Renton), allowing the Inspector to investigate Gerald's involvement in Eva's life. Gerald thinks that Goole is not a police inspector, that the family may not all be referring to the same woman and that there may not be a body. Initially he appears to be correct, and does not think the Birlings have anything to feel ashamed of or worry about. He seems excited at the prospect of discovering the 'fake' Inspector and seems almost desperate for others to believe him.
Edna[edit]
Edna is the maid at the Birling household. The character has limited contribution in the play; however she is the only person in the play that can provide an insight into the life of Eva Smith, a character to whom Edna has a similar working-class background. It is she who opens the door to allow the Inspector into the Birlings' lives, although she is often taken for granted and treated somewhat poorly at times, as if she were not actually there.
Criticism and interpretation[edit]
Highly successful after its first and subsequent London productions, the play is now considered one of Priestley's greatest works, and has been subject to a variety of critical interpretations.
After the new wave of social realist theatre in the 1950s and 1960s, the play fell out of fashion, and was dismissed as an example of outdated bourgeois "drawing room" dramas, and became a staple of regional repertory theatre. Following several successful revivals (including Stephen Daldry's 1992 production for the National Theatre), the play was "rediscovered" and hailed as a damning social critique of capitalism and middle-class hypocrisy in the manner of the social realist dramas of Shaw and Ibsen. It has been read as a parable about the destruction of Victorian social values and the disintegration of pre-World War I English society, and Goole's final speech has been interpreted variously as a quasi-Christian vision of hell and judgement, and as a socialist manifesto.
The struggle between the embattled patriarch Arthur Birling and Inspector Goole has been interpreted by many critics as a symbolic confrontation between capitalism and socialism, and arguably demonstrates Priestley's socialist political critique of the perceived-selfishness and moral hypocrisy of middle-class capitalist society. While no single member of the Birling family is solely responsible for Eva's death, together they function as a hermetic class system that exploits neglected, vulnerable women, with each example of exploitation leading collectively to Eva's social exclusion, despair and suicide. The play also arguably acts as a critique of Victorian-era notions of middle-class philanthropy towards the poor, which is based on presumptions of the charity-givers' social superiority and severe moral judgement towards the "deserving poor". The romantic idea of gentlemanly chivalry towards "fallen women" is also debunked as being based on male lust and sexual exploitation of the weak by the powerful. In Goole's final speech, Eva Smith is referred to as a representative for millions of other vulnerable working-class people, and can be read as a call to action for English society to take more responsibility for working-class people, pre-figuring the development of the post-World War II welfare state.
Productions[edit]
An Inspector Calls was first performed in 1945 in the USSR in two theatres (Kamerny Theatre in Moscow and Comedy Theatre in Leningrad), as a suitable venue in the United Kingdom could not be found,[6][7] due to the fact that Priestley wrote the play in one week and all the theatres in the UK had already been booked for that season.[8] The play had its first British production in 1946 at the New Theatre in London with Ralph Richardson as Inspector Goole, Harry Andrews as Gerald Croft, Margaret Leighton as Sheila Birling, Julien Mitchell as Arthur Birling, Marian Spencer as Sybil Birling and Alec Guinness as Eric Birling.
The first Broadway production opened at the Booth Theatre on 21 October 1947 and ran until 10 January 1948. The production was staged by Cedric Hardwicke.
The play was produced and performed at the Ferdowsi Theatre in Iran in late 1940s based on the translation by Bozorg Alavi.
In 1986 Richard Wilson directed a production at the Royal Exchange, Manchester with Geraldine Alexander as Sheila Birling, Hugh Grant as Eric Birling and Graeme Garden as Inspector Goole.
Tom Baker played Inspector Goole in a 1987 production directed by Peter Dews and designed by Daphne Dare that opened at the Theatr Clwyd on 14 April then transferred to London's Westminster Theatre on 13 May 1987. The cast included Pauline Jameson as Sybil Birling, Peter Baldwin as Arthur Birling, Charlotte Attenborough as Sheila Birling, Simon Shepherd as Gerald Croft and Adam Godley as Eric Birling.
A revival of the play by British director Stephen Daldry opened at the National Theatre's Lyttelton Theatre in September 1992. It won the Drama Desk Award for Outstanding Revival of a Play, and was widely praised for making the work involving and politically relevant for a modern audience. The production is often credited with single-handedly rediscovering Priestley's works and "rescuing" him from the reputation of being obsolete and class-bound, though the production had some detractors, including Sheridan Morley[9] who regarded it as a gimmicky travesty of the author's patent intentions. The success of the production since 1992 has led to a critical reappraisal of Priestley as a politically engaged playwright who offered a sustained critique of the hypocrisy of English society. A Broadway transfer of the production starring Philip Bosco opened at the Royale Theatre (now the Bernard Jacobs Theatre) on 27 April 1994 and played 454 performances.[10]
Sheila recognises a picture of Eva presented by The Inspector, as Gerald looks on. A 2012 production by OVO theatre company, St Albans, UK
The Stephen Daldry production went on a tour of the UK in 2011 and 2012,[11] with Tom Mannion as Inspector Goole. The production returned to the Playhouse in London's West End in November 2016, with Liam Brennan in the name part.[12]
Adaptations[edit]
Film[edit]
The first film version of An Inspector Calls was produced in the United Kingdom by Watergate Productions Ltd; the 1954 screenplay was adapted by Desmond Davis and directed by Guy Hamilton. Alastair Sim starred as Inspector Goole, renamed "Poole" for the film, with Jane Wenham as Eva Smith (the character not seen in the play), Eileen Moore as Sheila Birling, Arthur Young as Arthur Birling, Brian Worth as Gerald Croft, Olga Lindo as Sybil Birling and Bryan Forbes as Eric Birling.
It was also adapted into a comedy film in Hong Kong, released on 19 February 2015.
Television[edit]
The first television version was shown on live BBC Television on 4 May 1948, with a second live performance three days later. Running to 105 minutes, it was produced and directed by Harold Clayton, and starred Julien Mitchell as Arthur Birling (reprising his role from the first British stage production), Mary Merrall as Sybil Birling, Joy Shelton as Sheila Birling, Derek Blomfield as Eric Birling, Alastair Bannerman as Gerald Croft, Madeleine Burgess as Edna, and George Hayes as Inspector Goole.
A second BBC Television version was screened on 19 February 1961 as part of the Sunday Night Play series. Produced and directed by Naomi Capon, it starred John Gregson as Inspector Goole, Heather Sears as Sheila Birling, Nora Swinburne as Sybil Birling, William Russell as Gerald Croft, Edward Chapman as Arthur Birling, Hilda Campbell-Russell as Edna, and Alan Dobie as Eric Birling.[13]
A selection of scenes from the play were broadcast in the ITV series Conflict on 15 May 1967. Produced by Associated Television, the 25 minute programme was directed by George More O'Ferrall, and starred Reginald Marsh as Arthur Birling, Julian Curry as Eric, Margo Andrew as Sheila, Pauline Winter as Mrs Birling, Stuart Saunders as Inspector Goole, Michael Graham as Gerald Croft, and Ann Dimitri as Edna.
In 1973, a Soviet made-for-television film Он пришел (On prishel) was produced, starring Vladimir Etush as Gull (Goole), Irina Kupchenko as Sheila Birling and Oleg Shklovsky as Eric Birling.[14]
Also, in the Soviet Union in 1979, a made-for-television two-part film Инспектор Гулл (Inspector Gooll), was produced starring Juozas Budraitis as Gull (Goole), Vladimir Zeldin as Arthur Birling and Ivars Kalniņš as Gerald Croft.
A BBC Schools version of An Inspector Calls was produced in three 30 minute episodes, shown between 22 September and 6 October 1981 on BBC One. Directed by Michael Simpson, it starred Bernard Hepton as Inspector Goole, Sarah Berger as Sheila Birling, Nigel Davenport as Arthur Birling, Simon Ward as Gerald Croft, Margaret Tyzack as Sybil Birling and David Sibley as Eric Birling. It was repeated on primetime BBC One in three episodes between 17 and 31 August 1982, and as a single 85 minute version on 2 September 1984.
An 86-minute An Inspector Calls film was produced for BBC Television, and first screened on 13 September 2015 on BBC One. Adapted by Helen Edmundson and directed by Aisling Walsh for Drama Republic,[15][16][17] it stars David Thewlis as Inspector Goole,[18] Chloe Pirrie as Sheila Birling, Ken Stott as Arthur Birling, Kyle Soller as Gerald Croft, Miranda Richardson as Sybil Birling and Finn Cole as Eric Birling.
Radio and audio[edit]
The first radio production was broadcast on the BBC Home Service on 27 March 1950 in the Contemporary European Theatre series.[19] This was followed by a BBC Light Programme production on 10 June 1953. Adapted by Cynthia Pughe and produced by McWhinnie, it starred Frank Pettingell as Arthur Birling, Gladys Young as Sybil Birling, Angela Baddeley as Sheila Birling, David Enders as Eric Birling, Alastair Duncan as Gerald Croft, Dorothy Smith as Edna, and Richard Williams as Inspector Goole.[20][21]
A second version of Pughe's adaptation was broadcast on the BBC Home Service on 12 November 1960. Produced by Alfred Bradley and directed by Geoffrey Ost, it starred the Sheffield Repertory Company: George Waring as Arthur Birling, Ann Woodward as Sybil Birling, Jeanne Davies as Sheila Birling, Keith Barron as Eric Birling, Patrick Stewart as Gerald Croft, Geraldine Gwyther as Edna, and John Pickles as Inspector Goole.[22]
BBC Radio 4 broadcast a BBC Manchester production on 14 December 1979. Directed by Alfred Bradley, it starred Ronald Baddilet as Arthur Birling, Derrick Gilbert as Gerald Croft, Ann Rye as Sybil Birling, Barbara Flynn as Sheila Birling, Christian Rodska as Eric Birling, Teresa Moore as Edna, Geoffrey Banks as Inspector Goole.[23]
A full-cast unabridged audio adaptation and analysis was released on audio CD and MP3-CD in the United Kingdom by SmartPass in 2004 as part of their Audio Education Study Guides series.
On 14 July 2007 BBC Radio 7 broadcast an adaptation by John Foley originally aired on the BBC World Service, starring Bob Peck as Inspector Goole, John Woodvine as Arthur Birling and Maggie Steed as Sybil Birling. The production was directed by Rosalyn Ward.
A second 90-minute BBC Radio adaptation was transmitted on BBC Radio 4 on 29 May 2010 in the Saturday Play slot.[24] It starred Toby Jones as Inspector Goole, David Calder as Arthur Birling, Frances Barber as Sybil Birling and Morven Christie as Sheila Birling. The production was directed by Jeremy Mortimer.
Awards and nominations[edit]
Awards
1993 Laurence Olivier Award for Best Revival
1994 Drama Desk Award for Best Revival of a Play
1994 Tony Award for Best Revival of a Play
References[edit]
Jump up ^ Cousin, Geraldine (2007). "Past present: dramatisations of 'return'". Playing for Time. Manchester, England: Manchester University Press. p. 16. ISBN 978-0-7190-6197-4.
Jump up ^ Stringer, Jenny (1996). The Oxford companion to twentieth-century literature in English. Oxford, England: Oxford University Press. p. 330. ISBN 978-0-19-212271-1.
^ Jump up to: a b c Priestley, J. B. (1947). Bezant, Tim, ed. An Inspector Calls: A Play in Three Acts (1992 ed.). London: Heinemann. pp. xi–xiv. ISBN 0-435-23282-7.
Jump up ^ Gale, Maggie (2004). "Theatre and drama between the wars". In Nicholls, Peter; Marcus, Laura. The Cambridge history of twentieth-century English literature. Cambridge, England: Cambridge University Press. p. 328. ISBN 0-521-82077-4. the middle class family was at the centre of much of Priestley's work...most clearly perhaps in 'An Inspector Calls'.
Jump up ^ Gale, Maggie Barbara (2008). J.B. Priestley. London: Routledge. p. 140. ISBN 978-0-415-40243-9.
Jump up ^ Priestley, J.B. (1950). Introduction to the Plays of J.B.Priestly. III. London: Heinemann. pp. xii–xiii.
Jump up ^ "Remember Eva Smith: The Inspector's Russian Journey". 100 Objects from Special Collections at the University of Bradford. Yorkshire, England: University of Bradford.
Jump up ^ "For Students and Teachers | jbpriestleysociety.com". www.jbpriestleysociety.com. Retrieved 2017-05-25.
Jump up ^ Morley, Sheridan (25 September 1992). "Stop messing about". The Spectator. p. 53. Retrieved 4 October 2015.
Jump up ^ "An Inspector Calls". Internet Broadway Database. Retrieved 26 October 2016.
Jump up ^ http://www.aninspectorcalls.com/#/tour/
Jump up ^ Gardner, Lyn (13 November 2016). "An Inspector Calls review – Stephen Daldry helps make the case for justice". The Guardian. Retrieved 14 November 2016.
Jump up ^ BBC Genome
Jump up ^ http://www.kinopoisk.ru/film/715281/
Jump up ^ BBC One announces ambitious season of classic 20th-century literature, BBC Media Centre, 24 April 2014, Retrieved 28 June 2015
Jump up ^ "An Inspector Calls". BBC iPlayer. Retrieved 13 September 2015.
Jump up ^ "An Inspector Calls - BBC One". BBC. Retrieved 13 September 2015.
Jump up ^ [1], Evening Standard, 28 August 2015, Retrieved 20 October 2015
Jump up ^ BBC Genome
Jump up ^ BBC Genome - first transmission
Jump up ^ BBC Genome - repeat
Jump up ^ BBC Genome
Jump up ^ BBC Genome
Jump up ^ "An Inspector Calls". BBC. 29 May 2010. Archived from the original on 29 May 2010. Retrieved 5 June 2010.
"English Literature: An Inspector Calls". GCSE Bitesize. BBC Schools Online. 2008. Retrieved 9 May 2008.
"J.B. Priestley". J.B. Priestley.com. 2008. Archived from the original on 10 June 2008. Retrieved 5 October 2008.
Further reading[edit]
Priestley, J. B. (1947). An Inspector Calls: A Play in Three Acts (First ed.). London: Heinemann. OCLC 59564726.
External links[edit]
Wikiquote has quotations related to: An Inspector Calls
An Inspector Calls at the Internet Broadway Database
An Inspector Calls on IMDb
http://www.dooyoo.co.uk/theatre-musicals-national/an-inspector-calls/1023475/
[show]
v
t
e
Drama Desk Award for Outstanding Revival of a Play
Anna Christie (1993)
An Inspector Calls (1994)
The Heiress (1995)
A Delicate Balance (1996)
A Doll's House (1997)
A View from the Bridge (1998)
Death of a Salesman / The Iceman Cometh (1999)
The Real Thing (2000)
The Best Man (2001)
Private Lives (2002)
Long Day's Journey into Night (2003)
Henry IV (2004)
Twelve Angry Men (2005)
Awake and Sing! (2006)
Journey's End (2007)
Boeing-Boeing (2008)
The Norman Conquests (2009)
A View from the Bridge / Fences (2010)
The Normal Heart (2011)
Death of a Salesman (2012)
Who's Afraid of Virginia Woolf? (2013)
Twelfth Night (2014)
The Elephant Man (2015)
A View from the Bridge (2016)
Jitney (2017)
[show]
v
t
e
Laurence Olivier Award for Best Revival (1991–2000)
Pericles (1991)
Hedda Gabler (1992)
An Inspector Calls (1993)
Machinal (1994)
As You Like It (1995)
Complete list
(1991–2000)
(2001–2025)
[show]
v
t
e
Tony Award for Best Revival of a Play
An Inspector Calls (1994)
The Heiress (1995)
A Delicate Balance (1996)
A Doll's House (1997)
A View from the Bridge (1998)
Death of a Salesman (1999)
The Real Thing (2000)
One Flew Over the Cuckoo's Nest (2001)
Private Lives (2002)
Long Day's Journey into Night (2003)
Henry IV (a combination of Part 1 and Part 2) (2004)
Glengarry Glen Ross (2005)
Awake and Sing! (2006)
Journey's End (2007)
Boeing-Boeing (2008)
The Norman Conquests (2009)
Fences (2010)
The Normal Heart (2011)
Death of a Salesman (2012)
Who's Afraid of Virginia Woolf? (2013)
A Raisin in the Sun (2014)
Skylight (2015)
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British Women Go To War (1943)
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Man and Time (1964)
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Particular Pleasures (1975)
Instead Of The Trees (1977 autobiography)
Film & TV adaptations
An Inspector Calls (1954 film)
Out of the Unknown: "Level Seven" (1966 sci-fi series)
An Inspector Calls (1982 film)
Lost Empires (1986)
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You Are My Sunshine
From Wikipedia, the free encyclopedia
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For other uses, see You Are My Sunshine (disambiguation).
"You Are My Sunshine"
Song by Pine Ridge Boys
Published
1939
Songwriter(s)
Jimmie Davis, Charles Mitchell (disputed)
"You Are My Sunshine" is a popular song written by Jimmie Davis and Charles Mitchell[1] and first recorded in 1939. It has been declared one of the state songs of Louisiana because of its association with Davis, a country music singer and governor of the state in the years 1944–1948 and 1960–1964.
The song has been covered numerous times — so often, in fact, that it is "one of the most commercially programmed numbers in American popular music."[2] The song, originally country music, has "virtually lost" its original country music identity, and "represent[s] both the national flowering of country music and its eventual absorption into the mainstream of American popular culture."[2] In 1941, it was covered by Gene Autry, Bing Crosby,[3] Mississippi John Hurt, Wayne King and Lawrence Welk.[2] The versions by Autry, Crosby, and King reached the US charts of the day.[4]
In subsequent years, it was covered by Doris Day (1951), Nat King Cole (1955), The Marcels, (1961), Ray Charles, Ike and Tina Turner, The Rivingtons (1962), Andy Williams (1963), Burl Ives (1968), Frank Turner, Aretha Franklin, Anne Murray (1979), Chuck Berry, Jerry Lee Lewis, Johnny Cash, Norman Blake , Brian Wilson, Mouse and the Traps, Gene Vincent, Jamey Johnson, Low, Mose Allison, Bryan Ferry, Carly Simon, Yusuf Islam, Andy Williams, Copeland, Johnny and the Hurricanes, and Barbra Lica (2012), amongst many others.[2]
The 1940 version by Davis has been added to the National Recording Registry in the Library of Congress on March 21, 2013, for long-term preservation.[5]
Virginia Shehee, a long-time Davis family friend and member of the Louisiana State Senate from 1976 to 1980, introduced legislation to make "You Are My Sunshine" the official state song.[6]
Contents
1 Early recordings
2 Authorship
3 In popular culture
4 See also
5 References
6 External links
Early recordings[edit]
Two versions of "You Are My Sunshine" were recorded and released in 1939 prior to Jimmie Davis' version. The first was recorded for Bluebird Records (RCA-Victor's budget label) on August 22, 1939, by The Pine Ridge Boys (Marvin Taylor and Doug Spivey), who were from Atlanta.[7] The second was recorded for Decca Records on September 13, 1939, by The Rice Brothers Gang.[8] This group was originally from north Georgia but relocated to Shreveport, where they were performing on the radio station KWKH. The version by Jimmie Davis was recorded for Decca Records on February 5, 1940.[9]
The Pine Ridge Boys
Rice Brothers Gang
Jimmie Davis with Charles Mitchell's Orchestra
Authorship[edit]
While Davis and Mitchell are the credited songwriters of "You Are My Sunshine", Davis was never known to actually claim authorship, as he bought the song and rights from Paul Rice and put his own name on it, a practice not uncommon in the pre-World War II music business.[10] Some early versions of the song credit the Rice Brothers. Descendants and associates of Oliver Hood, a LaGrange, Georgia musician who collaborated with Rice, claim Hood wrote the song in the early 1930s and first performed it in 1933 at a Veterans of Foreign Wars convention at LaGrange, Georgia in 1933.[10] According to some accounts,[which?] clarinetist Pud Brown was also involved with the Rice Brothers for the song's origin or first arrangement. Davis said that for some time he had been enthusiastic about the song and had unsuccessfully tried to convince record companies to record it before finally making his own 1940 record of the song. Davis' version was popular and was followed by numerous other covers, including those of Bing Crosby and Gene Autry, whose versions made the number a big hit. Davis emphasized his association with the song when running for governor of Louisiana in 1944, singing it at all his campaign rallies while riding on a horse named "Sunshine".[2]
In popular culture[edit]
Film appearances
Take Me Back to Oklahoma (1940) - sung by Tex Ritter[11]
Strictly in the Groove (1942) - sung by Jimmie Davis.[11]
Rafferty and the Gold Dust Twins (1975)[12]
Annabelle: Creation (2017) - sung by Charles McDonald[13]
Television appearances
On the 2016 TV series Bloodline (TV series), Robert Rayburn frequently strums the song on his ukelele and sings it throughout season 1,[14][15] and in season 2, episode 9 (airdate May 28, 2017) Evangeline sings it to Nolan and Sally.[16]
See also[edit]
List of number-one R&B singles of 1962 (U.S.)
List of number-one R&B singles of 1963 (U.S.)
References[edit]
Jump up ^ CD liner notes: Disney Children's Favorites 4, 1990 Disney Records
^ Jump up to: a b c d e Deusner, Stephen (May 26, 2013). "'You Are My Sunshine': How a Maudlin Song Became a Children's Classic". Salon.com.
Jump up ^ "A Bing Crosby Discography". BING magazine. International Club Crosby. Retrieved June 22, 2017.
Jump up ^ Whitburn, Joel (1986). Joel Whitburn's Pop Memories 1890-1954. Wisconsin, USA: Record Research Inc. p. 615. ISBN 0-89820-083-0.
Jump up ^ "Simon & Garfunkel Song Among Those to Be Preserved by Library of Congress". Huntington Post. Retrieved 21 March 2013.
Jump up ^ "Virginia Ruth Kilpatrick Shehee". The Shreveport Times. Retrieved July 9, 2015.
Jump up ^ Russell, Tony, and Bob Pinson. Country Music Records: A Discography, 1921–1942 (Oxford: Oxford University Press, 2004), p. 697.
Jump up ^ Russell, Tony, and Bob Pinson. Country Music Records: A Discography, 1921–1942 (Oxford: Oxford University Press, 2004), p. 746.
Jump up ^ Russell, Tony, and Bob Pinson. Country Music Records: A Discography, 1921–1942 (Oxford: Oxford University Press, 2004), p. 304.
^ Jump up to: a b Pappas, Theodore (November 1990). "The 'Theft' of an American Classic". Chronicles. The Rockford Institute.
^ Jump up to: a b Lowe, Leslie (1992). Directory of Popular Music (3rd ed.). Hastings, UK: Music Master. p. 355. ISBN 0-904520-70-6.
Jump up ^ Reynolds, Fred (1986). The Crosby Collection 1926-1977 (Part Two ed.). Gateshead, UK: John Joyce. p. 220.
Jump up ^ "'Annabelle: Creation' Soundtrack Details". Film Music Reporter. August 2, 2017. Retrieved August 13, 2017.
Jump up ^ Rooney, David. "'Bloodline': Berlin Review". The Hollywood Reporter.
Jump up ^ Ramos, Dino-Ray (July 31, 2017). "Sam Shepard: 'Bloodline' Co-Stars, Nancy Meyers, Reese Witherspoon Remember Legendary Actor-Writer". Deadline Hollywood.
Jump up ^ "Bloodline: Season 2 Official Playlist". Spotify.
External links[edit]
Oliver Hood's story
Joel Whitburn Presents Top R&B/Hip-Hop Singles: 1942–2004, 2004 (Record Research) pg. 113
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track listing
Side one
"Our Prayer"
"Gee"
"Heroes and Villains"
"Do You Like Worms (Roll Plymouth Rock)"
"I'm In Great Shape"
"Barnyard"
"My Only Sunshine (The Old Master Painter / You Are My Sunshine)"
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Derivative songs
"Fall Breaks and Back to Winter (W. Woodpecker Symphony)"
"She's Goin' Bald"
"Can't Wait Too Long"
"Mama Says"
"Little Bird"
Associated people
David Anderle
The Beach Boys
Frank J. Holmes
Danny Hutton
Van Dyke Parks
Jules Siegel
Derek Taylor
Michael Vosse
Paul Williams
The Wrecking Crew
Related articles
Pet Sounds (Sessions)
20/20
Surf's Up
Good Vibrations: Thirty Years of The Beach Boys
The Beach Boys bootleg recordings
Beautiful Dreamer: Brian Wilson and the Story of Smile
"Brian Wilson is a genius"
Brother Records
"Don't fuck with the formula"
"Goodbye Surfing, Hello God!"
Inside Pop: The Rock Revolution
"Rio Grande"
Smiling Pets
The Act of Creation
Retrieved from "https://en.wikipedia.org/w/index.php?title=You_Are_My_Sunshine&oldid=865952227"
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Music of Louisiana
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Swann v. Charlotte-Mecklenburg Board of Education
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Swann v. Charlotte-Mecklenburg Board of Education
Supreme Court of the United States
Argued October 12, 1970
Decided April 20, 1971
Full case name
Swann et al. v. Charlotte-Mecklenburg Board of Education et al.
Citations
402 U.S. 1 (more)
Subsequent history
431 F.2d 138, affirmed as to those parts in which it affirmed the District Court's judgment.
Holding
Busing students to promote integration is constitutional.
Court membership
Chief Justice
Warren E. Burger
Associate Justices
Hugo Black · William O. Douglas
John M. Harlan II · William J. Brennan, Jr.
Potter Stewart · Byron White
Thurgood Marshall · Harry Blackmun
Case opinions
Majority
Burger, joined by unanimous
Wikisource has original text related to this article:
Swann v. Charlotte-Mecklenburg Board of Education
Swann v. Charlotte-Mecklenburg Board of Education, 402 U.S. 1 (1971) was a landmark United States Supreme Court case dealing with the busing of students to promote integration in public schools.[1] The Court held that busing was an appropriate remedy for the problem of racial imbalance in schools, even when the imbalance resulted from the selection of students based on geographic proximity to the school rather than from deliberate assignment based on race. This was done to ensure the schools would be "properly" integrated and that all students would receive equal educational opportunities regardless of their race.
Judge John J. Parker of the U.S. Court of Appeals for the Fourth Circuit, like many in the South, interpreted Brown as a charge not to segregate rather than an order to integrate. In 1963, the Court ruled in McNeese v. Board of Education and Goss v. Board of Education in favor of integration, and showed impatience with efforts to end segregation. In 1968 the Warren Court ruled in Green v. County School Board that freedom of choice plans were insufficient to eliminate segregation, thus it was necessary to take proactive steps to integrate schools. In United States v. Montgomery County Board of Education (1969), Judge Frank Johnson’s desegregation order for teachers was upheld, allowing an approximate ratio of the races to be established by a district judge.
Contents
[hide]
1 Background
2 Swann before the Supreme Court
3 Timeline of the case being overturned
4 See also
5 References
6 External links
Background[edit]
North Carolina was one of the more moderate Southern states, and its resistance to integration was much weaker than in most other areas of the South. After Brown, it had ended segregation with a school assignment plan based on neighborhoods that was approved by the Court. However, when Charlotte consolidated school districts from the city itself with a surrounding area totaling 550 square miles (1,400 km2), the majority of black students (who lived in central Charlotte) still attended mostly black schools as compared with majority white schools further outside the city.
The NAACP Legal Defense Fund brought the Swann case on behalf of six-year-old James Swann and nine other families, with Julius L. Chambers presenting the case. Swann was chosen because his father was a theology professor, and was thus unlikely to be economically burdened by local retaliation.
In 1965, Judge J. Braxton Craven decided Swann v. Charlotte-Mecklenburg Board of Education in favor of Charlotte-Mecklenburg, because there was no requirement in the Constitution to act purposely to increase racial mixing.
After the Green ruling, the Swann case was filed again, and this time taken by Judge James B. McMillan as his first important case on the federal bench. McMillan had at one point been a public opponent of busing to integrate schools, but when the case was presented to him he said that the facts outweighed his feelings, and busing was the only way to fulfill the constitutional requirement of desegregation.
Experts from Rhode Island College were brought in for the Plaintiff's side to judge the effectiveness of the school board's new plan. From April to November 1969, McMillan repeatedly ordered the board to revise the plan. The Board eventually submitted a plan rezoning neighborhoods into pie-shaped wedges, where blacks living in the center of Charlotte would be divided up and distributed to outlying, formerly white high schools. The school board's plan required busing and would achieve a black population of 2-36% in all ten of the high schools. Due to the greater number of elementary schools, elaborate gerrymandering was required and would achieve greater integration, but would leave more than half of black elementary students at majority-black schools.
The Court rejected the Board's plan in favor of outsider Dr. John Finger's plan. The Finger Plan required busing of an additional 300 black students, established "satellite zones" and required pairing and grouping techniques to achieve even greater integration. As a consequence, McMillan became a local pariah.[2] Chambers' home, office and car were bombed when he first took up the case.[3]
When the case was appealed to the U.S. Court of Appeals for the Fourth Circuit, the case was heard en banc by six of the seven judges sat on the court. The seventh judge Judge J. Braxton Craven, recused himself due to him being the original trial court judge. The opinion was 3-2-1 that the restructured busing orders should be affirmed for older students, but that it be remanded for those of elementary school age. Two dissenters would have affirmed the whole decision, while one would reverse McMillan’s ruling in its entirety. McMillan decided to follow his original plan for elementary school students after the case was remanded to him.
Swann before the Supreme Court[edit]
Justice Douglas had previously been strongly opposed to busing. The Court was urged to begin their term early to hear the case, but decided to wait until the first day of their new term to begin.
Despite his relative youth and inexperience, Julius Chambers argued the case, because of his intimate knowledge of the facts involved. Erwin Griswold, the Solicitor General of the United States, represented the federal government, advocating Nixon’s “go-slow” policy. Though no official vote was taken, Chief Justice Burger and Justice Black wanted to reverse McMillan’s order, while Justices Douglas, Harlan, Brennan and Marshall wanted a strong affirmation of the order; Justices Stewart, White and Blackmun did not express a strong feeling either way. Douglas, Brennan and Marshall were quite liberal, but Harlan was usually conservative. When Burger circulated his very grudging affirmation of McMillan that limited future action and action in other areas by the Court, he met strong resistance. Douglas, Harlan, Brennan and Marshall all demanded revisions and circulated suggestions for alternate drafts. Justice Stewart also reacted strongly after carefully considering the facts of the case, and wrote a “dissent” that would have been the opinion of the court without revisions of Burger’s drafts.
Burger revised the opinion five times, each time making a stronger affirmation of McMillan and incorporating the language of Harlan, Brennan, Stewart and others into it. After the fifth draft, Justice Black threatened a dissent if the opinion was made any stronger an affirmation, and so a sixth and final draft was created that was close to what Justice Stewart had composed after the first conference. The final opinion was 9-0 affirming McMillan’s order.
The decision led to the widespread use of busing to end segregation by federal judges in the South.
Timeline of the case being overturned[edit]
When the courts mandated that busing should occur to desegregate the schools, they also noted that one day when the school system was thought to be unitary, busing would end and the school board would be able to come up with a new plan which would best suit the education of students in Charlotte-Mecklenburg.
Integrated busing in Charlotte in 1973
After busing was enforced in 1971, throughout the 1970s and the 1980s, Charlotte was known across the nation as the “city that made desegregation work.” It paved the way for many different school systems to use the busing plan to force integration in the school systems.[4]
However, due to the booming economy of the city in the late 1980s and early 1990s, Charlotte experienced a rapid immigration from the Northeast and the Midwest, which resulted in a decline of the acceptanced of busing. In 1992, in response to these complaints, CMS created a managed choice plan to reduce the number of students being bused. This new choice plan revolved around magnet schools, making one-third of the schools in Charlotte-Mecklenburg either magnets or partial magnets, and each magnet had a quota of black and white students that were allowed to attend. But this didn’t please many white families who were denied entrance into magnet schools that had fulfilled their quotas.
In 1997, a parent, William Capacchione, sued the school system when his daughter was denied entrance into a magnet school for the second time based on her race.[5] While the school system opposed the end of busing, Judge Robert D. Potter declared the mandate of a unitary system had been met and lifted the court order on mandatory busing by race or ethnicity. This ruling was upheld by the appeals court in Richmond, Virginia in 2000 and after the final appeal was declined to be heard by the U.S. Supreme Court, federal order of busing was ended in Charlotte-Mecklenburg and it was left in the hands of the city school board to decide how to redo the assignment policy for school attendance.[6]
The new assignment policy which was adopted in the fall of 2002 was known as the “School Choice Plan.” This new choice plan divided the city into four large attendance zones based on neighborhoods. Students were allowed to choose to stay at their neighborhood "home school," or they could rank their top three choices of any other school in CMS; however they would only receive free transportation to their home school or any of the magnet schools in the district. If families chose their home school as their first choice, they were guaranteed that school; otherwise they were entered into a lottery that gave available spaces in overenrolled schools. If people did not choose a school, they were immediately placed into their home school. After creating a variety of programs to inform families about the new plan, over 95% of the families in the Charlotte-Mecklenburg school system submitted choices for the new school year.[4]
See also[edit]
List of United States Supreme Court cases, volume 402
References[edit]
Jump up ^ "Swann v. Charlotte-Mecklenburg Bd. of Educ. 402 U.S. 1 (1971), Justia U.S. Supreme Court". Retrieved 17 October 2015. line feed character in |title= at position 45 (help)
Jump up ^ "The Charlotte Mecklenburg Story" http://cmstory.org/content/signs-times#McMillan
Jump up ^ "The Charlotte Mecklenburg Story" https://web.archive.org/web/20050217014254/http://www.cmstory.org/aaa2/events/70/111e.html
^ Jump up to: a b Godwin, R.K., Leland, S.M., Baxter, A.D., and Southworth, S. (2006). Sinking Swann: Public School Choice and the Resegregation of Charlotte’s Public Schools. Review of Policy Research, 23(5), 983-997.
Jump up ^ Marcus, D.L. (1999). After the Buses Stop. US News & World Report, 127(23), 38-39
Jump up ^ Walsh, M. (2002). High Court Closes Historic Desegregation Case. Education Week, 21(32), 31-33.
External links[edit]
Swann v. Charlotte-Mecklenburg Board of Education, 402 U.S. 1 (1971) (full text with links to cited material)
Oral History Interview with Arthur Griffin from Oral Histories of the American South
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Sipuel v. Board of Regents of Univ. of Okla. (1948)
Sweatt v. Painter (1950)
McLaurin v. Oklahoma State Regents (1950)
Brown v. Board of Education of Topeka (1954)
Hernandez v. Texas (1954)
Griffin v. County School Board of Prince Edward County (1964)
Katzenbach v. Morgan (1966)
Loving v. Virginia (1967)
Swann v. Charlotte-Mecklenburg Board of Education (1971)
Guey Heung Lee v. Johnson (1971)
Reed v. Reed (1971)
Frontiero v. Richardson (1973)
Craig v. Boren (1976)
Milliken v. Bradley (1974)
Plyler v. Doe (1982)
Romer v. Evans (1996)
Grutter v. Bollinger (2003)
Parents Involved in Community Schools v. Seattle School District No. 1 (2007)
Obergefell v. Hodges (2015)
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