The question remains: what makes JB Priestley a dramatist whose work continues to resonate with audiences today? While some may dismiss him as one of the "tradesmen of letters", it's precisely his craft that allows us to grasp the essence of his artistry. The key, perhaps, lies in a phrase repeated throughout his plays: we don't live alone, we are members of one body, and therefore responsible for each other.
In 1946, this message took on a particular urgency, particularly under Labour government hard-pressed to address the social and economic upheaval that followed World War II. Fast-forward to 1992, when Stephen Daldry's revival of An Inspector Calls showcased Priestley's ability to distill a timeless moral, stripped down to its most elemental form.
This approach also applies to other plays like Time and the Conways and I've Been Here Before, both exploring themes of time, existence, and fate. What binds them together is their commitment to humane socialism - ideals that Priestly voiced through his advocacy for increased subsidy, theatre touring by national companies and a network of civic theatres serving local communities.
A lesser-known play such as The Linden Tree also showcases Priestley's focus on social commentary, highlighting both the neglect of age and experience in modern Britain, as well as an urgent warning against tyranny. Written in 1947, it reflects his post-war optimism about the Attlee government's vision for a more equal society.
Priestley was a true maverick - a visionary socialist with an insatiable appetite for mysticism. This is on full display in plays like Summer Day's Dream, which blend the magical world of rural England with post-nuclear devastation. It may seem fanciful to some, but within Priestley lies an enduring spirit that defies categorisation.
His most popular play, When We Are Married, is set to return to the stage at London's Donmar Warehouse from December 6th to February 7th. Its revival promises to be a testament to Priestley's ability to illuminate complex issues through his work - and it will likely do so with the same clarity that has sustained his artistry for generations.
In 1946, this message took on a particular urgency, particularly under Labour government hard-pressed to address the social and economic upheaval that followed World War II. Fast-forward to 1992, when Stephen Daldry's revival of An Inspector Calls showcased Priestley's ability to distill a timeless moral, stripped down to its most elemental form.
This approach also applies to other plays like Time and the Conways and I've Been Here Before, both exploring themes of time, existence, and fate. What binds them together is their commitment to humane socialism - ideals that Priestly voiced through his advocacy for increased subsidy, theatre touring by national companies and a network of civic theatres serving local communities.
A lesser-known play such as The Linden Tree also showcases Priestley's focus on social commentary, highlighting both the neglect of age and experience in modern Britain, as well as an urgent warning against tyranny. Written in 1947, it reflects his post-war optimism about the Attlee government's vision for a more equal society.
Priestley was a true maverick - a visionary socialist with an insatiable appetite for mysticism. This is on full display in plays like Summer Day's Dream, which blend the magical world of rural England with post-nuclear devastation. It may seem fanciful to some, but within Priestley lies an enduring spirit that defies categorisation.
His most popular play, When We Are Married, is set to return to the stage at London's Donmar Warehouse from December 6th to February 7th. Its revival promises to be a testament to Priestley's ability to illuminate complex issues through his work - and it will likely do so with the same clarity that has sustained his artistry for generations.