Highly successful after its first and subsequent London productions, the play is now considered one of Priestley's greatest works, and it 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wave of social realist theatre in the 1950s and 1960s, the play fell out of fashion and was dismissed as an example of outdated bourgeois "drawing room" dramas, but it became a staple of regional repertory theatre.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 criticism 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 it arguably demonstrates Priestley's socialist political criticism of the perceived selfishness and moral hypocrisy of middle-class capitalist society in 1950s Britain.[8] 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 representation of millions of other vulnerable working-class people, and it can be read as a call to action for English society to take more responsibility for working-class people, prefiguring the development of the post-World War II welfare state.
