A revival of the play by British director Stephen Daldry (produced by PW Productions) opened at the National Theatre's Lyttelton Theatre in September 1992. Daldry's concept was to reference two eras: the 1945 post-war era, when the play was written, and the ostensible historical setting for the work in pre-war 1912; this emphasised the way the character Goole was observing, and deploring, the Birling family's behaviour from Priestley's own cultural viewpoint. 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, although the production had some detractors, including Sheridan Morley, 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.
A revival of the play by British director Stephen Daldry (produced by PW Productions) opened at the National Theatre's Lyttelton Theatre in September 1992 Daldry's concept was to reference two eras the 1945 post-war era when the play was written and the ostensible historical setting for the work in pre-war 1912; this emphasised the way the character Goole was observing and deploring the Birling family's behaviour from Priestley's own cultural viewpoint 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 although the production had some detractors including Sheridan Morley 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