Dangerous Corner
Dangerous Corner is a 1932 play by the English dramatist J.B. Priestley, marking his first solo-authored work and the inaugural entry in his series of "Time Plays," which delve into non-linear perceptions of time and alternate realities.[1] Set in the drawing room of Robert and Freda Caplan following a dinner party attended by directors of a publishing firm and their spouses, the narrative centers on a discussion of a recent suicide by Robert's brother, Martin, which spirals into explosive revelations about hidden affairs, drug addiction, bisexuality, and financial deceit after a comment about a musical cigarette box disrupts the evening's harmony.[2] The play concludes with a temporal loop that replays the opening scene, allowing the characters to sidestep the "dangerous corner" of truth and restore superficial jollity, underscoring the fragility of social facades.[1] Premiered at the Lyric Theatre in London on 17 May 1932 under the direction of Tyrone Guthrie, Dangerous Corner quickly transferred to Broadway, opening at the Empire Theatre in New York City on 27 October 1932 and running for 206 performances.[3][4] The production's innovative structure, blending psychological drama with metaphysical elements inspired by Priestley's interest in J.W. Dunne's theories of serial time, challenged audiences to consider how small divergences in conversation could avert personal catastrophe.[1] Key characters include the composed Robert Caplan, the inquisitive Olwen Peel, and the enigmatic Charles Stanton, whose interactions expose the tensions within a privileged, ostensibly civilized group.[2] Thematically, Dangerous Corner examines the perils of unearthing truth in interpersonal relationships, portraying how revelations can dismantle illusions of morality and loyalty, while the time-reversal device highlights Priestley's fascination with contingency and human agency.[1] It critiques the superficiality of 1930s middle-class society, drawing parallels to the era's economic anxieties and moral hypocrisies, and has been praised for its taut dialogue and suspenseful pacing akin to a mystery thriller.[5] Priestley himself described the play as an experiment in dramatic form, influencing later works like Time and the Conways (1937) and I Have Been Here Before (1937).[1] Beyond its initial success, Dangerous Corner has seen numerous revivals, including a 1983 BBC television adaptation directed by James Ormerod and a 1972 Russian TV version noted for its fidelity to the original text.[6][1] A 1934 Hollywood film adaptation, directed by Phil Rosen and starring Conrad Nagel, altered the time-loop element but retained the core mystery of concealed scandals.[1] The play remains in print through publishers like Oberon Books and Concord Theatricals, continuing to attract productions—including revivals in 2024 and 2025—for its enduring relevance to themes of truth and deception in modern ensembles.[2][7]Background and Production
Development and Influences
J.B. Priestley developed an interest in philosophical and scientific theories of time during the interwar period, particularly those proposing multiple streams or dimensions of time beyond linear progression. He was notably influenced by J.W. Dunne's 1927 book An Experiment with Time, which explored precognition through dreams and the concept of serial time, where observers experience time in layers. This work shaped Priestley's approach to his "Time Plays," a series of experimental dramas that manipulate temporal structures to reveal alternate possibilities, with Dangerous Corner marking the inaugural entry. Written in 1932, Dangerous Corner represented Priestley's first solo dramatic effort following earlier collaborations, such as his adaptation work and co-authored pieces in the late 1920s. As a novelist transitioning to playwriting, Priestley crafted the script to demonstrate his command of theatrical form, emphasizing concise dialogue and stage economy over expansive prose. He explicitly aimed to investigate "other forms of time," incorporating Dunne's ideas of branching timelines to structure the narrative around pivotal moments.[1][8] The play's publication history began with its debut edition in 1932 by William Heinemann Ltd. in London, coinciding with its stage premiere. It was later republished in 1947 as part of Three Time-Plays by Pan Books, a collection that also included Time and the Conways and I Have Been Here Before, underscoring its foundational role in Priestley's temporal explorations.[9][10] Priestley's intent with Dangerous Corner was to experiment with dramatic structure, using the theatre's inherent artifice to depict how a single "dangerous corner"—a critical juncture in events—could spawn divergent realities, thereby highlighting the fragility of truth and consequence in human lives. In his own words, he constructed the play "to prove I could think and create like a dramatist," focusing on ensemble dynamics and revelatory tension rather than mere novelty.Premiere and Initial Reception
Dangerous Corner had an initial tryout at the King's Theatre in Glasgow starting on 9 May 1932 before premiering on 17 May 1932 at the Lyric Theatre in London, directed by Tyrone Guthrie, with Flora Robson in the role of Olwen Peel, Richard Bird as Robert Caplan, and Marie Ney as Freda Caplan.[11] The production received poor initial reviews from the daily press, leading the backers to threaten closure after just five performances. However, J.B. Priestley intervened by passing a copy of the script to Noël Coward during a performance of Cavalcade, prompting Coward to advocate for its continuation; combined with positive word-of-mouth from audiences, this revived interest, allowing the play to run for six months and establishing it as a commercial success.[8] The play's momentum carried it across the Atlantic, opening on Broadway at the Empire Theatre on 27 October 1932, directed by Elsa Lazareff, where it ran for 206 performances until April 1933.[12] American critics offered a mixed response, praising Priestley's innovative use of time manipulation in some quarters while finding the nonlinear narrative confusing and overly contrived in others. A brief revival followed at the Waldorf Theatre from July to October 1933.[12] As the inaugural entry in Priestley's series of "Time Plays," Dangerous Corner helped solidify his reputation for experimental drama, blending mystery with philosophical inquiries into truth and alternate realities.[2]Plot
Introduction
Dangerous Corner is a 1932 three-act play by British dramatist J.B. Priestley, structured as a looping narrative that explores alternate realities through the lens of time.[1] Set during a dinner party in the drawing room of the Caplans' country home, the story gathers associates from a publishing firm for an evening of conversation and camaraderie.[1] The gathering begins innocuously but pivots when a casual remark about a musical cigarette box prompts deeper inquiries into personal histories and hidden truths among the guests.[1] This central conflict escalates as revelations about past events, including a colleague's suicide, unravel long-buried secrets that strain relationships and lead to tragic consequences.[1] The play's innovative structure demonstrates Priestley's interest in non-linear time, resetting the scene to illustrate how a single avoided disclosure can steer events toward a different outcome, averting the titular "dangerous corner."[1] Through this temporal mechanism, the narrative contrasts the perils of unchecked truth-telling with the stability of selective silence.[1]Act-by-Act Summary
In the first act of Dangerous Corner, the scene is set in the drawing room of Freda and Robert Caplan's country house in the 1930s, shortly after a dinner party hosted for associates of their family publishing firm. The guests—Olwen Peel, Charles Stanton, Gordon Whitehouse, Betty Whitehouse, and Maud Mockridge—gather as the women conclude listening to a radio drama titled "The Sleeping Dog," which ends with a gunshot and sobbing. Conversation turns to the suicide of Martin Caplan, Robert's brother and a former partner in the firm, nearly a year earlier; Robert insists on probing the truth behind the event, despite Freda's discomfort. Tension builds when Olwen notices a musical cigarette box on the mantelpiece and remarks that she saw it at Martin's house, prompting suspicions of theft and igniting the group's initial disclosures about hidden matters related to Martin's life and death.[2][1] The second act escalates the revelations as the guests confront uncomfortable truths about their relationships and the firm's dealings. Charles Stanton confesses to embezzling £500 from the company, an act he concealed by shifting blame onto Martin to avoid detection. Freda then admits to a passionate affair with Martin, which had deeply affected her marriage to Robert and contributed to the emotional fractures within the group. Accusations proliferate, exposing lies, jealousies, and betrayals, as the characters' facades crumble under the weight of scrutiny, mirroring the radio play's theme of disturbing the "sleeping dog."[2][1] In the third act, the disclosures reach a devastating climax when Olwen confesses that she accidentally shot Martin during a struggle after an argument at his cottage and orchestrated a cover-up to make it appear as suicide, driven by fear of scandal to the firm. The cumulative impact overwhelms Robert, who, disillusioned by the corruption and infidelity surrounding him, retrieves a revolver and shoots himself offstage, accompanied by a scream and the sound of a clock chime. This chime triggers a temporal reset, replaying the opening scene from the first act: the guests again listen to the radio drama's conclusion, notice the cigarette box, but this time sidestep Olwen's incriminating remark, allowing the evening to proceed in superficial harmony without the destructive truths emerging.[2][1][13]Characters and Casting
Principal Characters
Robert Caplan is the idealistic principal of the family publishing firm, serving as a central and authoritative figure in both his professional and personal life. As the husband of Freda Caplan, he maintains close business ties with partners like Gordon Whitehouse and Charles Stanton, while his relationship with his late brother Martin underscores underlying familial tensions. Robert's traits of optimism and leadership drive the group's dynamics, positioning him as a stabilizing yet vulnerable presence among colleagues and family.[14][1] Freda Caplan, Robert's wife and the family's hostess, embodies social grace and inquisitiveness within the domestic sphere. As Gordon Whitehouse's sister, she navigates intertwined family and professional relationships, often facilitating interactions among the group. Her role highlights hidden tensions in marital and sibling bonds, contributing to the emotional undercurrents of the ensemble's conversations.[14][1] Olwen Peel functions as a professional executive in the publishing firm, bringing an observant and curious outsider perspective to the inner circle. She interacts closely with Robert, Gordon, and Charles in business matters, her detachment allowing her to probe deeper into group relations. Olwen's traits of perceptiveness and independence add layers of tension and revelation potential to the social dynamics.[14][1] Betty Whitehouse, the younger wife of Gordon Whitehouse, represents naivety and emotional openness in the family's relational web. Her marriage to Gordon places her within the extended circle connected to the Caplans, where her curiosity influences interpersonal exchanges. Betty's vulnerability amplifies the play's exploration of trust and hidden facets among the characters.[14][1] Gordon Whitehouse, Freda's brother and Betty's husband, is a relaxed partner in the publishing firm alongside Robert and Charles. His familial ties to the Caplans and professional collaborations shape his mediating role in group discussions. Gordon's skeptical yet supportive demeanor contributes to the balance of skepticism and camaraderie in the ensemble.[14][1] Charles Stanton acts as a calm and supportive partner in the publishing firm, engaging with Robert, Gordon, and Olwen in both work and social settings. His composed nature provides stability amid the group's interactions, while his connections reveal layers of professional interdependence. Charles's traits of reliability underscore the themes of loyalty and concealed motives within relationships.[14][1] Maud Mockridge, a reflective woman novelist and friend to the group, offers an external viewpoint unburdened by direct business or family links. Her creative and gossipy tendencies enrich the conversational flow, introducing broader perspectives on truth and perception. Maud's presence as a peripheral yet insightful member enhances the dynamics of revelation and introspection among the principals.[14][1]Original and Notable Casting
The premiere production of Dangerous Corner opened at the Lyric Theatre in London on 17 May 1932, directed by Tyrone Guthrie, with the following original cast:| Character | Actor/Actress |
|---|---|
| Freda Caplan | Marie Ney |
| Miss Mockridge | Esmé Church |
| Betty Whitehouse | Isla Bevan |
| Olwen Peel | Flora Robson |
| Charles Stanton | Frank Allenby |
| Gordon Whitehouse | William Fox |
| Robert Caplan | Richard Bird |