Review: Albion Theatre’s I HAVE BEEN HERE BEFORE is a Supernatural Story Stuck in Spiraling Time

Playwright J.B. Priestley has written a handful of scripts examining nonlinear theories of time. His 1937 work, I Have Been Here Before, is based on Russian philosopher’s P. D. Ouspensky’s concept of spiral time.

Ouspensky asserts that life runs in circular repetition. One spiral equals the time from a person’s birth to death. Once death occurs, the person is reborn and repeats the same cycle repeatedly throughout eternity. The narrative, based on Ouspensky’s work, argues that spiritual awareness allows for a do-over to correct one’s mistakes in life.

I Have Been Here before premiered on Broadway in 1938, running for only 20 performances. The original 1937 West End production opened to mixed reviews calling the play “disappointing” and the acting performances “uneven.”

The concepts presented in Priestley’s early play may have been ahead of their time. The supernatural storyline seems almost simplistic compared to today’s fantasy films with complex multiverses.

The rarely produced I Have Been Here Before is a lengthy 2 hours and 30 minutes. The first act is sluggish as Priestley introduces the 6 characters.

Sam Shipley (Robert Ashton) and his daughter Sally Pratt (Anna Langdon) run The Black Bull Inn in rural Yorkshire. Their four guests include a mysterious German mathematician and physicist, married couple Walter and Janet Ormund (Jeff Kargus/Bryn McLaughlin), and a young single man named Oliver Farrant (Dustin Petrillo).

The first to arrive is Dr. Görtler (Garrett Bergfeld). He inquires about the other guests he expects will be staying at the inn. Sally corrects Görtler, explaining the reservations are not for the guests he has described, apologizes that there are no vacancies, and sends the professor on his way.

When the expected guests cancel their reservations, and the rooms are let to the married couple Dr. Görtler had asked about, Sally becomes suspicious of the German doctor’s clairvoyance. Görtler returns to the Inn to find the married couple he expected. He rents the one remaining room that is available because of the cancellation.

Görtler’s ability to tap into his memories of past lives is more than clairvoyance or déjà vu. Seems he knows exactly what is going to happen.

Directors CJ Langdon and Robert Ashton have staged a thought-provoking production of one of Priestley’s earliest works as a dramatist. Their casting and the performances they extract from their skilled actors creates storytelling that is better than the script. Priestley’s narrative is a bit like a watched pot; it boils eventually but relies on audience patience.

Garrett Bergfeld’s doctor is enigmatic. His cryptic presence looms as large as he is tall. He is shady without being sketchy, and mysterious enough to engender distrust.

Anna Langdon dubious Sally is a bit unsure of Dr. Görtler’s intentions. She conveys suspicion that something is off. Langdon has performed in other Albion Productions, and she shows impressive range expressing character’s intentions and adopting accents.

Jeff Kargus, Bryn McLaughlin, and Dustin Petrillo are exceptionally skilled actors portraying the trio of borders who are oblivious that they have been there before. Kargus is extraordinary as the wealthy, whiskey swilling businessman teetering on the edge of a breakdown. His expressive portrayal blends inebriated physicality and vocal inflection. He supports a consistent accent even when slurring words.

Bryn McLaughlin and Dustin Petrillo exude charisma and charm. They have been paired together as scene partners in other productions locally and emit strong chemistry. Both give complex performances capturing a range of emotions; however, each loses a bit of their British accent in emotionally charged scenes. It’s a minor criticism of actors who are giving commanding performances.

Robert Ashton does double duty as actor and director. He is delightful as the level-headed innkeeper keeping his daughter’s mistrust tempered.

Ashton’s co-director CJ Langdon impresses in his Albion directorial debut. He and Ashton have made the wordy, slowly unfolding script simmer through calculated pacing and the dynamic performances elicited from their actors. They give the audience just enough just to entice curiosity at the ends of the first two acts.

Whether a directorial choice or a lighting design decision, there were scenes performed in extremely dim lighting. The choice was intentional, and supported by the script, but as an audience member it was a much too dark leaving actors in shadows

Albion Theatre consistently produces polished and well rehearsed plays. I Have Been There Before is no exception. It is extremely well directed, acted, designed, and stage managed. Priestly’s script has never connected with an audience to enjoy a lengthy theatrical run, but the Albion production is entertaining, with the second and third acts moving much more briskly than the first.