Stephen Daldry's production of Priestley's classic play first hit the stage 31 years ago. Indeed this production holds the record for the longest running revival in theatre history. And judging by the sold out run in Aylesbury, it is still a powerful draw for audiences of all ages.

As a frequent theatregoer over the past 30+ years, it is quite a surprise that I had not yet seen this production given how iconic it has become. It was with a sense of anticipation that I made my first visit to the lovely Waterside Theatre.

It is also a surprise that I left with a somewhat conflicted reaction.

There is no doubt that Priestley created a masterpiece when he wrote the play. It is a piece that will always make an impact on the audience for its exploration of the themes of social responsibility and privilege versus equality. There is also little doubt that Daldry created a brilliant production that allowed audiences to completely reassess how to view the text and Priestley's writing more generally.

But I felt that for all the theatrical brilliance of the production, it now has started to feel dated and, at times, lacking in crucial subtlety. There will be other equally valid ways of re-examining this play for modern audiences and the dominance of this version is now stifling the development of new productions. It is time for other directors to take this play and make it new.

But it is important to judge what is on offer now rather than focusing too heavily on what might be in the future.

In terms of performances, there is not a weak link in the principal cast. Chloe Orrock stands out as Sheila - full of humour, nuance and a growing self confidence. Liam Brennan brings authority and humour to the titular Inspector.

There are issues with the sound balance for both voices and the score. Whilst I understand the need to provide microphone support for the cast when they are inside the house, that is only a short part of the script and they are all more than capable of projecting their voices to fill a large theatre. The overuse of vocal amplification puts an artificial barrier between actor and audience - one that does not sit comfortably with the overall presentation of the text.

The lighting design is one of the best I have seen for a play in many years. It switches effortlessly between naturalism and overt theatricality with ease - reinforcing the text in a convincing way.

Overall I can appreciate this as a well loved classic version of a fantastic play. Whilst I may not love the production as a whole, the audiences are still very keen on it.

The tour continues round the country until the end of May. If you have not yet seen it, it is worth trying to catch. But I, for one, am eager now to see how other directors approach the play.