BroadwayBaby.com
Miss Julie
*****
Midsummer delight
An absolutely captivating production
of one of Strindberg’s best-loved
plays. The casting is a little more
senior than is usual but that’s of no
import - Louise Seyffert’s feisty and
troubled Miss Julie is the perfect foil
to arrogant servant Jean (Bart
Vanlaere - outstanding). The lesser
but essential part of Kristin, Jean’s
God-fearing fiancée, is also
excellently played by Robin
Steegman.
The story unfolds in the servant’s
quarters of an aristocratic mansion
somewhere in 19th-century Sweden.
It’s Midsummer Night, a time when
Swedes traditionally let their hair
down. But in Strindberg’s hands, this
night of celebration is revealed to
have an ugly side - witchcraft, trolls
and mind-altering potions all come
into play. Miss Julie, a woman with a
scandalous reputation, wanders in
and allows herself to be seduced by
Jean. And then, for Act 2, matters
take a decidedly dark turn as the
power dynamics are switched.
It’s delicious seeing Jean’s
transformation from obedient servant
to domineering bully and, as a
metaphor for the abused underclass,
he’s perfect. 'You spat at me,' he
shouts. 'Don’t be surprised if I wipe
it off on you.' Strindberg probably
didn’t have texting hoodies looting
flatscreen TVs in mind when he
penned his masterpiece, but the
issues he explores are still sadly
relevant today.
All round, a fabulous production
and one of the best pieces of theatre
I’ve seen at this year’s Fringe.
[Ian Winterton]
*****
Midsummer delight
An absolutely captivating production
of one of Strindberg’s best-loved
plays. The casting is a little more
senior than is usual but that’s of no
import - Louise Seyffert’s feisty and
troubled Miss Julie is the perfect foil
to arrogant servant Jean (Bart
Vanlaere - outstanding). The lesser
but essential part of Kristin, Jean’s
God-fearing fiancée, is also
excellently played by Robin
Steegman.
The story unfolds in the servant’s
quarters of an aristocratic mansion
somewhere in 19th-century Sweden.
It’s Midsummer Night, a time when
Swedes traditionally let their hair
down. But in Strindberg’s hands, this
night of celebration is revealed to
have an ugly side - witchcraft, trolls
and mind-altering potions all come
into play. Miss Julie, a woman with a
scandalous reputation, wanders in
and allows herself to be seduced by
Jean. And then, for Act 2, matters
take a decidedly dark turn as the
power dynamics are switched.
It’s delicious seeing Jean’s
transformation from obedient servant
to domineering bully and, as a
metaphor for the abused underclass,
he’s perfect. 'You spat at me,' he
shouts. 'Don’t be surprised if I wipe
it off on you.' Strindberg probably
didn’t have texting hoodies looting
flatscreen TVs in mind when he
penned his masterpiece, but the
issues he explores are still sadly
relevant today.
All round, a fabulous production
and one of the best pieces of theatre
I’ve seen at this year’s Fringe.
[Ian Winterton]
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