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Miss Julie, Jermyn Street Theatre London
August Strindberg's febrile drama of class and sex conflicts gets an outstanding production
Power play: Charlotte Hamblin and James Sheldon in Miss Julie
RON JACOBS welcomes a timely history of the Anti Imperialist league of America, and the role that culture played in their politics
STEVE ANDREW appreciates a passionate account of the Scottish Club during the ‘lost decade’
By telling the story of a lawless frontier town from the point of view of the Lakota, Chinese labourers, prostitutes and displaced prospectors, makes for a potted history of capital, suggests ALEX HALL
TONY BURKE speaks to Gambian kora player SUNTOU SUSSO
MARIA DUARTE recommends a British boxing biopic about the stormy relationship between Nazeem Hamed and his trainer Brendan Ingle
SET on Midsummer’s Eve in Sweden— a time for partying, rule-breaking and indulging in the forbidden — August Strindberg described his 1888 play Miss Julie as “a naturalistic tragedy.”
Immersed in a world where the lower orders and the ruling classes co-exist in a seemingly perpetual dependency, his most popular work homes in on a fateful night in an aristocratic home, where madness is in the air and the servants revel in abandon.
During it, the upper-class Miss Julie — in a story that almost tells itself — rocks the social code to its foundations when she seduces the handsome valet Jean.
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Although this production was in rehearsal before the playwright’s death, it allows us to pay homage to his life, suggests MARY CONWAY
MARY CONWAY revels in the Irish American language and dense melancholy of O’Neill’s last and little-known play
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
MARY CONWAY is gripped by a hilarious and erudite new play that dramatises the making of the alliance that defeated fascism