MAYER WAKEFIELD is entertained but let down by an audacious production that, sadly, doesn't ring true
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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
MARY CONWAY is disappointed by drama that, despite accomplished performances, cannot overcome an unfocused script
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KEN COCKBURN traces the one original language – that of the Yamnaya pastoral nomads – from which all European and Indian languages derive
PAUL DONOVAN is fascinated by the debunking of the iconic British war hero
ALEX HALL recommends a searing panorama of our global predicament
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