It would be nice to see a production of Miss Julie in which Strindberg’s instructions for a naturalistic setting which exists largely in the wings, and that we see only a corner of, were actually followed. There are too many boxed-in containment units that improbably and without deviation follow the exact dimensions of the stage.

Perhaps that is a part of the explanation as to why I found the final moments of Patrick Marber’s AFTER MISS JULIE to be strangely unconvincing even given what had come moments before from Sienna Miller. She is extremely well-cast as Miss Julie, celebrity star turn and all. For moments at a time actor and role are one, yet ironically reversed. Julie’s emotional nadir is Miller’s apex: her Julie is as dangerous and unpredictable as a downed wire dancing on asphalt in the rain.

The updating of the play from aristocratic Sweden to the post-WWII Labour Party victory in England is carried off by some very smart writing, and the other actors – Johnny Lee Miller and Marin Ireland – are excellent in their own right. I attended one of the previews, so perhaps the ending will gain conviction by the official opening.

For more on the production, click here.

Facebook1
Twitter
Visit Us
Follow Me
Tweet
Follow by Email
RSS