The Minerva’s final manufacturing of Miss Julie, in 2014, was a model by Rebecca Lenkiewicz and Strindberg’s research of intercourse, class and energy has since grow to be extra generally tailored by feminine playwrights – Polly Stenham, Amy Ng and Kaite O’Reilly amongst them. Laura Lomas’s new model is a particular corrective to the misogyny blatantly expressed in his preface to the 1888 authentic.

Like Stenham, Lomas reframes the story as a debauched modern-day party held by newly single Julie in her minted father’s townhouse. Lomas’s main change is to develop the position of the cook dinner, Kristin, who turns into Julie’s BFF, Christine. They dance across the kitchen’s marbled island to songs by Beyoncé and Fred Once more, pausing to pose for selfies and anticipate the company’ arrival (“not that many – 100”).

Christine is the affected person listener and reasoner, Julie the motormouth spouting different info from Instagram. The pair’s heat repartee is momentarily soured by Julie’s classism, sneering at Christine for her love of Staffordshire bull terriers and at her scouse boyfriend Jon (counterpart to the valet Jean in Strindberg’s play), who’s from the identical council property as Christine and is the son of Julie’s household’s cleaner.

Flamboyant ferment … Nadia Parkes (centre) in The Home Occasion. {Photograph}: Ellie Kurttz

Age is a defining distinction for Strindberg’s triangle of characters: his Julie is 25, Jean and Kristin 5 and 10 years older respectively. The Home Occasion’s characters are roughly the identical age as Julie, who is popping 18, however Josh Finan (Jon) and Rachelle Diedericks (Christine) lend their characters a maturity born from graft. As Julie, Nadia Parkes veers between pained vulnerability and flamboyant ferment as she will get nearer to Jon.

A set of speeches delineating the characters’ desires don’t intrigue as they need to however Lomas writes genuine teenage exchanges which ping between the trio. She additionally combines acute sexual politics with ample humour: Jon can sound as unconvincing telling Julie he can dance as he does telling Christine he loves her. By no means a play for pet lovers, there’s a grisly replace that stretches perception and it doesn’t ring true that Christine would so simply jeopardise her future by chugging pictures the night time earlier than a Cambridge College interview. However the predicaments dealing with Julie particularly are credibly set out, the brutality of youngsters’ on-line lives is deftly drawn and Maybelle Laye’s perceptive costume design enhances the characters.

Outsiders and insiders … Josh Finan as Jon. {Photograph}: Ellie Kurttz

The manufacturing is made with two of our most movement-minded theatre firms, Headlong and Frantic Meeting. So it’s by no means doubtful that the island on Loren Elstein’s set will grow to be a dancefloor for a dozen sweaty revellers who often cost by means of scenes (motion route by Scott Graham). There are many Saltburn-esque contrasts right here: outsiders and insiders, extra and vacancy, invisibility and over-exposure. The raucous get together features an additional dimension from seating some viewers members amid the motion. Strindberg decreed a small stage and a small auditorium for his play; Holly Race Roughan’s manufacturing ups the intimacy with scenes of frisky writhing and boozy retching sandwiched between spectators.

Lomas provides a brief coda that shrewdly follows Strindberg’s notion of characters both on the best way up or down the social ladder however it’s slight and, coming after the interval, doesn’t have ample cost to spherical off an in any other case typically compelling night with a trio of potent performances.


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