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Miss Julie
In The Underbelly.
By Robert M Massimi. ( Broadway Bob).Published about 2 hours ago • 3 min read
August Strindberg has always been a different kind of writer; his plays have many underlying messages in his works. "Miss Julie" is no different. In this three character play we get a class difference. It is more of a class warfare, however, so subtle, Strindberg presents three very different people to portray his writing.
At the beginning, the audience believes Julie to be a member of the Aristocratic society. She has status, wealth and a good education like most young women of her class. Jean, (Mike Roche) comes across as a proper livery, dedicated to his Governor. Christine, (Holly O'Brien) is too dedicated to her lady, Julie (Natalie Menna).
While Strindberg reals in the audience to this belief, he goes in a completely other direction as the play unravels. Like Tennessee Williams, Strindberg is deft in bringing out the depravity in human beings. Being able to bring people to the lowest depths is what makes both playwrights great.
Billy Little brings great costumes to the play, he captures the period very well. The lighting for the most part is sufficient in capturing the movements of each character (Alexander Bartenieff). It is the direction in "Miss Julie" that has the actors believable. Robert Greer who translated and directed this gem was able to navigate the actors on this very economical stage. The Cabaret Theatre at The Theater for The New City is the smallest one in the space, so sophisticated direction is a must.
As Julie spirals, Greer is able to bring the other two characters into light, giving them an equal footing, at least for a while. The seesaw of power always shifts throughout the play making for an interesting evening. Just when you think you know where the play is going, you realize in short order that you don't. Like Williams, Strindberg is very good at the psychological game too. As the actors try to get inside each others head, the gamesmanship gets pretty deep. Where each character is able to anticipate the others thoughts, that's when we get a switch-off in the performance. Who will win? Who will lose? We never get full resolution until the end.
From the beginning of the play in what we think of these people is not even close to who they three really are. Strindberg exposes their weaknesses and makes them all as transparent as glass. All three, despite their class, where they came from are all calculating; doing what works best for them rather than the collective whole. The parts in this play are never whole and the ends never justifies the means.
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Up next is "English" on Broadway. The spring season is both promising and fully packed with new shows. "Redwood" will be the second one up followed by one that I really want to see, "Ghosts" at Lincoln Center.
Early word is that "Operation Mincemeat", which was a huge hit in the West End is going to be a force; as is "Othello" with Denzel Washington and Jake Gylenhall. It will be interesting to see how well George Clooney is onstage in "Goodnight, and Good Luck".
My guess is that a few shows will rise through the ranks this Spring season and surprise audiences. With both new and not so new coming to The White Way, "Pirates of Penzance" will be interesting to watch and see if it can return to past glory. The show in the 80's had a very long run. Other shows which have modest buzz are: "Boop", "Joan Proctor", and "Smash"
Like every season, we have to wait and see which shows will come out on top!
August Strindberg, "Miss Julie", Broadway, George Clooney, Billy Crudup, "Pirates of Penzance"
About the Creator
Robert M Massimi. ( Broadway Bob).
I have been writing on theater since 1982. A graduate from Manhattan College B.S. A member of Alpha Sigma Lambda, which recognizes excellence in both English and Science. I have produced 14 shows on and off Broadway. I've seen over700 shows
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