After Miss Julie

‘After Miss Julie’ written by English playwright, Patrick Marber in 1995, is based around Strindberg’s multifaceted 1888 tragedy, ‘Miss Julie’ that depicted an exaggerated view of Swedish life.  Presented at the Hayman Theatre Upstairs (Building 102) Curtin University, Kent Street, Bentley. Performances are at 8.00 pm nightly until the 17^th April.

         On arriving at the theatre, you are welcomed into the very large English country mansion with a glass of champagne. It is on the eve of the Labour Party’s post-war, landslide victory and the homeowner, a Labour politician, is up in London for the Party’s celebrations.

        In her twenties, supercilious Miss Julie (Claire Crosby), the politician’s depressed and sexually frustrated daughter is searching out a new freedom. She ‘descends’ to the kitchen to seek out her father’s 30 yrs old chauffeur, John (Alex Brittan). However, John already has a fiancée, the 35 yrs old, overworked cook, Christine (Kate Hart), but this adds to her excitement as she aims to have an upstairs-downstairs affair with the staff member.

       Each character is trapped in the eternal triangle, with each one needing something from an other. Filled with class envy, John views Miss Julie as his opportunity to escape his menial and servile life. The cook wants security and love, whereas Miss Julie’s needs are much darker.

Marber, being a comedy writer, has received numerous bad presses for having watered down Strindberg’s dramatic content, by introducing the British stiff upper lip. The play being described as a glossy, but bland melodrama. The director, Curtin tutor Teresa Izzard, has shown over a decade, her talent for digging deep into the characters of a play. Here, with her assistant director Andrew Thom, she has successfully displayed creative direction and effectively restored the punch of the Strindberg original. Back again is Marber’s sting in the dialogue. The pace was perfect, with the body language and delivery faultless.

I must confess that before the show I thought that the casting of Alex Brittan as the ‘wide-boy’ character of John was a mistake. However, Alex gave his all to the part, and instead of the hardhearted chancer, we found the valet to be a caring employee, one who cared not only for his fiancée but also for his employer. Congratulations Alex.

Claire Crosby, in a stunning performance, managed to convey all of the confused girl’s traits. The multiple mood swings, her viciousness, her vulnerability and her sexual chemistry with John. It was good to see talented Kate Hart, a superb costumier and wardrobe designer, back treading the boards as Christine, who sees her future life crumbling.

The set by Laura Heffernan made me gasp, the attention to detail of the props by Sinead O’Hara and Louise Cocks, and the costumes by Sarah Dinsdale and Michelle Snedden added the final authentic touch. Duncan Sharp’s lighting design was excellent, with carefully positioned lamps to pick out the folds of the drapes and create crisp dramatic effects. Operated with sensitivity by Emma O’Sullivan. The mood music was just the right level (Dave Buegge).

If you enjoyed Marber’s ‘Closer’ (Rechabites Hall - 2007) then you will enjoy this even more. A most enthralling night at the theatre, with a magnificent cast. The 100 minutes of non-stop performance just flew by. Even if the weather is at its worst, this is a play worth leaving the warmth of your home to see.