Arrogance and Aspirations

Miss Julie

August Strindberg seems to be having a revival, at least at some of Chicago’s most respected theatres. His DANCE OF DEATH is now playing at Steppenwolf, and MISS JULIE is being given noteworthy interpretation at the Court Theatre. The play has always been controversial since it first premiered in 1889. Not for the faint of heart, Strindberg’s drama is an evolutionary war of life and death, a sexual battle filled with unbridled arrogance and aspirations. 

From the moment the audience enters the theatre, Associate Artistic Director Gabrielle Randle-Bent’s production of a script, translated by Harry G. Carlson, grabs the theatergoer by the throat and never lets go. Two elements of the production immediately mesmerize: A most unconventional scenic design by John Culbert, lighted by Keith Parham, and an intrusive and pulsating sound design created by Willow James. 

The setting is a topsy-turvy period kitchen, completely enclosed inside a translucent mesh cage. The room’s dominated by an old-fashioned stove, a large shelved pantry and a massive prepping table, an elevated platform on top of which two of the character use for their sexual adventures. The small space is crammed with cooking utensils, hanging herbs, onions and bulbs of garlic suspended from the ceiling, and plates, cups, goblets and bottles of beer and wine—all within easy reach. The oscillating lights are bright and harsh and, depending upon where one is sitting, continually blind you for the entire show.  

Willow James’ sound design is unforgettable and definitely sets the tone for this production. It’s part loud beating drums and part hypnotic electronic rhythms. Both the visual and auditory elements continually assault the audience’s senses while preparing the audience for something unconventional to come.

Set on Midsummer Eve, a night when the Swedish sun never sets and all things seem possible. Obviously not for the first time, a collision of class takes the stage during the next ninety electric minutes of sexual politics that follow. Aristocratic Julie teases, tantalizes and tortures Jean, her father’s faithful valet, until the onslaught is over and the bloody skirmish subsides. Dressed in a red and white dressing gown, Miss Julie uses everything in this fight that God gave her, brandishing just the right combination of condescension, coquettishness and crazed convulsion.

Stealing a bottle of his master’s finest wine, Jean enjoys a whiff and a swig of privilege, while also reveling in both the arrogance and aspirations of being a lowly servant. Jean will become both protagonist and enemy in this nocturnal struggle for dominance. Jean has ambition and a passion to achieve more in life than to remain a bootlicker. As the night wears on, the sexual relationships between master and mistress will constantly seem poised between a state of love and hate.

As the flirtation and battle for dominance begins, the play’s eroticism is seductively set in motion when Julie lifts the hem of her gown and Jean tenderly kisses her foot. But between the macho misogyny, fierce femme fatale torment and teasing, along with several wordy monologues about desire and dreams, the couple’s animalistic attraction and abuse escalates. However, Miss Julie, while a powerful and sultry seductress, is also the real victim in this play. She’s driven to despair and perhaps, suicide, while Jean ultimately reverts back to his position as the Count’s faithful servant.

Kristine, Jean’s attractive lover and fiancee, serves the Count as his culinary artist and gourmet chef. The setting is this woman’s territory and domain. As the festivities of Midsummer Eve play out, Kristine knows exactly what’s going on in her kitchen between her mistress and her paramour. No domestic frump, Kristine is well aware of her own attraction and allure, as well as her romantic hold over Jean. She’s also comfortable with her station in this household and the security it offers. To want for more would be a huge mistake; so Kristine enjoys who and where she is in this life.

Gabrielle Randle-Bent has a dream cast, with whom she tells Strindberg’s story of arrogance and aspiration. Talented Mi Kang (MUCH ADO ABOUT NOTHING, at Chicago Shakespeare Theatre; THE CHINESE LADY, at TimeLine Theatre; LIFE OF PI, Broadway National Tour) makes her bright debut at the Court Theatre as Miss Julie. She is a formidable firebrand as the seductive and manipulative titular character. Handsome Kelvin Roston, Jr., who portrays Jean, makes a welcome return to his home at the Court Theatre (EAST TEXAS HOT LINKS; THE GOSPEL AT COLONUS; FIVE GUYS NAMED MOE). He’s every inch Julie’s equal in this clash of class and wild battle of the sexes. And as Kristine, Rebecca Spence (THE LION IN WINTER, at the Court Theatre) makes a powerful contender for Jean’s affection and puts enough backbone into her portrayal to keep this character continually in the foreground. 

The Court Theatre is known for its superior productions of the classics. Gabrielle Randle-Bent has added MISS JULIE to an ever-growing roster of fine presentations. This controversial play isn’t an easy one to stage, and there’s much to admire in her production. But there are also a few annoying problems. While this period play about arrogance and aspiration is sometimes perplexing and a little  uncomfortable to watch, the struggle is still real. However, the play’s technical support, as artistic and innovative as it may be, makes viewing the production difficult. The bright lights, the mesh cage that surrounds the playing area and the loud pre-show score provides a challenge for fully enjoying this production, despite the best efforts of a gifted director and cast.   

Recommended

Reviewed by Colin Douglas

Presented February 6-March 8 by the Court Theatre, 5535 S. Ellis Ave., Chicago.

Tickets are available in person at the theatre box office, by calling 773-753-4472 or by going to www.CourtTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.