'Julie' a marvelous ride

Ever hooked up with someone while in a drunken stupor, and been forced to deal with it? Miss Julie, a play written in 1882 by the Swedish playwright August Strindberg, deals with exactly that issue for a young aristocratic girl whose society is not prepared to accept her choice. Directed by Cecilia Morelli, TC '04, the play is set in the 19th century, but parallels can easily be drawn to the modern world of college. It captures the audience members and transports them to a completely different setting, while forcing them to think about painfully current issues.

Miss Julie relies heavily on the truthfulness of its actors, and the actors deliver. Julie is bursting with vitality; she has strong, tall posture and is used to ordering people around, yet can look incredibly childlike and defenseless. Newman develops the image of a character on the edge of girlhood and womanhood, master and slave, sanity and madness. Jean is clever and Johnson's face and movements clearly convey the character's emotions. He seduces the audience into trusting him as easily as he seduces Julie. However, Johnson often assumes poses that seem awkward, and he could use more vocal energy—many of his lines are delivered in the same tone. Kristine is refreshing in her honesty, and she is very much in control of the physicality and emotions of a woman who is hardened by years of labor.

Set designer Alexander Israel, PC '04, transforms Nick Chapel with flowers and fake grass into a beautiful, warm kitchen. The music, composed by Stephen Gorbos, MUS '03, and performed by the composer on mandolin, David Stovall, MUS '04, on violin, and Hunter Perrin, MUS '02, on guitar, puts the audience in the historical period. While Jean and Julie are offstage having sex, the musicians play two songs onstage, in what is one of the most compelling moments in the show.

Miss Julie is a production worth seeing. It occasionally suffers from blocking that's too cramped, and actors are occasionally upstaged, but the show is compelling and brings across a strong message about the importance of class, gender, and sexuality. "A servant is a servant," Julie tells Jean. "And a whore is a whore," he responds snappily, proving to her that no one can be defined with one word.

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