After Miss Julie

A bitterly cold night and Valentine’s Day – perhaps two reasons for the rather sparse audience although appreciative, gathered in the front half of the auditorium to watch three extremely talented and hardworking cast members perform, who certainly deserved a better turnout.

Surprisingly, no programme was available listing the cast or production team, but Chris in Reception kindly printed off the names of the characters and the Director for which I was grateful. I also learned this was a one Act play, so no interval with curtain down before nine so it seemed ideal to grab a cup of tea prior to curtain up. First in, I was able to study even through the gauze curtain a very comprehensive splendid large kitchen of a very grand house. Impressive design, black surrounds with several exits and facing back a large brick arch shaped wall again with black surround with double range, lids up, washing up area, unit with wooden plate rack above. Hanging across an array of copper-bottomed utensils. Stage left set into a flat was a huge illuminated opening pantry door, a sideboard unit  housing bottles, glasses and coffee tray for his Lordship. Angled across stage was the large working refectory style kitchen table, covered, chairs either end,  bench in front. Stage right was a small working desk with lamp, on the wall an intercom and bell board. The era of cream. Black and white historical footage is most interestingly used - 1945 Churchill’s  government  is defeated and the social structure is about to crumble. And this play reflects boundaries between upstairs and downstairs.

Miss Julie is a young, beautiful, spoiled, outrageously demanding only child. Father away a lot and Mother dead. An unhappy upbringing and I feel her unpleasant behaviour is a cry for love. John is the chauffeur brought up on the estate, as was his father before him trying to better himself. He has watched Julie grow up, admits having feelings for her, but is to be married to the cook Christine, a girl with principles and a regular church goer. She opens the play with action and no words but her facial expressions just say it all. John arrives back late from driving his Lordship and the meal she’s prepared is spoiled. A pair of black shoes are on the table to be cleaned. Jealousy sets in when Julie appears below stairs inebriated commencing her dangerous game, demanding John dance with her. Christine goes off to bed after a long day, but Julie will not. This leads to strong exchanges both strong verbally, and physically with finally dragging her off to his room. Christine realises what has happened resulting, next morning, with tempers of course frayed. The night results in turning dreams into reality escaping to NY opening a nightclub but for John only to discover there is no money for Julie, it is all in trust! She appears with suitcase, cash stolen from his Lordship’s desk  and her covered caged bird, which of course cannot be taken and it’s brutally killed  The audience responded with slight laughter, not too sure how to react and there was an awful lot of blood for one poor dead canary She ridicules him, his class, his dirty nails, his demob suit the fact he had a weak chest. Christine ready and waiting to attend Sunday church and calmly hands him an open razor to shave.

The climax is Miss Julie leaving the stage with razor in her hand and we presume the worst and John returns to the table and continues to polish his Lordship’s black shoes. Through Marber’s explosive script. Ross Drury’s performance showed both passion, raw love, and much physicality in his role as John the chauffeur trying to better himself. Ellie Stouton created a sometimes verbally hateful and seductive, privileged Miss Julie with huge outpourings. Although a smaller part Rachel Kennedy as Christine said as much with her facial expressions and actions as with her words. There were some lighter moments with amusing retorts but again the audience were reluctant to laugh. The costumes and hair styles were certainly of the era with the lighting and sound spot on.

With Patrick Kealey directing this drama I must congratulate the team for creating such well-acted tension that held us until curtain down.

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