I've learned to go for these 19th and early 20th century European playwrights in picking my subscriptions at the start of each year, because however loosely or closely adapted the stagings turn out to be, they often offer an experience that other art doesn't and which feels quintessentially of the theatre. In the case of "Miss Julie", the effect was hard to pin down - it has an impact, and drew me thoroughly in, yet at the same time felt elusive due to its frame of reference being somewhat floating, not clearly moored in milieu nor therefore perspective (the live video projections of the action being played out within the glass box of the kitchen set worked for me, though).
Also, it's interesting reading about Strindberg and this play in particular after the fact of seeing it (especially Alison Croggon's take), and comparing that against my own (uninformed at the time) experience - not being aware of the misogyny or the ways in which Kip Williams (also responsible for last year's great "Love and Information" and the all-female "Lord of the Flies" from a couple of years back) has reshaped it for this current staging.
(w/ Meribah - also, by coincidence, my theatre companion for both of those previous two Williams-directed plays!)
Also, it's interesting reading about Strindberg and this play in particular after the fact of seeing it (especially Alison Croggon's take), and comparing that against my own (uninformed at the time) experience - not being aware of the misogyny or the ways in which Kip Williams (also responsible for last year's great "Love and Information" and the all-female "Lord of the Flies" from a couple of years back) has reshaped it for this current staging.
(w/ Meribah - also, by coincidence, my theatre companion for both of those previous two Williams-directed plays!)
