Immaculate vibes and having it all: a review of 'Miss Julie (After Strindberg)'
REVIEWED BY ZOFIA KOLODZIEJ.
Includes a small dusting of spoilers
‘No bad vibes’ are wanted here. But can anyone’s vibes really be immaculate? Power, privilege, sorrow, and sex; something always gets in the way of happiness.
Flinders Uni and Empire Times alumnus, James Watson, is at it again! This time as part of their Goodwood Theatre and Studios residency, Famous Last Words puts on Watson’s modern adaptation of the 19th century naturalistic Miss Julie by August Strindberg.
Julie’s (Kate Owen) father is rich, and all she has from their relationship is his money. Her friend Kristine (Emelia Williams) doesn’t have Julie’s kind of privilege, but she does have love: Jean (Christian Bartlett). Jean doesn’t have money, but he does have big dreams. In just over an hour – as anxieties and traumas are uncovered, hearts are broken, and dreams are ruined – the three Flinders Drama Centre graduates take their audience through an eventful night in the lives of their characters with ease and ardent passion. At the end, the audience member is not sure whether to hate or feel sorry for each one of the characters. And trust me, I do love a well-written awful person. Owen is a standout as she showcases Julie’s many sides. She lets her anxiety show when alone with her audience and snaps right back into Julie’s wild demeanour when joined by the others. Bartlett doesn’t exactly have it any easier and he manages brilliantly. Jean walks the line between wanting the finer things Julie takes for granted and not quite fitting in: he knows a lot about fine wine but doesn’t quite know how to pour it.
Back again with Famous Last Words are production designer, Ruby Jenkins, and sound designer, Reggie Parker. Both of whom know exactly what it takes to create a simple yet meaningful aesthetic to complement Watson’s writing. The sound design mixes pop classics with suitably sincere and quiet melodies which never miss a beat. On an intimate traverse stage, the audience sits on two opposite sides of the lengthy rectangular carpet creating Julie’s living room. The bright pristine carpet contrasts with Julie’s dark life. On one end of the stage are a Chesterfield couch and a classic coffee table. An empty armchair is at the other end - a constant presence of Julie’s distant father, and a source of the money she uses to numb her feelings. In a climactic moment, Jean sits in the chair and Julie yells out for him to get out of her father’s armchair. A perfect moment where Owen exhibits her character’s complicated relationship with her father, a character who exists beyond the stage.
On a side note, due to the traverse stage, it seems I sat across from the rather stressed-out writer-director writing his notes, which I found pretty endearing – chill out James, it’s good!
Next to the ever-present armchair sits an empty bird cage representing Julie’s beloved bird. The bird’s fate seems to get lost in translation in the reinterpretation of the 19th century classic. But the picturesque ending of the play is nevertheless impactful, leaving the theatregoer with the sense that one can’t have it all.
I won’t try to spin it into an overly positive lesson. Watson leaves a deep and meaningful message that money is not the answer to happiness, though it’s sure nice to have some.
Don’t miss out on experiencing this great bit of local theatre! Miss Julie (After Strindberg) is running at Goodwood Theatre and Studios until April 29.
EDITORIAL NOTE: This article has been reuploaded and was originally published in 2023.