Miss Julie

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For the opera by Ned Rorem, the opera by William Alwyn or the opera Julie by Philippe Boesmans, see Miss Julie (opera).

For the 1999 film by Mike Figgis, see Miss Julie (film).

Miss Julie (Swedish: Fröken Julie) is an 1888 play by August Strindberg which deals with class, love/lust and the interaction between the two. Set on midsummer night 1894 in Sweden an aristocrat, the eponym, dances at the servants' party and is drawn to a senior servant, a footman, named Jean who is particularly well-travelled, well-mannered and well-read. The action takes place in the manor's kitchen where his fiancée, another servant, Kristine, is sleeping. The plot is primarily concerned with power in its various forms.

Miss Julie has power over Jean because she is upper class. Jean has power over Miss Julie because he is a man. The count, Miss Julie's father (who never actually appears in the play), has power over them both, through being male and of the upper class hierarchy.

In the play we see control of the relationship (apparently forged in one night) swinging back and forth between Julie and Jean, until Jean finally convinces Miss Julie that the only way to escape her predicament is to kill herself.

[edit] Characters

Miss Julie: Daughter of the count who owns the household. She is very strong willed. Raised by her late mother to 'think like and act like a man', she is a rather confused individual. She is aware of the power she holds, but switches between being above the servants, and flirting with them. She longs to fall from her social standing.

Jean: Manservant to the count, who had seen Miss Julie many times when they were both children. He has travelled extensively, working different jobs, before coming to work for the count. He has aspirations to rise from his station in life and manage his own hotel, with Miss Julie being part of his plan. He is alternately kind and callous; Strindberg switches between the two opposing personalities. Despite his aspirations, he is easily subdued into servitude by merely the sight of the count's gloves and boots.

Christine: A servant in the count's household. Devoutly religious and apparently betrothed to Jean, though they refer to this marriage almost jokingly. She provides the religious and social morals of the play.

The Count: Never seen, but his gloves and his boots are on set, indicating his presence and power. When the bell sounds his presence is also noted more strongly.

[edit] Productions

A new translation of Miss Julie was produced in July 2006 at the Theatre Royal, Bath by director Rachel O'Riordan. Translator Frank McGuiness set this version of the play in 19th century Northern Ireland, relying on the tension between the Irish servant class and Ascendancy landowners to carry Strindberg's message to an Anglophone audience. More recently a modern adaptation of this play was produced by the Elizabeth Malone Production Company in New York City. Additionally, the Bucknell University Department of Theatre and Dance most recent production of Miss Julie directed by Leigh Strimbeck, starring Andy Nogasky as Jean and Mallory J. Sweeney as Miss Julie, is currently gaining national acclaim for its adaptation.

[edit] Summary

In the very beginning of the play, Jean walks onto the stage, the stage being the kitchen of the manor. He drops his boots on stage, off to the side but still within view of the viewers, and through his clothing reveals himself to be a valet. The author/playwrite, at this point, goes into great detail about the kitchen. Jean then begins to talk to Christine about the perculiar acts of the daughter of the owner of the house, Miss Julie. He talks of how she is mad, as she constantly tries to waltz with Jean, a servant of 'the count,' the ominous and foreboding owner of the house. (She tried this, of course, at the local barn dance). Christine then begins to delve into the background of Miss Julie, stating how, unable to face her family after the humiliation of losing her engagement, she stayed behind to mingle with the servants at the dance, in lieu of going with her father to the Midsummers' Eve celebrations. (Apparently she rid herself of her fiance after he refused to jump over a riding whip she was holding, like a dog through a hoop. It is also apparent that Jean saw this take place.)

Jean takes a bottle of fine wine out, a wine with a 'yellow seal,' and then begins to flirt with Christine, revealing that the two are engaged to be wed. Jean then, noticing the stench, asks what Christine is cooking, it being late on Midsummer's Eve. Christine replies that she is making the poignant mixture for Miss Julie's dog, Diana, which was impregnated by the gatekeeper's mongrel, to kill the pregnancy. Jean then states that Miss Julie is "too stuck-up in some ways and not proud enough in others," a trait apparently inherited from her mother. Although she is confused, Jean still finds Miss Julie beautiful. When Miss Julie enters and asks Christine if the 'meal' has been finished, Jean instantly shapes up, becoming charming and polite. Jokingly Jean queries if they are gossiping about secrets, or making a witches broth to see Miss Julie's future suitor. After more niceties, Miss Julie invites Jean once more to dance the waltz, at which point he hesitates, making known that he already promised Christine to dance, and also the savage nature of gossip. She is almost offended by this response, stating her justification that she is the lady of the house, and that she must dance with the best dancer. Stating that rank does not matter, she then convinces Jean to waltz, the scene ending with them leaving. Whilst they are absent, Christine goes about her business, tidying after Miss Julie and Jean, and preparing herself for her dance with Jean.