MARIA DUARTE, FIONA O’CONNOR and ANDY HEDGECOCK review Savage House, Enzo, Madfabulous, and Erupcja
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Miss Julie, Jermyn Street Theatre London
August Strindberg's febrile drama of class and sex conflicts gets an outstanding production
Power play: Charlotte Hamblin and James Sheldon in Miss Julie
CHRIS SEARLE recommends a work of love and deep admiration for a great musician
KENNY MacASKILL relishes a fictionalised account of the life and death of the principled Irish anti-colonialist, executed for betraying his English imperial masters
FIONA O’CONNOR admires an ambitious first novel that loosens South Africa’s rainbow collective to examine the racial tensions within
Aussie mining corporation murder, Liverpudlian ex-cop amnesia, a naive vigilante tries to reset capitalism, and the riddle of the dead psychoanalyst
SYLVIA HIKINS is persuaded by an entertaining play that the true miracle of Lourdes would be for attitudes toward disability to change
SET on Midsummer’s Eve in Sweden— a time for partying, rule-breaking and indulging in the forbidden — August Strindberg described his 1888 play Miss Julie as “a naturalistic tragedy.”
Immersed in a world where the lower orders and the ruling classes co-exist in a seemingly perpetual dependency, his most popular work homes in on a fateful night in an aristocratic home, where madness is in the air and the servants revel in abandon.
During it, the upper-class Miss Julie — in a story that almost tells itself — rocks the social code to its foundations when she seduces the handsome valet Jean.
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