Review: FREE FOR ALL - A NEW 'MISS JULIE' FOR A NEW WORLD at Cutting Ball Theater

Free For All - A New "Miss Julie" For A New World

By Megan Cohen
Developed and Directed by Ariel Craft

Cutting Ball Theater

In a wildly staged opening scene, Miss Julie is shushing down the slopes of her hilltop driveway, exhilarated by the adrenaline rush and feeling of freedom and power. Two puppeteers (Miyaka P. Cochrane and Charlie Gray) help create the illusion of skiing while Julie faces an electric fan spraying snowflake confetti. In between runs, she ruminates on the prospects of re-inventing herself; marriage, school or perhaps plastic surgery? Its wild, funny and excellently staged opener in this World Premiere of Meg Cohen's Free For All which uses August Strindberg's 1988 play Miss Julie as a springboard.

Miss Julie, played too perfection by Stacy Ross, crashes into a man carrying a bag of groceries who happens to be the sous chef in her Nob Hill manse. They strike up an awkward conversation that alerts us to the class divisions that will play a theme throughout the comedy. We're also told of the impending doom that appears to be taking place - seems tonight's soiree celebrate the last snow before the melt that will flood the lowlands, leaving San Francisco's hills the only available land. Cohen seamlessly weaves themes of social power and feminist dynamics with climate change concerns.

The writing is superb, with witty exchanges between characters in a quick rhythm that demands your attention. When Miss Julie offers her servant John, played with innocent conviction by Phil Wong, a ride up the driveway in her chairlift, he politely declines reasoning that he might like it and what's the point in that. At another point he denies a piece of bread to a puppeteered pigeon, but ultimately relenting as he's a kind soul deep down.

Jacqueline Wren Scott's creatively sparse scenic design magically creates the kitchen of the mansion with two door frames, a moving island and a hutch. Drapes white fabric creates the snow-capped hills. That evening we meet two of the monied elite that Miss Julie refers too as the 'tuxedo-clad vultures', Jacobson (Wong) and Brockingfield (Ross). In a fast-paced back and forth repartee, the two blowhards smoke cigars and drink champagne as they boast about their sexual conquests, the power men hold and their right to rule. These entitled pigs aim to profit off the melt, bragging about their rags to riches stories that Cohen annihilates by exposing Bockingfield's as a poser who started with his family's small fortune and turning it into a bigger fortune. Ross is at the top of the acting game in the Bay Area, effortlessly inhabiting her characters with such authenticity that one can't separate her from the beings she channels. Her strong-willed, smart but misguided Miss Julie is mean, confident and angry and she equally breathes life into the blustery Brockingfield with just a glued-on mustache and cigar. Wong, a favorite of Bay Area theatre roles, has the formidable task of going toe to toe with a master and he rises to the challenge.

In his kitchen, he talks to his fiancée, the never seen Christine, the housemaid. He lovingly speaks to her and even accepts moving to the dreaded Mid-West. He makes her deviled eggs from scratch but is interrupted by Miss Julie who hates her own party and is starving. The two have a heated conversation and things get hotter and hotter until they kiss and ultimately consummate their dalliance. Miss Julie is complicated - taught to be seen not heard, she's bored of her station in life, seething with muffled rage and attracted to the lowly John. There's an incredibly beautiful speech by John where he recounts having spied on the younger Miss Julie, dreaming of what life must be in the big house. He even climbs into their garbage bin to feast on the discarded pastries that represent royalty and privilege.

Ariel Craft does a sensational job of choreographing the action here, having techies and the characters themselves moving the scenery around in a beautiful ballet between script, character development and creating atmosphere. Cassie Barnes lighting and the subtle pigeon sounds designed by James Ard deliver Ross and Wong the canvas to explore the very modern issues of class division and impending climate devastation. Meg Cohen is a force to be reckoned with being called "a ruthless innovator" (SF Weekly), "a local luminary" (SF Chronicle), and "one insightful and confident woman with a devilish sense of humor" (Huffington Post). This commissioned piece by Cutting Ball will only enhance that reputation. Craft, Ross and Wong should be very proud of their work here in this must-see production.

Free For All: A New "Miss Julie" For A New World continues through October 20, 2019 at Cutting Ball Theater, 141 Taylor Street, San Francisco. Tickets available at https://cuttingball.com/ or by calling 415-525-1205.

Photo Credit: Ben Krantz

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