Review: AFTER MISS JULIE, Richmond Theatre, 11 July 2016

In a country house's shabby below-stairs kitchen, with tiles stained nicotine yellow, two Butler sinks and an ageing Aga for cooking, the radio is hailing the brave new dawn of Labour's landslide election victory of 1945 - a poignant reminder of the confidence and vision of socialism, now going through some of its darkest days since that high water mark.

Housemaid Christine is busying herself doing her mistress's bidding, boiling up a poisonous concoction for her impregnated dog, when her not-quite-betrothed, butler-chauffeur John pitches up fresh from dancing with the villagers who are celebrating the fact that (to coin a phrase) things can only get better. They are soon joined by Miss Julie, who, on the rebound from a broken engagement and heady with booze and desire, is less interested in the rapidly shifting class politics and more in continuing her shameless dancing with John.

It doesn't end well - how could it?

This production is a version of the Strindberg classic written by Patrick Marber, but it retains much of the original's vituperative dialogue, dark comedy and misogynistic cruelty - the examination of how human beings behave when lust trumps class as brutal as ever. Delivered straight through in 80 minutes or so, the three characters circle one other, each with plenty of what the other needs, but none able to break free of constraints social, financial and moral. In my head, I kept hearing the joy of "The Miller's Son" from A Little Night Music (it must have been the Swedish connection) and wishing some of that song's joie-de-vivre would rescue the trio - but no.

While Amy Cudden gives Christine plenty of sensible decency, with a will to roll up her sleeves and make the most it, Richard Flood invests haughty looks and pathetic obsequiousness into his manservant - and gets a few killer lines too. As Miss Julie herself, Helen George is a curious piece of casting. While she looks every inch the posh totty temptress of which John has dreamt, she is too worldly, too knowing and (I'm afraid there's no escaping this) too old to play Miss Julie, who is 25 going on 15, educated and transgressive, but (as she describes herself) just a country girl - albeit one with a growing thing for S&M. George's star quality will bring in plenty of punters and she is skilled in showing Miss Julie's descent into psychosis, but I just didn't believe in her in the role.

Despite that ill-judged decision in terms of the show's dramatic punch, it's still Miss Julie (even if it's After Miss Julie in the title) and this play never fails to hit you hard in the heart, and in the head. Classy, cerebral and compelling entertainment.

Miss Julie continues at Richmond Theatre until 16 July

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