Review: The Rogue's 'Miss Julie'

Here’s why: Matthew Bowdren.

Bowdren, a regular member of the Rogue company, is riveting in the role of Jean, the lowly manservant to a count with a nearly irresistible daughter, Miss Julie.

Rivers run under Bowdren’s character, who cowers in the presence of his boss but coos and commands Miss Julie. We see his face darken when he hears the Count approach, soften when he woos Julie, harden when he commands she kill herself. Bowdren does subtext very, very well.

Strindberg’s tale of the battles between the classes and the sexes is exhausting, and this Rogue production, directed with a straightforward sensibility by Cynthia Meier, wrings every powerful moment out of the play.

Strindberg wrote this in 1888. The battle between the classes and the genders may look different today but still rages — time has not robbed “Miss Julie” of its relevance.

Still, there are some grating moments. Strindberg was not fond of women, and his Miss Julie (Marissa Garcia) is not particularly likable. She is a woman gutsy enough to dance with the help and sleep with her father’s servant, but too weak to break out of her confining life. Makes sense: the 19th century did not hold women in high regard, and few felt they had options to escape a repressive life ruled by men.

Still, that Miss Julie sure can get on your nerves. Part of that may be that Garcia never let up on the intensity of her character, robbing us of Julie’s nuances.

The third character in the play is Kristine, the cook in the house and the woman to whom Jean is supposedly engaged. Holly Griffith turned in one her best performances, giving us a no-nonsense Kristine who easily knows her mind. She is the opposite of Miss Julie in class, sensibility and actions. While she knows her place, you get the distinct sense that she’d have no problem changing that place if she so desired.

“Miss Julie” can provoke and infuriate. And Bowdren can mesmerize. The combination makes this a must-see play.