August Strindberg’s classic, Miss Julie has had many adaptations over the last 130-odd years, highlighting the common themes that resonate with audiences of all eras. The play on class and sexual politics is an intoxicating mix of intrigue, tension and tragedy.

James Harvy is founder, and leads the Sturm Theatre Company interpretation for this shortened version, taking on a multitude of roles including, but not limited to, writer, director and performer. According to the production notes, the intent for this adaptation is to draw the “…three characters more tightly to one another’s lives and re-shaping the language for a modern audience”. In modern day, the politics of class are perhaps less resonant, while the sexual politics of the piece become more skewed in a post #MeToo era. Miss Julie is cast far younger opposite John, with greater innocence than recent adaptations. Christine also has a bit more agency in her perspective. However, the change to the ending, particularly John and Julie’s outcome will be particularly jarring to any purists, changing the balance of power once again, if anything minimising the ambiguity of who is at fault. These writing choices by Harvy are not always clear, with a mixed level of benefit to the adaptation.

Harvy also plays the pivotal role of John, the Count’s servant and object of fixation for Miss Julie. He looks and sounds the part, connecting well with John’s ambition to climb the ranks of class. Ruby Patrich as the titular character has all the confidence of a privileged princess, swanning in and out of conversations, switching between orders and pleas to manipulate those around her. Rounding out the trio is Sarah Jeavons as the cook, Christine. Often a forgettable supporting role, Jeavons brings a grounded humour to Christine that is a highlight. Her accent, delivery and quiet stillness adeptly binds the trio together. The relationship between Christine and John in particular sparks a sense of equality in determination and strength. All three performers are skilled actors and well connected in their roles, but John’s desire for Julie is unconvincing, especially when the latter is performed as an immature brat, rather than a manipulative young woman. The peril of John not acquiescing to Julie’s advances is never really felt, other than possibly annoying him, which makes the change of ending even more perplexing and seemingly comes out of nowhere.

Use of the small Theatre Two space at Star Theatres is well executed, with a simple yet effective period set and period-appropriate costumes. Lighting design is a little clunky in being heavy handed in metaphor at certain points and some of the scenes are directed so intimately that projection drops to whispers that are unlikely to be heard beyond the first couple of rows of the audience. Pace also lags when not necessary, bloating the one-hour script to closer to 80 minutes.

Creating a bite-sized version of this classic is perfect for the Adelaide Fringe and on the whole, this is a great introduction for many theatregoers. Tightening of dialogue and further development will refine an already intriguing hour+ of theatre.