Court's Miss Julie a Must See

August Strindberg’s Miss Julie explores the suffocating prison of patriarchy and social

stratification that feels unfortunately relevant to this day. For some background, it has been just

over 15 years since I played the titular role in Miss Julie. So, getting to see the Court Theatre’s

production felt almost like a homecoming, while still bringing a fresh perspective I hadn’t

experienced before. I share this to substantiate my knowledge that with such a small cast, there

is a lot of heavy lifting to split between only three actors. And each truly excelled here.

Kristine is the most level headed of the characters, but also the viewer’s barometer of class

consciousness. Rebecca Spence added a much needed gravity to Kristine, who can easily

come across as a doormat for all she puts up with. Her repetitious and methodical approach to

everything felt very much like a coping strategy to the chaos of the manor and her love life. The

challenge to Jean is that he cannot simply enter as a fully realised villain. There is an obvious

charisma that’s pulling the characters to him, that once he gains what he wants, Jean can flip

the switch. Kelvin Roston Jr. beautifully balanced allure and apathy with his physically

commanding presence as Jean. Mi Kang’s rendition of Miss Julie was a cocktail of equal parts

naivety, angst, urgency, and flippancy that is usually reserved for a coming of age story. Her

delivery was flighty yet feral, like a hungry bird. A lot of Kang’s physical choices were highlighted

by the wardrobe.

The costumes allowed for a sense of movement that felt perfectly lived in and casual. Mind you,

this is coming from someone who wore a corset, bustle, and heeled boots through their

production. A particular highlight was Julie’s soiled linen dress and sandals that allowed her a

freedom of movement I don’t get to see often. From climbing up on the table to rolling around on

the floor, maneuvering through her environment with reckless abandon gave a very tangible

perspective of her disdain for “lady-like” etiquette.

The scenic design was easily my favorite part of this production. Initially, I was surprised to

come into the theater to see the large open stage underutilised, but then realised just how

clever it was. When actors exit a scene, oftentimes it’s directly into the wings until their next

entrance. For this production, surrounding the kitchen was a foggy flora that, whether flirtily

dancing or resigning themself to bed, allowed a private insight into the characters’ lives in the

environment before disappearing offstage.

For anyone that has tried to work in a stuffy kitchen with someone else moving through it, you’ll

understand just how stressful that can be. Now add a third adult hanging onto the second

person. Miss Julie’s cozy kitchen was a brilliant use of space with that concept.The proximity of

everyone made everything feel purposely personal while raising the stakes with all the danger

that naturally exists in that environment. There are sharp knives, glass canisters, open fire and

things boiling over, and now the spoiled lady of the house is irresponsibly throwing things

around? The cramped spacing really highlighted some of the power plays, like intentionally

walking all the way around the table to sit in a chair rather than taking two steps in the other

direction. The scrim encircling the kitchen center stage allowed the audience to be a sort of fly

on the wall for all the intimate moments and acted as a surrogate for the overbearing walls that

seemed to be closing in on everyone.

This production is well worth the trip and Court Theatre has some really great accessibility

options as well. Miss Julie runs Feb 06, 2026 — Mar 08, 2026 at Court Theatre, 5535 S. Ellis

Avenue, Chicago; tickets available at (773) 753-4472 or www.CourtTheatre.org. Approximate

running time: 90 minutes, presented without intermission.

Winner of the 2022 Regional Theatre Tony Award, Court Theatre reimagines classic theatre to

illuminate our current times. In residence at the University of Chicago and on Chicago’s historic

South Side, we engage our audiences with intimate and provocative experiences that inspire

deeper exploration of the enduring questions that confront humanity and connect us as people.