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Culture Opera

Review: Julie

JULIE by Philippe Boesmans, libretto by Luc Bondy and Marie-Louise Bischofberger (Canadian Stage/Soundstreams). At the Bluma Appel Theatre (27 Front East). November 26 and 28 at 8 pm, November 29 at 1 pm. $24-$99. 416-368-3110, canadianstage.com. Rating: NNN

August Strindbergs Miss Julie, a powerful exploration of sexual and class relations, gets an operatic treatment as Julie, with a score by Philippe Boesmans.

The story involves three characters: Miss Julie, daughter of the unseen count who commands the house where the tale unfolds Jean, the counts groom and Christine, the households cook and Jeans intended bride. When Julie takes a sexual interest below stairs and Jean sees a way to raise himself in the world, things become complicated and ultimately tragic.

Director Matthew Jocelyn, whos helmed this production a number of times in Europe, offers a theatrically exciting show with the help of designers Alain Lagarde (set), Zaia Koscianski (costumes) and Michael Walton (lighting). The action takes place on St. Johans night, and the party atmosphere is suggested by outdoor lights and indoor balloons. A storm partway through the play, echoing the offstage raw sex between Julie and Jean, literally breaks into the house.

Jocelyns cast is good, too, both dramatically and musically. Lucia Cervonis red-dressed Julie (her panties are also red, we see) is alternately condescendingly manipulative and desperately panting, and Clarence Frazers Jean is equally sensual. Sharleen Joynts Christine, though offstage for part of the action, reveals her own sense of power in dealing with a cheating fiance and a mistress who isnt fully secure in her dealings with the servants.

Composer Boesmans understands how to complement the narrative, when to underline a dramatic moment delicately and when to hit the melodrama thats part of the storytelling. His music, never harsh or atonal and with echoes of early 20th century composers, suggests an underlying tension between the characters even without text. Musical director Leslie Dala and his 16-member orchestra capture the scores strengths.

Listen to the lightly thumping heartbeat that start and ends the show all three of Julies characters are hot-blooded, whether or not theyre allowed to admit it in words. Early on, Julie shows off her control with prima-donna vocalizing, high notes held to impress later on, Christine reveals her strength with a similar technique.

But the libretto by Luc Bondy and Marie-Louise Bischofberger isnt always as rich as the productions other elements. Intentionally lean in words and action the offstage sex happens sooner and finishes more quickly than in the original play the text cuts out a little too much in terms of Julie. We dont understand her as well as we do in the original play or other adaptations of Strindbergs work, such as the fine Patrick Marber version that played Toronto a few years ago.

Theres more to the characters complex soul that we get in Julie, and thats a loss that deflates the operas power.

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