Polly Stenham’s Julie offers a modern reinterpretation of August Strindberg’s 1888 classic Miss Julie. According to the Icarus Theatre website, Stenham’s adaptation presents a seductive dance of power and pain. While the production engages the viewer, the opening night elicited laughter from the audience at certain points, despite the underlying discomfort of those scenes. Whether this reaction is due to audience unease remains an open question.
The narrative unfolds in the refined dining room of a distinguished London residence, where Julie (Emily-Anne Corcoran) celebrates her birthday. Despite her affluent background, Julie’s choice of evening wear—a revealing slip more appropriate for intimate occasions—stands in stark contrast to her family’s elevated social status. Now in her thirties, unmarried, and without access to her trust fund, Julie alternates between participating in the offstage party and engaging in private discussions with Kristina (Tara Sky), the household maid and her confidante. Kristina, who has a son from a previous relationship, offers Julie companionship and support throughout the evening.
Jean (Jamar Adams-Thompson) serves as both the chauffeur for Julie’s father (who remains offstage) and Kristina’s fiancé. Julie’s conversation with Jean initially takes on a flirtatious tone and gradually evolves into something more revealing and unsettling. Both Kristina and Jean are acutely conscious of their respective positions within the household. Although Kristina and Jean observe several uninvited guests at the celebration, they choose not to address the matter with Julie, remaining mindful of the established class structure.
Upon stepping into Tarragon Theatre’s intimate Extraspace, the ambiance crafted by Scenic Designer Jordan Laffrenier grabs attention. The set conveys a deliberate air of mystery; the dining room feels enclosed, its mood intensified by a darkly painted back wall streaked with lightning-like lines and glowing in a striking blood-red light—a powerful visual effect, enhanced by consultant Chris Malkowski. Adding to this atmosphere is a steady, distinctive musical rhythm that plays throughout the production.
Notably, all three characters perform barefoot, a deliberate choice that briefly captures attention. As the narrative progresses, each character displays increasingly primal, almost instinctive behaviour. Their bare feet reinforce their connection to the earth—the very terrain animals occupy—thereby accentuating the elemental drive in the unfolding plot. Recognition of this design decision contributes to a more nuanced understanding of the story’s rapid progression.
Director Jordan Laffrenier effectively highlights a nuanced attraction between the title character and Jean, subtly present in the presence (and absence) of Kristina. When this restrained passion eventually emerges, Julie demonstrates a dynamic energy that engages the audience. There is a notable silence among the viewers as Julie and Jean’s relationship intensifies onstage. Lafrennier maintains the naturalistic style of Strindberg’s plays with a confident, straightforward approach. The production has a significant impact, particularly in its exploration of the psychological complexities within Julie, Kristina, and Jean.
Corcoran opens the show with an assertive, daring dance, alternating between precise movements and energetic twirling. Her performance commands the stage, earning praise for her timing and composure amid complex choreography. Playing Julie, Corcoran skillfully embodies a character who is both stubborn and flirtatious, adeptly embodying the depth and authenticity of a tragic heroine. Julie is a challenging part because her emotions must shift in believable ways. Corcoran tackles this challenge resolutely, swiftly switching from impulsive behaviour—like using cocaine—to relaxed chats with Kristina or Jean, leaving the audience curious about Julie’s fate.
Notice the adjective I placed next to the word ‘heroine’. That word is important to remember, and I’m sure it will have even more impact in the remaining performances.
Tara Sky provides a thoughtful counterbalance as Kristina to Corcoran’s unpredictable Julie. Initially, Kristina appears to enjoy a trusting bond with both her fiancé, Jean and Julie. Jean is considerate and affectionate toward Kristina, showing genuine concern for her well-being and for her unseen son. When Kristina ultimately recognizes the reality about Julie and Jean, Sky’s powerful, silent visual pause stands out just before she exits. The question remains: will this woman seek revenge?
Jamar Adams-Thompson delivers a confident, refined performance as Jean. He wears professional attire at first, making it clear he knows how to navigate his relationship with the family. Yet, Jean maintains his own ambitions and unique ways of pursuing them. If it means he must achieve them unethically, he has to make that choice. As the differences between Jean and Julie blur, the chemistry between Adams-Thompson and Corcoran intensifies in a sexually daring act, ultimately culminating in what the Tarragon website calls a “savage fight for survival.”
The opening night presents a palpable energy; yet the enduring merit of Icarus’s production lies in how the narrative develops beyond the initial elements of passion and intrigue. The characters exist on the precipice of uncertainty, and the play’s final scenes deliver a strong visual impression.
Running time: approximately 90 minutes with no interval/intermission.
The production runs to March 28 at Tarragon Theatre in the Extraspace, 30 Bridgman Avenue, Toronto. For tickets: https://tarragontheatre.com/plays/2025-2026/guest-presentations-2025-2026/julie/ or call the Tarragon Box Office (416) 531-1827.
ICARUS THEATRE presents
Julie by Polly Stenham
Produced by Anthony Goncharov
Director and Scenic Designer: Jordan Laffrenier
Lighting Consultant: Chris Malkowski
Sound Design: Jamal Jones
Stage Manager: Kayleigh Mundy
Performers: Jamar Adams-Thompson, Emily-Anne Corcoran, Tara Sky
