Miss Julie (Company 16), at fortyfivedownstairs - 90 minutes, with no interval ★★★★½

If you ever want evidence that sex sells, go and see Miss Julie. It is all about manipulation, class, power and control, which is just as delicious as it sounds.

That is the currency in a modern retelling of Swedish playwright August Strindberg’s 1888 play.

Set in the pressure cooker environment of the kitchen of a fine-dining establishment in Melbourne, the place is ruled by the owner, a feared restaurateur.

Photos by Matto Lucas

Frequently referenced, we – the audience – never meet him, although he is often on the phone.

It has been a particularly busy night at the eatery.

There is extra heat because the following morning all important food reviews will appear in the papers … and the owner is on tenterhooks.

Most of the staff has left. They are out partying with Julie (Annalise Gelagotis), the 19-year-old daughter of the restaurateur.

The Greek chef in charge, Kristina (Izabella Yena) is parlaying with her Italian sous-chef, John (Adam-Jon Fiorentino).

The two are a couple, but she has seniority in the kitchen.

Still, there is no question about her feelings for him. They dance and kiss.

And then, Julie enters the fray, intent on seducing John. 

Even though he calls her out and resists at first, their dangerous game – during which we learn about their respective backgrounds – has only just begun.

She comes from wealth and he from working class stock.

The consequences of their byplay and more are incendiary.

Sexually charged, the physical, mental and moral all have important parts to play in Miss Julie.

Power shifts constantly, as the nine-member ensemble acts like a Greek chorus, encircling proceedings from time to time.

The tension is palpable throughout. Invective and vitriol are common.

In her acting debut, Annalise Gelagotis is convincing as the temptress – affluent, coquettish Julie, who revels in playing with fire. Desperate to make her own mark, she throws her weight around, while yearning and writhing.

Izabella Yena is outstanding as the sharp, pragmatic, hard-edged Kristina, who has a good lie of the land. Notably, she still manages to overlay that with genuine affection for John.

Adam-Jon Fiorentino captures the essence of a man who has worked hard to get too where he is, but has unrealised ambitions. As John, he shows desire and weakness. He is a powder keg, ready to blow.

fortyfivedownstairs has been “dressed up” most effectively to reflect a large-scale restaurant kitchen, with plentiful aluminium surfaces. It is an evocative set design by Angelina Daniels.

To add to the realism, selective guests can dine on chef-prepared food and wine during the 90-minute play without interval.

Traverse seating is mixed with café-style tables and chairs – another nice touch.

The action – loud and raucous interchanges between the actors – begins even before the play starts, so remember to arrive a few minutes early.

The tone has been set and there will be no let up. The stakes continue to be ratcheted up.

With dramaturgy from Will Hutchins, adaptor and director Harry Haynes has done a fine job drawing us into Strindberg’s contemporary den of iniquity and not letting go.

Miss Julie is playing at fortyfivedownstairs until 17^th August, 2025.