Mies Julie

Yael Farber’s critically acclaimed Mies Julie has returned to the Edinburgh Fringe and it’s easy to see why, with its incisive portrayal of colonialism, gender politics, and white privilege it’s arguably more relevant now than when it first premiered in 2012.

The pair are incredibly watchable, especially in some of the stylised movement sequences

By relocating Strindberg’s 1888 play about an aristocratic woman’s relationship with her male servant to post-apartheid South Africa, Farber dusts off the play’s fusty depictions of gender and class politics to reveal something altogether more raw, erotic and complex. Hilda Cronje’s Julie is sometimes painful to listen to, not because of a poor text or performance but because of how spot on her representation of white privilege is. At turns she recognises her family’s guilt and the blood on all their hands, desiring to break away from her own history yet totally blind to the reality of her (black) servants’ lives and her own privilege in even having the option to leave in the first place.

Bongile Matasi as Julie’s servant and lover, John, fizzles with anger at the injustice and humiliation of his circumstances in the ‘New South Africa where miracles leave us exactly the same’. He’s clearly the victim but Matasi never panders to the audience’s sympathies, letting us simply watch and understand how both sides are now in an impossible situation. John justifiably wants the colonists to leave so he can reclaim the land that rightfully belongs to him while Julie has spent her entire life in South Africa and doesn’t know where she would go. The pair are incredibly watchable, especially in some of the stylised movement sequences that, for a change, actually depict sex as something sexy rather than fumbling and awkward. The pair resembles a game of cat and mouse with each side grappling for power over the other and personal acts become intensely political as Julie screams ‘My womb, your land grab!’. It’s a shattering criticism of possessive relationships, whether they be between a man and woman or between oppressor and oppressed, there are multiple layers that Mies Julie can be read on.

Reviews by Liam Rees


Everything Not Saved

CanadaHub @ King's Hall in association with Summerhall


Pleasance Dome

Lights Over Tesco Car Park

CanadaHub @ King's Hall in association with Summerhall

Chase Scenes

Underbelly, Bristo Square

Alice Fraser: Ethos

ZOO Charteris

[insert slogan here]




The Blurb

In the smouldering kitchen of a remote South African farmhouse, 23 years after apartheid, a single night of brutality and tenderness unfolds between a black farm labourer and his white master's daughter. The visceral struggles of contemporary South Africa are laid bare as the couple's deadly attraction spirals out of control and they battle over power, sexuality, memory, mothers and land. Winner of more than 20 prestigious theatre awards, this Yael Farber sensation returns to the Assembly stage. ***** (New York Times). ***** (Guardian). ***** (Telegraph). ***** (Times). Winner of the 2012 Scotsman Fringe First Award.