The greatest actresses in the world have played the complex role of the young aristocrat imagined by August Strindberg in 1889. In Quebec, Louise Marleau, Sylvie Drapeau and Anne-Marie Cadieux are among those who have translated the torments of the tragic heroine onto the stage. . These days, at the Théâtre du Rideau Vert, under the direction of Serge Denoncourt, it is Magalie Lépine-Blondeau’s turn to be Mademoiselle Julie.
We can talk at length about the true nature of what unites Julie (Lépine-Blondeau) and Jean (David Boutin). She is the aristocrat, the daughter of a count, the master of the house, already wounded by love. He is the butler, the servant, engaged to Kristin (Kim Despatis), the cook, but always ready to go. On this sleepless night of Saint-Jean, celebration of summer renewal, Julie and Jean will try to overcome what separates them by giving in to desire, in other words by sowing a terrible mess.
Both on stage and on the big screen (see the film directed by Liv Ullmann with Jessica Chastain and Colin Farrell in 2014), interest in Miss Julie doesn’t seem to be slowing down. It is indeed difficult to resist this “naturalistic tragedy” irrigated by the mutual contempt of servants and masters, behind closed doors where life and death dance, where attraction and domination swirl. However, we simply cannot stage the play in our time without underlining the deep hints of misogyny that it continues to release.
Serge Denoncourt did not spare this reflection. This can be seen in the interpretation, with the characters appearing as both executioners and victims, that is, playing a more active role in the dark twist of their destiny. By opting for a finale that offers a certain openness, the director makes a significant gesture, but does not create a show that would take a piercing and contemporary look at gender and class inequalities.
From the scenography by Guillaume Lord to the costumes by Ginette Noiseux, via the lighting by Julie Basse, the performance is marked by great sophistication, a classicism that is certainly sumptuous, but also compelling. Similar, but even more disturbing choices were made with regard to language. Why this sustained tone and this pointed accent? This induces a level of acting that is sometimes superficial, then downright caricatural, which lessens the impact of the text and prevents the heroine from being followed in her descent into hell.