Miss Julie 6 - 15 Feb 2014

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6 – 15 February 2014

THE CAST LOUISE BREALEY | JULIE Louise trained at the Lee Strasberg Institute, New York City and Philippe Gaulier.

Theatre credits include: The Herd, Sixty-Six Books (Bush Theatre); The Trojan Women (Gate Theatre); Birthday, The Stone, Sliding with Suzanne (Royal Court); Government Inspector (Young Vic); Pornography (Traverse Theatre); After the End (off Broadway); Uncle Vanya and Little Nell (Peter Hall Company). Television credits include: Sherlock, Bleak House and two series of Casualty.

KEITH FLEMING | JOHN Keith trained at Guildhall School of Music and Drama. Recent theatre credits include: Peer Gynt, Black Watch, The Making of Us, Miracle Man (National Theatre of Scotland); The Dark Things, Pandas (Traverse Theatre); Barflies (Grid Iron); Beautiful Burnout (NTS/Frantic Assembly); Macbeth (Perth Theatre); Sunshine on Leith (Dundee Rep); Days of Wine and Roses, Autobahn (Theatre Jezebel) and Stones in His Pockets (Tron Theatre). Keith won Best Actor at the Critics’ Awards for Theatre in Scotland 2008 and a Studio Theatre Award in 2013.

JESSICA HARDWICK | CHRISTINE Jessica is currently Actor Intern at the Citizens Theatre, having recently graduated from the Royal Conservatoire of Scotland. Theatre Credits include: Bauble Trouble, (Citizens Theatre), Crime and Punishment (Citizens Theatre/ Liverpool Everyman and Playhouse/Royal Lyceum Theatre). Theatre credits whilst training include: The Possibilities, Marianne in Liz Lochheads’s Tartuffe and Viola in Twelfth Night (RCS). Jessica was also a participant in the Sam Wanamaker Festival at the Globe Theatre in April 2013, performing a piece from The Antipodes by Richard Brome.

ABOUT THE PLAY – WRITER’S NOTE In his preface to Miss Julie, Strindberg announces a new kind of theatre, a theatre that moves away from the traditional well-made play with its archetypal characters to a theatre where the actions of characters are understood in terms of the influences and experiences that have altered them. It seems obvious to us now, but at the time this was a radical thought and set the stage not just for the new naturalism but all the great theatre experiments of the 20th century, absurdism, expressionism and everything that came after it.

In choosing a story about a Lord’s daughter and a servant having a brief affair, he was being radical in a different way. The play is about sex, shown here as a separate entity to love for perhaps the first time – scandalous in itself – and the consequences of that sex between two people trapped by circumstance. He suggests that by meeting in this way Miss Julie and John have a degree of parity; she as an aristocrat has all the social status but as a woman none of the gender power, and he as a man has the upper hand in terms of gender but as a servant is bottom of the pecking order. As soon as the night of passion is over, the balmy, intoxicating, liberating effect wears off and they are left to contemplate the scandal and consequence of their breaking of the social order.

When I set out to adapt this play for a contemporary audience I knew a few things. Firstly, that I wanted to relocate the action to Scotland and set the play in a big country estate in the Highlands to bring it closer to home. Secondly, I wanted to find a moment in our history when the social context would add the most pressure to the characters – that the strife within the house would be set against a larger political backdrop outside the walls. And thirdly, I wanted to approach the characters and story as I would a play of my own. The last sounds the most simple, but actually was the hardest.

Strindberg in his preface talks about Julie’s ‘hysteria’, that she is a woman with ‘a weak and degenerate brain’. I found that a difficult conclusion to come to and wanted to understand Julie in a more modern light, and to try to see her as a victim of her upbringing so that we have sympathy for her, whilst understanding her complexity and her – at times – infuriating behavior. Ultimately, the play is her tragedy and it was important to me that she can be seen as a true heroine.

Adapting a great classical play like this is an odd dance; Strindberg and Harris, Harris and Strindberg.

Firstly one has to fall in love with and admire the original text so that one wouldn’t dream of changing a word, and then – realizing that after all there is a job to be done – you have to take liberties and be unfaithful and mistreat it a little like a badly behaving lover, but always returning home before straying too far. The last sentence of Strindberg’s famous preface was the most helpful and encouraging of all, so I’ll finish with his words: ‘Here is an attempt! If it fails, there is surely time for another!’

Zinnie Harris, February 2014 Zinnie Harris is a multi-award winning playwright and screenwriter.

CREATIVE TEAM DOMINIC HILL | DIRECTOR Dominic Hill is Artistic Director of the Citizens Theatre. Since joining the Citizens in 2011, he has directed Crime and Punishment, Far Away and Seagulls, Doctor Faustus, Sleeping Beauty, Krapp’s Last Tape and Footfalls, King Lear and Betrayal (winner of Best Director, 2012 CATS Award) for the theatre.

From 2008, he was Artistic Director of the Traverse Theatre in Edinburgh. Prior to this he worked at Dundee Rep where he was Associate Director and Joint Artistic Director from 2003. Other credits include Falstaff and Macbeth (Scottish Opera) and The City Madam (Royal Shakespeare Company). He has directed in theatres in London and throughout the UK.

NEIL HAYNES | DESIGNER Credits include: Far Away and Seagulls, Hansel and Gretel, Bauble Trouble, After the End, Topdog/ Underdog, My Name is Rachel Corrie, Grapes of Wrath, They Shoot Horses, Don’t They? (Citizens Theatre); Cooking with Elvis, Bliss and Mud, Crazy Gary’s Mobile Disco (Tron Theatre, Glasgow); Roman Bridge, Transform Glasgow; Smiler (National Theatre of Scotland); The Chooky Brae (Borderline Theatre Company).

ELAINE G COYLE | COSTUME DESIGNER Elaine is currently Head of Wardrobe at the Citizens Theatre and has worked in theatre for over 21 years including 8 years at the King’s Theatre, Glasgow. Previous to this, Elaine was as a freelance costume designer and worked with most of Scotland’s major theatre companies.

STUART JENKINS | LIGHTING DESIGNER Stuart Jenkins has worked in professional theatre for over 25 years and is Head of LX and Sound at the Citizens Theatre. He has worked for companies including Theatr Clwyd, Royal Lyceum Theatre, Edinburgh, Traverse Theatre, Wildcat, Tron Theatre, Cumbernauld Theatre, TAG and the National Theatre of Scotland. Lighting credits include: Molly Sweeney (Citizens Theatre/NTS); The Maids, Blasted, The Human Voice, Vernon God Little, Ten Rillington Place, Smoking with Lulu, Krapp’s Last Tape, Shadow of a Gunman, The Grapes of Wrath (Citizens Theatre); Suddenly Last Summer (Theatr Clwyd); Madam Butterfly, Rigoletto (Opera on a Shoestring); Crazy Gary’s Mobile Disco (Tron Theatre, Glasgow), Dr Ferret’s Bad Medicine Roadshow, On the Rim of the World and Temptations of Tam (Scottish Opera / Citizens Theatre).

DANIELLE MCILVEN | ASSISTANT DIRECTOR Danielle is currently on the Theatre Directing MFA at Birkbeck, University of London. She was seconded to Drama Centre London and has taken up a placement at the Citizens Theatre where she has assisted on Crime and Punishment, Scarfed for Life and The Jungle Book.

Louise Brealey in rehearsals. Photo by Eoin Carey.

THE CITIZENS COMPANY STAFF Amy Angus Drama Class Tutor Jackie Arbuthnott Drama Class Assistant Tom Arnott Front of House Lorraine Barclay Stage Door Administrator Isabella Basset Front of House Omar Bhatia Front of House David Black Front of House Harriet Bolwell Front of House Alex Brady Box Office Supervisor / IT Suzanne Brady Box Office/Drama Class Assistant Neil Bratchpiece Front of House Laura Briggs Front of House Marion Brochard Front of House Louise Brown Creative Learning Officer Andrew Bunton Front of House Lara Carter Drama Class Assistant Guy Coletta Sound Technician Lisa Corr Drama Class Tutor Natalia Cortes Company Stage Manager Elaine G Coyle Head of Wardrobe Carol Cull Housekeeper Maureen Dalton Front of House Duty Manager Kate Dalzell Wardrobe Assistant Lesley Davidson Head of Operations Denise Differ Box Office Manager Miriam Sarah Doren Drama Class Assistant Michael Dorrance Deputy Head of Workshop Ann Dundas Housekeeper Lisa Dundas Box Office Paul Dundas Box Office / FOH Duty Manager Julia Easton Box Office Sophie Fernie Front of House Gillian Firth Director of Development Sarah Amy Fishlock Artist in Residence Barry Forde Assistant Stage Manager Neil Francis Drama Class Tutor Jacky Gardiner Front of House Harvey Gardner Front of House Vasso Georgiadou Front of House Anne Gillan Finance Officer Pauline Goldsmith Front of House Elly Goodman Community Drama Artist Mirren Green Front of House Jessica Hardwick Actor Internship Jamie Hayes Head of Stage Neil Haynes Head Scenic Artist Jill Henderson Drama Class Assistant Dominic Hill Artistic Director Guy Hollands Associate Director (Citizens Learning) Stuart Jenkins Head of LX & Sound

Debbie Jones Front of House Judith Kilvington Executive Director Jennifer Knotts Front of House Carmen Lam Development Assistant Campbell Lawrie Box Office/Drama Class Supervisor Karen Lee Wardrobe Assistant/Dresser Robert MacFarlane Wardrobe Assistant/Cutter Alison MacKinnon Head of Marketing & Communications Lauren Macluskie Front of House Catherine Major Drama Class Assistant Jason McQuaide Welder/Stage Technician Carly McCaig Creative Learning Assistant Morna McGeoch Drama Class Tutor Amy McGregor Front of House Mark McGrory Front of House Michael McGurk Front of House Danielle McIlven Assistant Director (Birkbeck Trainee) Lawrie McInally Stage Door Administrator Debbie Montgomery Drama Class Tutor Jim Morrison Bar Supervisor Jacqueline Muir Production Administrator Catriona Mullen Front of House Jack Mullen Box Office Denis Murphy Head of Workshop Emily Murphy Front of House Keren Nicol Senior Marketing and Press Officer Petriece O’Donnell Front of House Cathy O’Neill Deputy Stage Manager Neil Packham Community Drama Director Marion Quinn Front of House Valerie Rickis Assistant Stage Manager Sami Sharif Front of House Claire Sharp Wardrobe Assistant/Dresser Greg Sinclair Artist in Residence Andy Smith Housekeeper Angela Smith Education Officer Ann Smith Housekeeper Laura Smith Deputy Head of LX & Sound Lorna Stallard Front of House Graham Sutherland Head of Production Marc Thompson Digital Marketing Officer Chris Traquair Head Flyman/Technician Martin Travers Producer (Citizens Learning) Andrew Turner Stage Door Administrator/

Front of House Duty Manager Colin White Drama Class Tutor/Supervisor Emma Whoriskey Deputy Stage Manager Ross Williamson Building Supervisor Richard Young Technical Stage Manager

Board: Professor Adrienne Scullion (Chair), April Chamberlain (Vice Chair), Laurence Fraser, Colum Halforty, Edward Harkins, Ryan James, Alex Reedijk and Bailie James Scanlon.

ACKNOWLEDGEMENTS EmmaClaire Brightlyn, Fight Consultant.

Julie by Zinnie Harris was first presented at Platform, Easterhouse, in a National Theatre of Scotland Ensemble production in September 2006.

Scenery, costumes and props made in the Citizens Theatre workshops.

The Actor Intern positions are supported by The Robertson Scholarship Trust.

Opening night drinks generously provided by Belhaven and Alliance Wines.

Special Thanks to: Royal Lyceum Theatre, Edinburgh.

Citizens Theatre Ltd. Registered No SCO 22513 and is a Scottish Charity No. SCO 01337 Registered Office: Milne Craig, Abercorn House, 79 Renfrew Road, Paisley PA3 4DA | Cover photo by Eoin Carey

NATIONAL THEATRE OF SCOTLAND, CITIZENS THEATRE, THEATRE ROYAL STRATFORD EAST, RICHARD JORDAN PRODUCTIONS LTD, PACHAMAMA PRODUCTIONS IN ASSOCIATION WITH MERRIGONG THEATRE COMPANY, AUSTRALIA

GLASGOW GIRLS CONCEIVED BY CORA BISSETT BOOK BY DAVID GREIG

20 Feb – 8 March

COMING SOON!

THE LIBERTINE

BY STEPHEN JEFFREYS

3 – 24 May

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Arnold Clark Automobiles Hotel Indigo Mitchells Hire Drive Scott + Co

LEADING ARTISTS Milne Craig Two Fat Ladies

GTG Training CAST

Souter Charitable Trust The Binks Trust The Christina Mary Hendrie Trust The Citizens’ Theatre Society The Craignish Trust The Crerar Hotels Trust The Educational Institute of Scotland The Ernest Cook Trust The Hugh Fraser Foundation The James Wood Bequest Fund The Margaret Murdoch Charitable Trust The Mickel Fund The Robertson Trust The Robertson Scholarship Trust W. A. Cargill Fund

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