There is something to be admired with using tension as a plot device. Sturm Theatre Company’s three-hander Little Miss Julie asks questions of how best to apply it – before following through with the perfect execution.

The show itself is an adaptation of Miss Julie, a play written in 1888 by Swedish playwright August Strindberg; while the characters and their motives remain the same, the opening minutes establish an alternate background. Instead of Sweden, it’s 1886 Manhattan and rather than summer solstice it’s Independence Day. These smaller changes allow Little Miss Julie to deviate from its source material, although still in touch with its period piece roots.

Those opening moments between John (James Harvy) and Christine (Sarah Jeavons) feel ordinary, yet intimate – a pair of servants dreaming, yet willing to settle with what they have for their evening together. When the titular character Julie (Ruby Patrich) enters, the characters of John and Christine wade through thick tension all the way towards the first act’s climax. Patrich plays the part of Julie beautifully; leading Harvy and Jeavons’ characters with her command. The play is set up for its tightly wound second act by Patrich’s ability to shift Julie between the role of master manipulator one moment and predator masquerading as prey the next.

Despite the weight of its source material, Little Miss Julie is self-aware. Several double entendres are littered through the dialogue, breaking up the air of suspense when needed. This, when coupled with mundane moments, such as Christine attending to household duties in silence, give the play pacing and room to breathe. Jeavons’ portrayal of Christine is a strong, grounded influence to the chaos of John and Julie.

The second act moves at light speed, whirling through the aftermath of the first. Tension continues to escalate over the love triangle of characters; with particular note to Harvy’s portrayal of John. The pivot from being an everyman servant with lofty dreams, to a tormented individual chasing what he ultimately desires at any cost, shifting the role of prime manipulator from Julie onto John. Harvy’s ability to make one sympathise with John through this character development mirrors Patrich’s approach; although the audience is being manipulated, rather than any particular character.

Despite being an adaptation, Little Miss Julie finds itself being able to stand on its own two feet. The dynamics between the cast allow for something realistic, something understandable; all the while delivering tension in spades.

Little Miss Julie is on at Star Theatres from March 7 to March 15.

Tickets can be purchased from FringeTIX.

Words by Dan Linke.

Photos supplied.

4.5 stars out of 5.