I finally got to see Tracy Middendorf on stage, and now I know what all the talk
was about!

I can’t begin to count the number of times people have asked me, “Did you see
Tracy Middendorf in After the Fall?” and I’ve had to answer, “No,” and wonder
how/why I missed that production at the Fountain, especially as Arthur Miller is
my favorite playwright.  Middendorf won the Ovation for After the Fall, and also
for Summer and Smoke, and people have used adjectives like “electric,”
“dynamic,” and “magical” to describe her performances and stage presence.

Now, having seen her magnificent work in Stephen Sachs' new adaptation of
August Strindberg’s Miss Julie, I can add my voices to theirs and say that Tracy
Middendorf is a true stage star, and the Fountain is indeed fortunate to have
her back.

Sachs has transported the Strindberg classic to Tennessee Williams land, 1960s
Mississippi, with Miss Julie now a kindred soul with Maggie, the Cat on a Hot Tin
Roof.  Middendorf makes her first entrance about 15 minutes into the production
wearing a sweat stained low-cut sexy red dress, a spoiled wealthy Southern
vixen who knows exactly what, and who, she wants, and in this case it’s John,
her father’s African American chauffeur. Trouble is, John is engaged to Christine,
the family cook, who doesn’t much take to the idea that Miss Julie wants her
man.

In the hands of a lesser, and less charismatic and likeable actress, Miss Julie could
become so antipathetic that the audience would turn off to her and to the
play.  But Middendorf is so darned cute that we are torn between wanting to
give her a slap and a hug.

At first Miss Julie seems to be the one in charge of the situation, and enjoying
exerting her power (both sexual and societal) over John, but as her seduction of
him continues, the tables slowly turn and John begins to take control, adding to
the tension; this is still the very segregated south, after all.

Sachs has found two sensational actors to support his star.  Chuma Gault is a
star on the rise, with the smoldering intensity to make him an even match to Miss
Julie. And Judith Moreland makes Christine down to earth sensible but strong
enough to fight for her man. In Moreland’s hands, one truly wonders who’d
come out victorious were Christine and Miss Julie to duck it out.

Sachs is truly an actor’s director, eliciting three award worthy performances, and
he’s also a fine playwright, condensing Strindberg’s original into 90 suspenseful
minutes leading inexorably to the play’s devastating climax. He is aided in no
small measure by Travis Gale Lewis’ detailed period set design (this kitchen is
filled with authentic 60s paraphernalia), Shon LeBlanc’s costumes (oh, that red
dress!), Kathi O’Donohue’s mood enhancing lighting, and David B. Marling’s
sound design.

Sach’s adaptation breathes new life into an old classic, and provides one of the
most thrilling evenings of sex, seduction, betrayal, and revenge you’ll see this
year.
MARCH 2007, FOUNTAIN THEATRE, LOS ANGELES.

--Steven Stanley
                                                                             Photo: Ed Krieger