Miss Julie is perhaps the best of Strindberg’s texts and the most representative play of Swedish theatre. Staged many times and in many countries, it has served as inspiration for films, operas and even ballets. The story focuses on the brutal and sadistic relationship between three characters: Miss Julie, the daughter of a count; Jean, her servant and Kristin, the cook and Jean’s girlfriend. In her father’s absence, while the village is celebrating midsummer night, Miss Julie invites her servant Jean to dance. Taking advantage of her privileged social status, she plays with him, provokes him and makes advances to him, but in the end it is her who ends up being seduced against her intentions. This cross-manipulation culminates in harsh tragedy, preceded by an exposure of all the components that have led to it — the confrontation of an emerging low class with an instinct for survival and a high class doomed to decadence, of the new and the old, the strong and the weak, of religion and atheism, of monarchy and republic, of the emancipation of women and their dependence… All of this with a background including autobiographical elements of the author.  
Narros brings this young, passionate woman back to the stage with a brutal, direct approach, accentuating the erotic game that arises from the psychological struggle between the two lead characters and the plasticity through the impressive scenography of Andrea d'Odorico.

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