It is a scenario that surely most of us have encountered at least once; the morning after the night before, a drunken indiscretion that seemed a good idea at the time and was undeniably fun but that in the cold light of day brings only exhaustion, displacement and regret.

Written in 1888, Miss Julie brings such a situation sharply into focus. Arguably the most accessible of August Strindberg’s plays, it is a creature of the naturalist movement, the school of theatre that attempted to create illusions of reality through a range of different dramatic mechanisms.

Strindberg himself was eager to push at the boundaries of this and achieve what he called a ‘greater naturalism’. He maintained true naturalism should involve a psychological ‘battle of brains’ where character replaces plot and the possibilities for exploiting human folly and weakness therefore become endless.

Miss Julie  concentrates on the complexity of the feelings of Julie and Jean, two people from very different worlds, as they interact in the claustrophobic, dizzy here and now. Ensuing over the course of one very hot Midsummer’s night, the play takes the themes of class, love, lust and the battle of the sexes, and rams them together, experimenting with how the four elements can interact and, ultimately, wreak destruction on their exponents.

Formed two years ago, The Faction Theatre company is young, vibrant and known for its ability to breathe fresh new life into old works; this production is no exception, however the company stays simultaneously true to Strindberg’s naturalist vision and intricate stage direction.

Under the superb direction of Mark Leipacher and Rachel Valentine Smith the senses are immediately stirred as members of the company create a surreptitious huddle of whispering voyeurs, placed off-stage yet visible to the audience. The effect is staggering, both visually and audibly. The set is sparse, the absence of props paving the way for superb sound effects, also provided by members of the ensemble. Every shuffle, clink and crack is powerfully immediate, heightening the feeling of immediacy and tension.

The three-strong cast does not disappoint. More clever direction ensures a distinct lack of hierarchy between the two protagonists, despite their gaping social differences, and they joust almost as equals. Leonie Hill is marvellous as the overtly sexual and flirtatious young seductress and at times we can almost forgive Cary Crankson’s smooth-talking Jean for his cold, confusing behaviour and attempts to humiliate and disarm her as she descends into her frenzy of vulnerable regret and exposes herself as little more than a lost child. Kate Sawyer provides excellent support as the stoic, long-suffering Kristin.

- Helen Macdonald

The exciting Faction Theatre Company are presenting Schiller's Mary Stuart in rep with Twelfth Night and Miss Julie, a trio of classics that give the group plenty of opportunity to showcase their talents. And what talent is on display!

The acting is impeccable, the direction by Mark Leipacher sure, the design simple but effective, with clever lighting and an interesting use (and thankfully not overuse) of projection to add information or bloodily portray a suicide.

With the current focus on the future of Scotland, concerns about international terrorism and religious extremism, this piece is also highly topical. Queen Elizabeth is anguishing over what to do about Mary, proclaimed Queen of Scotland and a perceived threat to Elizabeth's continued reign. Insecure in her position as Monarch, Elizabeth is persuaded by her duplicitous courtiers that the only way to ensure her tenure on the throne is to sign Mary's death warrant.

First though, she is inveigled into meeting Mary during a hunting trip - a meeting of which history has no record, but how could any playwright not want to explore the "what ifs" of such an imagined encounter?

Derval Mellett and Kate Sawyer totally step up to the plate with blistering performances, following ably in the footsteps of Janet McTeer and Harriet Walter in the roles of Mary and Elizabeth. Their brief, fate-sealing meeting in the forest is totally believable and emotionally electrifying. But they also excel in the quieter moments of contemplation, of doubt, of anguish. This is an ensemble company though, and kudos must also go to the rest of the cast for not being overshadowed by the two Queens.

The one very minor mis-step is the costuming. The farthingales worn by Mary and her maid-servant Hannah wobble around distractingly, add nothing and just look a bit silly. Similarly, the courtiers wear their coats as cloaks thrown over one shoulder, echoing the Elizabethan/modern mash-up of the production, but again this doesn't entirely work and a couple of the cast seem to struggle with them. The use of costume in the beheading scene though is simply breath-taking and beautifully realised.

It's always great to witness a young company on the up and Faction were worthy winners of the Peter Brook/Equity Ensemble Award. The company's brilliant exploration of the classics with a modern twist is a fabulous addition to the London theatre scene.

- Carole Gordon