After Miss Julie” by Patrick Marber, 1995, After Strindberg

Total Page:16

File Type:pdf, Size:1020Kb

After Miss Julie” by Patrick Marber, 1995, After Strindberg Educational material: “After Miss Julie” By Patrick Marber, 1995, after Strindberg Lektor: Birgitte Holm Halkjær Birkerød Gymnasium, HF og IB That-theatre Company spring 2017 A study of the original “Miss Julie” Task: In pairs. Search google and find out who wrote “Miss Julie, 1888”? Task: In pairs. Search google and find out what did the original “Miss Julie” deal with? Write down a brief summary of the original “Miss Julie”. 1 Task: In pairs. Translate into Danish: “Strindberg´s work in the theatre was largely written in revolt against contemporary social conventions and was startlingly modern and radical for the time”. Try and apply that statement to Strindberg´s play “Miss Julie”. A study of the author of “After Miss Julie” Task: In pairs. Comment on the title of the play that you are about to read and work with in class. Why do you think the play is called “After Miss Julie”? While reading the play find out if there is any direct reference to the title? Task: In pairs, translate the following into Danish: “Patrick Albert Crispin Marber is an English comedian, playwright, director, puppeteer, actor and screenwriter. After working for a few years as a stand-up comedian, Marber was a writer and cast member on radio shows…”. In pairs, 2 search google and find out more about Marber and his life and works. Next, write a little more about Patrick. A study of Strindberg versus Marber Task: In pairs. Compare and contrast the play “Miss Julie” with the play “After Miss Julie”. How is the “free-spirit” of Strindberg´s play, “Miss Julie”, presented in Marber´s play “After Miss Julie” ? Any similarities/ differences between Strindberg´s play and Marber´s play? Both when it comes to content and form. Take your starting point in the lines about Strindberg´s “Miss Julie”. “Miss Julie depicts a fierce battle between a man and a woman, a struggle for power and dominance enacted through a cruel and compulsive game of seduction and repulsion. … By turns seductive and bullying, savage and tender..” Task: In pairs. From Strindberg to Marber. Discuss. How much have women´s lives changed since Strindberg wrote 3 “Miss Julie”? Do you think that Marber´s play is still relevant for students to read anno 2017 – why/why not? A closer study of reviews: Task: In pairs, study the following three excerpts from different reviews. Compare and contrast the reviews when it comes to style and language. Discuss which one do you like the most – and why? Finally, go to Krudttønden and write your own review of “After Miss Julie” by That- Theatre Company. 1. “In all its complexity, the story Marber has shaped is enthralling. He´s based it on August Strindberg´s 1888 play, “Miss Julie”, about the daughter of a count, who, bored and stifled by convention, gets involved with her father´s servant. Instead of the late 1800s at a country estate in Sweden, the action in Marber´s play occurs in 4 1945 at a manor outside London, the night of the massive Labor Party victory that won 60 percent of the seats in Parliament and broke the power of the conservatives. And while the lord, ironically a Labour peer, is in London at the big celebration, Julie has joined the workers of the estate to toast victory in dance and drink …” 2. “England. July 1945. The Labour Party´s landslide election trump. Victory in the class struggle. Celebrations in every street. Miss Julie descends into the servants´ kitchen of her father´s country mansion in search of the chauffeur John. Over one long midsummer´s night, Miss Julie´s world is turned head over heels” 3. “After Miss Julie strikes me as a deeply pessimistic work. It also makes for a terrific evening in the theatre. Like the original, Marber´s ingenious update is at once horrible and hypnotic…. what Marber captures precisely is the way the heroine´s hysteria is heightened by the night´s tumultuous events. Boyishly reared by an emancipated mother and a suicidal father, Miss Julie is the victim of heredity, environment and her own anachronistic position as an outsider in a new socialist England. It is the sense of Miss Julie as a lost soul that is beautifully caught. The real virtue of Marber´s version is that it refreshes an old play 5 and reminds us that it is as much about psychological disintegration as the never-ending sex and class wars”. A study of the historical context of the play, England 1945 / postwar Britain: Task: In pairs. Search google and find out what did England celebrate on May 8, 1945? Task: In pairs. How is the situation of England depicted in the play “After Miss Julie”? Task: In pairs. You are a journalist. Your job is to write an article to a Magazine about postwar Britain. In your article you must include the following facts about the period. The title of your article is all up to you. Length of your article around 200 words: 6 - The war in Europe finished in May 1945 - The Aristocracy and its hold of power were challenged - Britain and most of Europe had just come through the horror of 2 World Wars - The relationship the working classes had with their so- called “masters” was challenged - People wanted and would get a National health Service, free education, control over their railways, roads, mining and steal - Great times lay in store A study of England´s social structure at the end of the 20 th century Task: In pairs. Search google and find out about the social structure in England at the end of the 20 the century. For more information watch for instance the British documentary, “Manor House – Classes and Cultures” by David Cannadine. 7 Task: In pairs. Discuss. How is the situation of England´s social structure depicted in the play “After Miss Julie”? Give reference to the text. A study of a summary, “After Miss Julie” Task: Read the following summary of “After Miss Julie”. While reading, correct any grammatical mistakes that you notice. Next, write your own and improved version of the summary. Finally, in pairs discuss the kind of mistakes that have been made. Are these typical mistakes made by students? “Set in 1945 in an english countryhouse on the eve of the labour Partys landslide victory at the end of the second world war, this compelling and erotically psychological thriller is inspired by August Strindbergs once universal banned masterpiece. During the anticipation of election victory celebrations, Julie, the beautiful daughter of the labour peer which owns the house wander into the servants kitchen. As she flirt with her fathers handsome chauffeur, indifferent to the presence of his fiancée Christine, what 8 begin as game playing ignities into passion with devastating consequences”. A study of adjectives: Task: In pairs. Read the following section about “After Miss Julie”. While reading underline all the adjectives that you can find in the section. Next, discuss what do the adjectives do to the text? Finally, rewrite the section, so that it becomes less formal in tone and style of writing. “After Miss Julie depicts a struggle for power and dominance enacted through a cruel and compulsive game of seduction and repulsion. In an atmosphere of wild revelry and loosened social constraints, Miss Julie and John dance and drink, charm and manipulate each other. She, all hauteur, longing for abasement, he, polished, ambitious, but coarse – both united in mutual loathing and attraction. By turns seductive and bullying, savage and 9 tender, their intimacy leads to desperate plans and vision of a life together – unsure if the morning brings hope or hopelessness, Julie and John find their escape in a final act as sublime and horrific as anything in a Greek tragedy. A night of wild celebration is the backdrop of this story”. A study of the setting of the play: Task: When and where does the action in “After Miss Julie” take place? Compare and contrast with the original “Miss Julie”. A study of the composition/ structure of the play: Task: In pairs. Trace the development of the plot. How does the play start, how does it develop and how does it end. 10 Task: Composition/climax of the play. The climax of the play “After Miss Julie” is not easily recognizable. In order to determine the moment of the climax, we, as readers and as an audience, must try to identify the central conflict in the play. What do you think is the central focus of the play? Very often the climax in a play deals with a resolution regarding a relationship. In pairs, discuss: When does the climax/ the turning point in “After Miss Julie” occur? Task: The ending of the play. Discuss, in pairs. Would you say that John´s and Julie´s “conflict” is resolved at the play´s ending – why/why not? Take your starting point in the final lines of the play. Next, discuss were you satisfied with the ending of the play – why/why not? What happens at the end of the play? What is Julie trying to do – and why? Finally, write a new ending (your ending) to the play “After Miss Julie”. John: Here´s the broom He whispers in her ear She turns to him, holding the razor, she nods. They kiss briefly, tenderly As they slowly part the bell rings, once, loud He starts, she holds him 11 Julie: it´s only a bell. Pray for me … John: I don´t believe in God Julie: But pray for me The bell rings again, twice It´s just a bell, my darling angel … John: It´s not just a bell.
Recommended publications
  • "Infidelity" As an "Act of Love": Patrick Marber's After Miss Julie (1995) As a Rewrite of August Strindberg's Miss Julie (1888)
    "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). مسـرحيــة After Miss Julie للكاتب البريطاني باتريك ماربر كإعادة إبداع لمسرحية Miss Julie للكاتب السويدي أوجست ستريندبرج Dr. Reda Shehata associate professor Department of English - Zagazig University د. رضا شحاته أستاذ مساعد بقسم اللغة اﻹنجليزية كلية اﻵداب - جامعة الزقازيق "Infidelity" as an "Act of Love" Patrick Marber's After Miss Julie (1995) "Infidelity" as an "Act of Love": Patrick Marber's After Miss Julie (1995) as a Rewrite of August Strindberg's Miss Julie (1888). Abstract Depending on Linda Hutcheon's notion of adaptation as "a creative and interpretative act of appropriation" and David Lane's concept of the updated "context of the story world in which the characters are placed," this paper undertakes a critical examination of Patrick Marber's After Miss Julie (1995) as a creative rewrite of August Strindberg's Miss Julie (1888). The play appears to be both a faithful adaptation and appropriation of its model, reflecting "matches" for certain features of it and "mismatches" for others. So in spite of Marber's different language, his adjustment of the "temporal and spatial dimensions" of the original, and his several additions and omissions, he retains the same theme, characters, and—to a considerable extent, plot. To some extent, he manages to stick to his master's brand of Naturalism by retaining the special form of conflict upon which the action is based. In addition to its depiction of the failure of post-war class system, it shows strong relevancy to the spirit of the 1990s, both in its implicit critique of some aspects of feminism (especially its call for gender equality) and its bold address of the masculine concerns of that period.
    [Show full text]
  • Miss Julie by August Strindberg
    MTC Education Teachers’ Notes 2016 Miss Julie by August Strindberg – PART A – 16 April – 21 May Southbank Theatre, The Sumner Notes prepared by Meg Upton 1 Teachers’ Notes for Miss Julie PART A – CONTEXTS AND CONVERSATIONS Theatre can be defined as a performative art form, culturally situated, ephemeral and temporary in nature, presented to an audience in a particular time, particular cultural context and in a particular location – Anthony Jackson (2007). Because theatre is an ephemeral art form – here in one moment, gone in the next – and contemporary theatre making has become more complex, Part A of the Miss Julie Teachers’ Notes offers teachers and students a rich and detailed introduction to the play in order to prepare for seeing the MTC production – possibly only once. Welcome to our new two-part Teachers’ Notes. In this first part of the resource we offer you ways to think about the world of the play, playwright, structure, theatrical styles, stagecraft, contexts – historical, cultural, social, philosophical, and political, characters, and previous productions. These are prompts only. We encourage you to read the play – the original translation in the first instance and then the new adaptation when it is available on the first day of rehearsal. Just before the production opens in April, Part B of the education resource will be available, providing images, interviews, and detailed analysis questions that relate to the Unit 3 performance analysis task. Why are you studying Miss Julie? The extract below from the Theatre Studies Study Design is a reminder of the Key Knowledge required and the Key Skills you need to demonstrate in your analysis of the play.
    [Show full text]
  • Preliminary Pages
    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Signature: Leesa Haspel April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy by Leesa Haspel Adviser Donald McManus Department of Theater Studies Donald McManus Adviser Lisa Paulsen Committee Member Joseph Skibell Committee Member April 14, 2010 Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel Adviser Donald McManus An abstract of A thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Department of Theater Studies 2010 Abstract Becoming Miss Julie: A Study in Practical Dramaturgy By Leesa Haspel This paper serves to document and reflect upon an actor’s experience using research to inform and develop a role. Theater Emory’s 2009 production of Miss Julie serves as the case study, describing the process of creating the titular role. An overview of the history of dramaturgy, a dramaturgical protocol, exploration of relevant acting styles, analysis of the Theater Emory production, and personal reflection on the experience of developing Miss Julie cohere to create a guide advocating the use of practical dramaturgy in contemporary acting.
    [Show full text]
  • A Fire in Her Mind: Medicine, Gender Identity, and Strindberg's Miss Julie
    A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie A Research Community Proposal for the LARC grant, Summer 2016 Jonathan Cole Monique Bourque Mary Rose Branick Will Forkin Victoria Mohtes-Chan Jesse Sanchez Community Proposal A Fire in Her Mind: Medicine, Gender Identity, and Strindberg’s Miss Julie This LARC group will examine some of the biggest questions that underlie modernity: the nature of human nature, the role of “the natural” and scientific/medical authority in dictating and defining normal behavior, particularly in regard to sexuality; and the emergence of psychiatry as one of the human sciences. These emerging scientific ideas found an immediate home in nineteenth-century experimental theatre. Theatre artists, tired of the contrived plotlines and moralist, one- dimensional characters of the Melodrama, began to turn to the emerging tenets of behaviorism, genetics, and Social Darwinism in order to bring experiments in human behavior to the stage. Led by European artists-thinkers like Emile Zola, Andre Antoine, Otto Brahm, Henrik Ibsen and August Strindberg, experimental theatre strove to create a theatre praxis that utilized the theatre as an experiment: a way to observe human behavior. This artistic movement, loosely organized under the mantle of “Naturalism,” birthed Strindberg’s greatest work, Miss Julie. While the play itself fails as a piece of Naturalist theatre, Strindberg’s obsession with the inner workings of the human mind, with behavior, with heredity, bloodline, sexuality and fealty/fidelity created in Jean and Julie two of the most fascinating characters in theatre literature. These characters are inexorably linked to Strindberg’s understanding of the science of the time.
    [Show full text]
  • Fröken Julie: Teatrografias
    TÂNIA FILIPE E CAMPOS Fröken Julie: teatrografias. Importação de modelos teatrais e literários Tese de Doutoramento em Estudos Teatrais apresentada à Universidade de Évora, sob a orientação da Professora Doutora Christine Zurbach e co-orientação do Professor Doutor Gonçalo Vilas-Boas Évora / 2012 Esta tese inclui as críticas e sugestões feitas pelo júri Este programa de doutoramento foi apoiado com uma bolsa de investigação pela Fundação para a Ciência e a Tecnologia Contactos: Universidade de Évora Instituto de Investigação e Formação Avançada - IIFA Palácio do Vimioso | Largo Marquês de Marialva, Apart. 94 7002-554 Évora | Portugal Tel: (+351)1 266 706 581 Fax: (+351) 266 744 677 email: [email protected] Fröken Julie: teatrografias. 2 Índice Fröken Julie: theatrographies. Theatrical and literary importation of role models into Portugal. ABSTRACT This study intends to characterize the presence of August Strindberg’s dramaturgy in Portugal, through reception theory of Fröken Julie. It outlines the dynamics of Portuguese theatrical creation since the play was performed in 1960 until its last register on national stage, in 2011. It is also relevant to consider the play writing concerning its cultural context, as well as the impact it has had in Europe and in the USA. According to the specific nature of this master piece, some other transpositions were also considered in relevant approach. Analysing a specific set of Portuguese we were lead to conclusions concerning the ways of staging and creating drama in Portugal through direct or indirect importation of theatrical and literary models, distinguishing the cultural features of texts and the fact that source and target domains are both dependent, in a generic-level, on particular and specific elements.
    [Show full text]
  • Miss Julie Program
    University of Southern Maine USM Digital Commons Theatre Programs 1970-1989 Theatre Programs 2-1984 Miss Julie Program University of Southern Maine Department of Theatre Follow this and additional works at: https://digitalcommons.usm.maine.edu/theatre-programs-1970-1989 Part of the Theatre History Commons Recommended Citation University of Southern Maine Department of Theatre, "Miss Julie Program" (1984). Theatre Programs 1970-1989. 24. https://digitalcommons.usm.maine.edu/theatre-programs-1970-1989/24 This Program is brought to you for free and open access by the Theatre Programs at USM Digital Commons. It has been accepted for inclusion in Theatre Programs 1970-1989 by an authorized administrator of USM Digital Commons. For more information, please contact [email protected]. Russell Square Players present august strindberg' s CDISS·J\JLIE: ,="=' ·"<J General Information Performances Lost Articles Thursday through Saturday at 8:00 Inquire at the Box Office. p.m.; Sunday matinee the first weekend the show runs at 2:00 p.m. Telephone Reservations Russell Square Players The Box Office is open Monday Mail Orders through Saturday from 10:00 a.m. to present All mail orders should be sent to: The 4:00 p.m. The Box Office phone number Russell Square Players, Russell Hall, Uni­ is 780-5483. versity of Southern Maine, Gorham, Maine 04038, with a check or money order pay­ Concessions able to University of Maine. General ad­ The concession area is in the main Miss Julie mission $5.00, students $3.00. Please lobby. No food or drink in the audi­ inquire about group discounts.
    [Show full text]
  • Contemporary
    LISA FITZPATRICK RAPE ON THE Contemporary STAGE Rape on the Contemporary Stage Lisa Fitzpatrick Rape on the Contemporary Stage Lisa Fitzpatrick University of Ulster Derry, UK ISBN 978-3-319-70844-7 ISBN 978-3-319-70845-4 (eBook) https://doi.org/10.1007/978-3-319-70845-4 Library of Congress Control Number: 2017959599 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub- lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
    [Show full text]
  • The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More Information
    Cambridge University Press 978-0-521-60852-7 - The Cambridge Companion to August Strindberg Edited by Michael Robinson Frontmatter More information the cambridge companion to august strindberg August Strindberg is one of the most enduring of nineteenth-century dramatists, and is also an internationally recognized novelist, autobiographer and painter. This Companion presents contributions by leading international scholars on different aspects of Strindberg’s highly colourful life and work. The essays focus primarily on his most celebrated plays; these include the naturalist dramas, The Father and Miss Julie; the experimental dramas with which he created a true modernist theatre – To Damascus and A Dream Play; and the Chamber Plays of 1908 which, like so much of his work, exerted a powerful influence on later twentieth-century drama. His plays are contextualized for what they contribute both to the history of drama and developments in theatre practice, and other essays clarify the enormous importance to these dramas of his other work, most notably the autobiographical novel Inferno, and his lifelong interest in science, the occult, sexual politics and the visual arts. michael robinson is Professor Emeritus of Drama and Scandinavian Studies at the University of East Anglia, Norwich. He is the author of Strindberg and Autobiography (1986) and Studies in Strindberg (1998), and has translated a two-volume selection of Strindberg’s letters (1992), a collection of his essays (1996) and five of the plays (1998). He has edited five volumes of essays on Strindberg and Ibsen, and is also the General Editor of the Cambridge Plays in Production series. His three-volume International Annotated Bibliography of Strindberg Studies was published by the MHRA in 2008.
    [Show full text]
  • All Throughout Time Money Has Played a Central Part in the Lives of People
    All throughout time money has played a central part in the lives of people. Money is the commodity that sustains people, but also has the power to kill as well. This is clearly evident in the plays “A Dolls House” by Henrik Ibsen and “Miss Julie” by August Strindberg even though both plays were written by different authors and had no acquaintances with each other. In both plays even though money is portrayed in the same manner, but by analysis of the speech of the different characters one can see that Nora Helmer, the protagonist’s actions differ considerable from Jean, who is the antagonist even when their conducts are alike. One of the first things that one sees in both plays is the means both the major characters use to get the money. In Doll’s House, Nora has to lie to her husband about getting money as seen by her quote “and he was so ill, there was never any need to tell him (Ibsen 12).” When Nora states that she has borrowed money without Torvald knowing about it, her sentence structure clearly shows this. There as an increasing amount of repetition in her speech when she said “never (Ibsen 12)” three times. This repetition may be caused by her being nervous and also uncomfortable with it. On the other hand Jean in “Miss Julie” also uses mischievous means to get money from Miss Julie. In order to do this he has to lie and he does this feat quite comfortably when he states “I remember it was dangerous to sleep under an elder bush.
    [Show full text]
  • After Miss Julie Project Is Offered As an Addendum to Inga-Stina Ewbank’S Reflections on the Treception of Strindberg in England
    Michael Robinson Maid in England: Anglicizing Miss Julie his brief presentation of the BBC After Miss Julie project is offered as an addendum to Inga-Stina Ewbank’s reflections on the Treception of Strindberg in England. My own discussion of this topic and Strindberg’s failure to find either an adequate translator early on in the century (many of the first Strindberg translations were made from Emil Schering’s German edition rather than from the original Swedish) or an intermediary who could introduce him in England as Bernard Shaw did Ibsen are to be found in the introduction to my recent volume of Studies in Strindberg (Norwich: Norvik Press, 1998) and (in Swedish) in Björn Meidal, ed., August Strindberg och hans översättare (Stockholm, 1995). No acting tradition has emerged for the performance of Strindberg in England as it has for Ibsen and Chekhov, and the sheer range and variety of his dramatic production has opened the way to accusations of a lack of artistic control in his writing, in contrast to what is seen as the admirably consistent approach to playwriting of his Norwegian and Russian contemporaries. The one practitioner who might have introduced Strindberg to England, in an informed way at least on paper, was of course Edward Gordon Craig, but Strindberg had insulted him when Craig sought him out in Stockholm in 1906, and thus, like so many other opportunities in the anglicizing of Strindberg, this, too, was stillborn. Few of the prose works are known there and his other work (e.g. as a painter) remains to be discovered; indeed, even today, Strindberg has got little further in England beyond the somewhat unwelcoming port of Gravesend, where © TijdSchrift voor Skandinavistiek vol.
    [Show full text]
  • After Miss Julie
    presents AFTER MISS JULIE By Patrick Marber Directed by Elly Green Through September 26, 2015 Thu, Fri & Sat 8pm · Sun 4pm Tickets $28 ($24 senior) Jon Cole Media SYNOPSIS The sexual polics of master/servant boil over in this new take on the Strindberg classic, set in 1945 England. The Jeff-nominated director of Stage Le's Rabbit and Trap Door Theatre's The Woman Before makes her Strawdog debut with a play London Telegraph called "a white -hot night of theatrical intensity," by the Tony-winning author of Closer. PRODUCTION TEAM PLAYWRIGHT BIO Author: Patrick Marber Patrick Marber (1964 -) is a Brish comedian, Director: Elly Green playwright, director, actor and screenwriter. Set Design: Mike Mroch * His theater wring is known for confronng the Light Design: Claire Chrzan audience with the use of explosive language and Costume Design: Briany Dee Bodley * limit-pushing subject maer; but Marber is also Props Design: Jamie Karas lauded for his complex characterizaons, his Sound Design: Heath Hays * wiy use of dialogue, and his skill with narrave Dialects: Adam Goldstein structure. Dramaturge: Cassandra Rose Stage Manager: Emily Dillard Plays: Dealer's Choice (1995) Aer Miss Julie Producon Manager: Emmaline Keddy- (1995) Closer (1997) Howard Katz (2001) The Hector Musicians (2004) Don Juan in Soho (2006) The Red Lion (2015) CHARACTERS/CAST Anita Deely * as Chrisne John Henry Roberts * as John Maggie Scrantom as Julie Understudies: Scoe Caldwell and Nick Bonges AUGUST STRINDBERG AND THE ORIGINAL MISS JULIE Marber’s play is a fresh take August Strindberg’s Miss Julie (1888) which resets the story from a Swedish estate in the late 19th century to a manor house in post-war England on the night of the Labour Party’s victory in 1945.
    [Show full text]
  • 2000-Ca-01192-Sct
    IN THE SUPREME COURT OF MISSISSIPPI NO. 2000-CA-01192-SCT MISSALA MARINE SERVICES, INC. v. JENNY KAY ODOM DATE OF JUDGMENT: 9/19/2000 TRIAL JUDGE: HON. JAMES W. BACKSTROM COURT FROM WHICH APPEALED: JACKSON COUNTY CIRCUIT COURT ATTORNEY FOR APPELLANT: GARY L. ROBERTS ATTORNEYS FOR APPELLEE: KIMBERLY GOLDEN GORE W. LEE WATT NATURE OF THE CASE: CIVIL - OTHER DISPOSITION: AFFIRMED - 06/12/2003 MOTION FOR REHEARING FILED: MANDATE ISSUED: BEFORE McRAE, P.J., EASLEY AND GRAVES, JJ. GRAVES, JUSTICE, FOR THE COURT: ¶1. This civil action is an appeal by Missala Marine Services, Inc. (Missala) following a jury verdict rendered in the Circuit Court of Jackson County, Mississippi. The judgment awarded Jenny Kay Odom compensatory damages of $120,000 and punitive damages of an additional $120,000. An amended final judgment added attorney’s fees and expert witness fees, increasing the total judgment in Odom’s favor to $318,797.90. Aggrieved by those judgments, Missala appeals and raises the following issues: I. WHETHER THE TRIAL COURT ERRED BY FAILING TO DISMISS THE CASE. II. WHETHER ODOM PROVED DAMAGES AS A RESULT OF MISSALA’S MISMANAGEMENT. III. WHETHER THE TRIAL COURT ERRED IN ALLOWING INCONSISTENT CLAIMS TO BE SUBMITTED TO THE JURY. IV. WHETHER THE TRIAL COURT ERRED BY PERMITTING THE JURY TO CONSIDER PUNITIVE DAMAGES. V. WHETHER THE TRIAL COURT ERRED IN REFUSING TO DISMISS ODOM’S CLAIM FOR MISMANAGEMENT. VI. WHETHER THE TRIAL COURT IMPROPERLY AWARDED ATTORNEY’S FEES AND EXPERT WITNESS FEES. VII. WHETHER THE COURT ERRED BY GRANTING JURY INSTRUCTIONS 4, 5, 6, 7, 7A, 8, 8A AND REFUSING INSTRUCTIONS D-1, D 11-A AND D-13A.
    [Show full text]