The plays in this volume mostly don't read like works of genius, though the volume does contain Miss Julie and Ghost Sonata, widely celebrated plays, and justifiably so. The other plays seem to be lesser, but that probably mostly is a result of the changes in theatre over the past century, the expectations on theatre, and the fact that some things play better than they read. Having seen Miss Julie performed, I can say that it is better in performance than in the reading, so that seems likely many of the others would be as well. It is difficult to get past the intense misogyny of many of these pieces, but if you twist yourself around and look at the plot between your legs and upside down, you can sort of twist a less misogynistic message out of it; with the right cast, and the right direction, they could work. ( )

Excellent selection of plays, provided chronologically, which illustrates Strindberg's evolution from hyper-naturalism ("The Father", "Miss Julie") to symbolist drama ("Storm" and, especially, "The Ghost Sonata.") Strindberg on the page, though, is never adequate to Strindberg on the stage. Strindberg deals with elemental emotions, guilt, jealousy, vengefulness, in what can seem overly explicit and un-nuanced when one is simply reading the lines to oneself. The characters seem to be operating on the verge (frequently over the verge) of hysteria and the dramas (even the comedies) of power & dominance (especially between the sexes) can seem almost embarrassingly simplistic. In performance, though there is certainly embarrassment enough, it all translates into riveting theater. My advice to readers is to stay imaginatively engaged, keep making the effort, and give the playwright the benefit of any doubt. ( )