In 1991 Julia graduated form the Leningrad State Institute of Theatre, Music, and Cinematography named after N.K. Cherkasov (workshop of professor I. O. Gorbachev). After that she was admitted to the Alexandrinsky Theatre Company. Her debut was a leading part of Masha in the performance Mashenka written by A. Afinogenov (1991). 
From the very first seasons at the Alexandrinsky stage she was engaged in lots of productions of the repertoire and after a while became one of the leading young actresses. So she was willingly offered some roles by such directors as Nora Riekhshtein, Vladimir Vorobiev, Alexander Belinsky, Vladimir Golub, Rostislav Goryaev, Svetlana Milyaeva and others.
Being slim, elegant and charming, with surprisingly low gruffish voice and bright expressive drama nature she could easily change her line of roles: from lyric characters to breeches parts (as it was in Cinderella’s First Ball where she played a main character – Cinderella, and a footboy). Among the images created by Julia there are Mary (The Cricket on the Hearth Charles Dickens, directed by Nora Riekhshtein, 1992); Laura Carlier  (Blaise, Claude Magnier, directed by Vladimir Golub, 1992); Nastya (Such a Strange Night V. Zverovschikov, 1993); Nina and Colombina (Cap and Bells Luigi Pirandello, director Vladimir Vorobiev, 1994) Ortensia (The Mistress of the Inn, C. Goldoni, director Vladimir Vorobiev, 1994); Sophia (The Minor D. Fonvisin, director Nora Riekhshtein, 1994); Lady Agatha (Lady Windermere"s Fan O. Wilde, directed by Alexander Belinsky, 1998); Tsarevna Swan (The Tale of Tsar Saltan, directed by V. Golub, 1999); Irina (The Three Sisters A. Chekhov, director Rostislav Gorayev, 2000) and others.
Irina Vasilinina, a reviewer from Moscow once wrote about one of the brightest parts played by Julia Sokolova, “We have to notice the image of Elisa created by Julia Sokolova in the production of Pygmalion. It may seem to you that this well-known image lacks some innocence and sincere infatuation, but the actress made the character a really talented girl. It seems as if she always looks at everybody in a very sly way and bewitches them. She is inherently smart, foresighted and crafty; she can do anything – dance, laugh, pretend to be a flower girl or a duchess” (Irina Vasilinina Journey from St. Petersburg to Moscow// Culture, December 30, 1999, #48).
These explicit lines of criticism could well be referred to many of images worked out by the actress. The characters that she plays are rather contradictive inconstant and they strangely combine the traits of a strong-willed forceful woman and a carefree naughty child, an experienced flirt and a stubborn teenager, dramatic nature and cunning mummery, innocence and cold calculation. The type of a petite and frail woman who is ready to fight all alone with this world defending her right for happiness. This actor’s line threads all Julia’s works every time getting some new glow. It is clearly seen from her latest works: Isabella (Trees Die Standing, Ao Kason, director V. Golub, 2005); Gladys Foster (Out of Order, R. Cooney, director V. Golub, 2005); Varvara (Petersburg A. Bely, directed by A. Moguchy).

Presently, the actress’s repertoire includes the roles of Dunyashka in Valery Fokin’s performance The Marriage by N. Gogol (2008); Galy Gay’s Wife in the performance Man Equals Man by Berthold Brecht (Director Yury Butusov, 2008); and Priest’s Wife (Ksenia. The History of Love by V. Levanov, Director Valery Fokin, 2009).