★★★

“Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language”

Most crime dramas (not that Jean Genet’s “The Maids” can be specifically classified as one) these days tend to start with the crime – usually a murder – and work backwards. What makes Genet’s play stand out from the crowd is the focus on the build-up rather than retrospective investigation. A slightly surreal evolution of events and dialogue that is steeped in invention, make-believe and role play. So much so that it is almost impossible to distinguish reality from fantasy throughout. Ironic, too, in that his flight of fancy is based on the real-life scandal of two sisters who brutally murdered their employer and her daughter.

Genet’s story examines two sisters, Claire and Solange, who fantasise about and act out murdering their mistress. But as soon as the house lights fade, we know we are being played with. The opening dialogue – alternately cruel, sharp and funny – between the ‘Mistress’ and Claire has us making judgements on the dynamic coupling; only to discover that we are in fact watching Claire ‘being’ the Mistress and Solange ‘being’ Claire. This playful doubling and verbal smoke-and-mirrors technique keeps us on our toes, but unfortunately prevents us from caring much for the characters. It is all quite one sided too. The maids get to vocalise their frustrations and overblown sense of oppression, while their mistress has little say of her own. It is hard to sympathise with the extreme emotions and motives on display. Particularly when Carla Harrison-Hodge’s excellent portrayal of the ‘Mistress’ brings out the humour so succinctly. She may be a privileged bully, but we can never believe she has earned her fate.

Under Annie Kershaw’s fast paced direction, the cast are all very watchable indeed as they spiral out of control, losing touch with their own realities. Anna Popplewell, as Solange, is the more unbalanced maid – one minute an ingenue, the next a ruthless martyr. Charlie Oscar gives a strength to the weaker sister that layers more dimensions onto her character than Genet probably intended. Their onstage chemistry is captivating as they pace around each other within the confines of the space. Cat Fuller’s simple but clever set design places the action within the Mistress’ boudoir, presented as a padded cell which further plays with our sense of reality. An oversized mirror lets part of the audience see themselves, while the sisters repeatedly gaze at their own reflections. Perhaps we are being told that they represent us, but if so, it is a concept that is as impossible to grasp as it is to relate to these personalities. Nevertheless, the acting is captivating enough to guide us through Genet’s often esoteric writing. Popplewell’s heightened monologue that brings us to the climax of the piece is a tour de force.

Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language. Yet it is hard to disguise the self-indulgence in the dialogue as it spirals inwards into ever confusing and smaller circles. The text is too successful in its aim to be ambiguous and obscure. It is saved by the trio’s performance, that transforms an extended and directionless game of role play into a dynamic piece of theatre.

HERE YOU COME AGAIN

Riverside Studios

★★★★

“an unexpected gem (or should that be rhinestone) of a show”

Should Dolly Parton ever fall on hard times, there is definitely a career for her as a self-help therapist. At least according to the feel-good musical “Here You Come Again”. The Country icon is given enough sugary lines to inspire the most misanthropic among us to cheer up and join in a group hug. The show is an undeniably cheesy affair, but bonkers enough to be brilliantly entertaining, camp, funny and toe-tappingly tantalising.

This is not a musical about Dolly Parton, although we do get a couple of superficial glimpses into her backstory. It is, in fact, about Kevin. It is the summer of 2020 and forty-year-old Kevin is back home, holed up in the attic of his parent’s house. The pandemic is in full swing and he is isolated with nothing to keep him company but his childhood memorabilia: Dolly Parton records and posters. Split up from boyfriend Jeremy and with his professional dreams unfulfilled, he is careering towards a mid-life crisis. “What would Dolly do?” he muses. Lo and behold, Ms Parton walks into his life out of his dreams. Or rather crashes into it, exploding from a poster on his bedroom door in a genie-like puff of smoke. Richard Pinner’s illusions are pretty impressive throughout.

Written by American comedy writer and songsmith Bruce Vilanch, with Gabriel Barre (who also directs), and writer and actor Tricia Paoluccio (who also stars as Dolly), it has been anglicised by Jonathan Harvey who provides additional material for the production’s UK run. Apparently it has also been wholeheartedly endorsed by Parton herself, so things are looking good. With the help of its two protagonists, things are looking great. It is an unexpected gem (or should that be rhinestone) of a show. ‘Unexpected’ in the sense that its structure is a surprise, rather than expectations were low. It defies musical convention – no big ensemble; just Tricia Paoluccio as Dolly with Steven Webb as Kevin. It is a curious mix of stand-up, soap opera and jukebox musical. A live band wander on and offstage with backing vocalists also playing cameos as Mum, Dad and ex-boyfriend.

Paoluccio is a dead ringer for Dolly, especially vocally. Totally at ease, she handles the platitude-rich dialogue with good humour and an infectious energy, but it is when she bursts into song that she truly soars. Webb is magnificent as the struggling comedian, Kevin. Eccentric and neurotic, nerdy and needy, and self-deprecating, he knows the joke is on him. And although the jokes are often bad (intentionally so, we like to suspect) the couple have great fun with them. Their relaxed banter drives along smoothly until it reaches the exit slip road to the next musical number. The signposts are obvious and the dialogue becomes somewhat contrived. We are never allowed to forget that the show is a vehicle for Dolly Parton’s back catalogue. But, hey, why not? That’s the whole point, and the creators have found a unique and inspired framing device for such a recognisable repertoire. The favourites are all there, of course, along with a few lesser known hidden secrets.

Country music is notorious for shrouding intelligently bleak lyrics in an upbeat camouflage, a concept that spills over into the script – so that whenever the dialogue is at risk of becoming dark or deep, Dolly’s relentless optimism (or ‘insufferable positivity’ as Kevin calls it) over-sweetens it with way too many spoonfuls of sugar.

You certainly don’t need to be a fan of Dolly to appreciate the show. In fact, even if you claim not to be (though I suspect you’re just in denial) I’d still urge you to see it. The sense of fun is intoxicating and the performances are exceptional. The personal touches they add to the songs are often hilarious too – their rendition of ‘Jolene’ is worth the ticket price alone. We are even given a whirlwind medley of the greatest hits at curtain call, during which the show morphs into full-on gig mode. The crowds are now on their feet. This finale may have absolutely nothing to do with the rest of the show, but most of us have forgotten the plot by now. We’re just basking in Dolly’s light and forgetting our troubles. Kevin certainly has – he’s a whole new man. This is a joyous musical, but beware – you’ll be humming those songs well into the New Year.

THE MAIDS

Jermyn Street Theatre

★★★

“Martin Crimp’s translation faithfully brings out the anarchic poetry of Genet’s language”

THE MAIDS

Jermyn Street Theatre

Reviewed on 10th January 2025

by Jonathan Evans

Photography by Steve Gregson

Previously reviewed at this venue:

The Maids

Maids

The Maids

HERE YOU COME AGAIN

Riverside Studios

★★★★

“an unexpected gem (or should that be rhinestone) of a show”