THE MAIDS
Jermyn Street Theatre
★★★
“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.
THE MAIDS
Jermyn Street Theatre
Reviewed on 10th January 2025
by Jonathan Evans
Photography by Steve Gregson
Previously reviewed at this venue:
NAPOLEON: UN PETIT PANTOMIME | ★★★★ | November 2024
EURYDICE | ★★ | October 2024
LAUGHING BOY | ★★★ | May 2024
THE LONELY LONDONERS | ★★★★ | March 2024
TWO ROUNDS | ★★★ | February 2024
THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024
OWNERS | ★★★½ | October 2023
INFAMOUS | ★★★★ | September 2023
SPIRAL | ★★ | August 2023
FARM HALL | ★★★★ | March 2023
The Maids
Maids
The Maids
