★★★

“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.

JACK AND THE BEANSTALK: WHAT A WHOPPER! at Charing Cross Theatre

★★★

“some great, high-energy performances and a really superb design”

Following last year’s Sleeping Beauty Takes a Prick!, the same creative team returns to the Charing Cross Theatre with another riotously naughty adult pantomime: Jack and the Beanstalk: What a Whopper! This outrageous take on the beloved fairytale, written by Jon Bradfield and Martin Hooper, promises all the glitter and glamour of traditional panto, but with a decidedly adult twist. Packed with innuendos, saucy humour, and fabulous designs, it’s an unashamedly queer festive night out.

The show’s design is truly marvellous, with David Shields’ award-winning talents on full display. The set bursts with vibrant colour and whimsical detail, perfectly capturing the silly yet sophisticated tone of the production. Glittering pink and blue clouds frame the stage and floor, giving a cohesive, cartoon-like charm that’s both nostalgic and fresh. Scene transitions, from Dame Dolly’s kitchen to a graveyard and even then to the sky, are executed with seamless flair, ensuring the visual storytelling flows effortlessly. Perhaps the most important part of any version of this particular story is, of course, the reveal of the beanstalk. Shields’ design absolutely does not disappoint, with the phallic shaped stalk bursting onto the scene with great delight from the audience.

Robert Draper and Sandy Lloyd’s costumes are equally delightful, combining bold colours, traditional panto flair and some fun little tricks too. Matthew Baldwin’s Dame Dolly has perhaps a dozen changes throughout the show, donning various wigs and dresses, and at one glorious moment appearing in a Norma Desmond-inspired number, reflecting her character’s backstory as a failed soap opera star.

Matthew Baldwin is right at home as he returns to the adult pantomime and absolutely lives up to his reputation. He builds a great rapport with the audience, gracing the stage with ease, effortlessly balancing the character’s brash humour and softer moments. Chris Lane, swapping last year’s villainous role for Dale the fairy, is another standout. His cheeky rapport with the audience, impeccable comic timing, and flirtatious stage presence adds endless charm. Lane’s dynamic with Keanu Adolphus Johnson’s Jack Trott is particularly entertaining, with their playful exchanges offering plenty of laughs.

Johnson brings a likeable quality to Jack, capturing the character’s charm. While his performance might benefit from bolder characterisation, his chemistry with the rest of the cast and general presence is lovely. Laura Anna-Mead, as Simple Simone, has boundless energy from her first entrance, becoming hilariously giddy when talking about her big crush.

Jordan Stamatiadis also returns to this year’s panto as the villainous Lady Fleshcreep. Stamatiadis has a commanding onstage presence and shows off a gloriously evil voice. Meanwhile, Joe Grundy as Reverend Tim, navigating a comic sexual awakening, provides some laughs, though could push the physical characterisation much further.

Carole Todd’s choreography brings lots of joy and energy to the stage. Matt Hockley’s lighting design enhances this further, bathing the action in vibrant colours and dynamic effects that amplify the panto’s glittering atmosphere.

While the script delivers its fair share of laugh-out-loud moments, packed with smutty innuendos and one-liners, the narrative could be tightened. Scenes drift a little and could do with more focus as it journeys through each beat of the story. Likewise, musically, the original songs don’t do much to drive the narrative and aren’t exactly catchy or memorable. A brief moment of Beyonce is very welcome and further use of parodying pre-existing songs would really elevate the show to the next level.

Jack and the Beanstalk: What a Whopper! has some great, high-energy performances and a really superb design. The humour sometimes lands and sometimes doesn’t, and I think the show would overall benefit from focussing a bit more on story and a little less on joke after joke, which starts to get a little tiring. Above all, I think this is a pantomime team which knows its audience, and I’m sure many will really enjoy this year’s offering.

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

JACK AND THE BEANSTALK: WHAT A WHOPPER! at Charing Cross Theatre

★★★

“some great, high-energy performances and a really superb design”