Jean Genet’s 1947 play The Maids, based on the real life murders committed by the Papin sisters, caused quite the stir when it first premiered, spawning a film adaptation decades later starring Glenda Jackson. It wouldn’t be until 1999 though when English speaking audiences would finally get to see it onstage in a translation by Martin Crimp.
Garnering further adaptations including all-male versions and a star-studded London production directed by Jamie Lloyd, Genet’s classic is back in a revival in a co-production with the Jermyn Street and Reading Rep Theatres. Now moved into its second venue, does director Annie Kershaw give the material a good cleaning up?
I was gifted a press ticket in exchange for an honest review. All thoughts and opinions are my own.
The Maids
Cast
- Solange: Anna Popplewell
- Claire: Charlie Oscar
- Mistress: Carla Harrison-Hodge
Rating: ★★★★
What is The Maids about?
Two maids, Solange and Claire, are sisters with a secret.
When their wealthy, glamorous madam is away, they fill their time roleplaying as mistress and maid in her lavish bedroom. However, their private ritual is not harmless fun. A shocking revelation soon turns their world into a deadly game of cat and mouse and the true intentions of their power play are unveiled.
What are my thoughts on The Maids?
I have to admit that it took me around 10 minutes to get on board with The Maids‘ concept. Introduced with two sisters role-playing as the dominant mistress and subordinate maid, Annie Kershaw’s direction fills the 90-minute production to the brim with tension as the lines between fantasy and reality become increasingly blurred. A clock in the real time looms in the background as we anticipate whether the sisters will ultimately commit murder as what started out as an escapist fantasy turns into a meticulous plan.
The production’s suspense and intimacy is helped by Cat Fuller’s design. White padded walls and furniture both evoke the upper class luxury of Mistress’ lifestyle and a jail cell, adding a claustrophobic edge for both the audience and characters. Centre stage is a window that reflects back at us and at points flashes haunting images that turn the production into a thriller/horror – it even projects fire in one gripping scene, only one part of Catja Hamilton’s evocative lighting.
What’s the cast like?
It’s ultimately the three-piece ensemble who have to carry the 90 minute run-time, and they all offer up their own moments to shine. Anna Popplewell (The Chronicles of Narnia film series) is captivating as Solange, gripping the audience with monologues her deep-seated rage as she tries twisting her murderous intent into being a vigilante martyr. Charlie Oscar’s Claire has an easier time switching between roleplaying the snooty near cartoonish Mistress and her real self, making her the more level-headed of the two. Carla Harrison-Hodge’s Mistress offers multiple dimensions, switching between the haughty and cruel woman the maids hate enough to kill while we slowly realise she feels just as trapped by her lifestyle.
What are my overall thoughts?
It may take time to get on board with this production of The Maids for some, but the payoff is worth it. Annie Kershaw has created a gripping yet intimate version of Genet’s work that highlights its inherent themes of class differences, anchored by its fantastic three-piece cast all-round.
The Maids runs at Reading Rep Theatre until February 08. Buy your tickets here.
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