Review: The Maids

Christoper Adams’ production of The Maids was an intense psychological experience. Immersed in the lavish domesticity of “Madame’s” humble abode, the play followed Clair and Solange as they plotted the downfall of their demanding mistress.

Adams’ set was a striking visual spectacle: a nylon web was draped over the columns and  rigging of the Michael Pilch Studio, entrapping Madame’s trinkets – a clear and effective visual metaphor for the bonds of the sister’s servitude.

The music and lighting was mapped beautifully to the movements of the actors. Antonio Mateiro’s lighting subtly changed to embellish the schizophrenic moods of blazing rage and maddening love.

Whilst the set was evidently well considered, it did seem that some audience members had to strain necks to see the action in the seating area; but this is more a criticism of the space rather than the direction and could be easily avoided by securing a good seat.

Hannah Gliksten and Zoe Bullock had a tough job ahead of them, they had to navigate the duplicity, unhinged logic and freaky fetishism of Genet’s two sisters (Claire and Solange).

Images by Angelika Benz

Both managed to overcome this challenge and more; acting the maid imitating their mistress, carrying the tension of their murder plot and showing us their inevitable physical and mental decay.

Zoe Bullock’s performance merged sisterly affection, verging on the point of incest, with acute paranoia. When Madame was no longer present she slouched and thumped heavily footed through the space, when Madame was present she was more composed, yet secretly displayed her unflinching detestation.

Hannah Gliksten’s characterization of Claire was achieved with equal depth and skill, playing the comparatively more stable sister who seemed to be wrapped up in the emotional turmoil of Stockholm syndrome.

This insane duo was strengthened by Alice Porter’s portrayal of Madame who was brilliantly selfish and decadent.

You will either love or hate this play, the intensity of the production doesn’t accommodate ambivalence. Adams’ direction did everything possible to draw the audience into the uncomfortably exploitative power dynamic of Genet’s work.

This production forces you to think about domestic servitude and the sordidness of sexual desire. The Maids was a thoroughly entertaining production and is worth recommending not just to a minority of Genet enthusiasts.

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