Review-The Maids- RyeT Entertainment
9-11-13
By: Maureen Coulter
The Maids by Jean Genet explores class conflict, sibling rivalry and suppressed sexuality played out through the fantasy, or play—in both senses of the word—of two sisters, Claire and Solange who are maids to the generically named “Madame.” To escape the aridity and confinement of their lives Claire and Solange play, in Madame’s absence, the multiple roles of each other and their employer.
Their role-play is an exploration of the conflicting love and hatred they feel for Madame, and also each other, and this is fueled by self-contempt, not only for their low social status, but also for the repressed sexual attraction they feel for each other. Early in the play, Solange says to Claire “When slaves love each other it’s not true love.” The slavery of which she speaks is a clear reference to their domestic reality and a momentary recognition of the “otherness” of their mutual incestuous desire.
The immediate impression of the set is that of a bordello. Cheap red satin curtains frame three full-length mirrors, and the stage is dominated by a sloping black vinyl monolith resembling a bed, suggesting a dominatrix’s workbench, or a sinister operating table. This set works as a symbol of sexuality marginalised by bourgeois society and its effectiveness is fully apparent at the play’s end when the bed becomes Claire’s bier, reminiscent of the closing scene of MacMillan’s ballet Romeo and Juliet. The use of mirrors is also highly effective; the visual effect of Claire/Solange doubled and reflected back to the audience and herself is a powerful metaphor for the sisters’ interchangeable identities and the blurring of the self and other.
What is missing in the set, however, are the masses of flowers one would expect in light of the reference to “too many flowers.” This lack of attention to the text jarred; the single vase and meagre arrangement of pink flowers at floor level seem inadequate. This is a missed opportunity: a mass of full-blown flowers would enhance the cloying atmosphere and function as a compelling symbol of life at the point of decay—or decadence.
By contrast, the Japanese-style costumes seem inappropriate and overdone. The tunics, with their large, high collars and long trailing sleeves, worn by Solange and Claire are fussy and, apart from the colours—black and white, with a touch of dark blue—they contribute little as visual signs of the maids’ low social status. Likewise, while the large wigs and exaggerated orientalising makeup worn by Solange and Claire emphasise their otherness, they detract from the characters’ humanity. Perhaps this is intentional; it was certainly consistent with an orientalised design concept—Madame’s costume was reminiscent of the kimono.
These quibbles aside, this production is a committed one. Madame, played by Moe Moss reinforces the class hierarchy with her clipped, upper-class English accent and haughty, patronising demeanour. As Solange and Claire, Rye “La Chiquitta” Bautista and Jejie “Zaza Zacob” Esguerra respectively give it their all. Each has a strong physical presence and they spar off each other with unrelenting energy. Their vocal delivery is powerful and they work hard to convey the ebb and flow of their characters’ interactions. Regrettably, their delivery is often too loud and too rapid: emotional intensity is not always conveyed by volume and speed. Greater dynamic range would give more subtlety to their characterisation and more effectively draw empathy from the audience.
Apart from the themes of class conflict and repression, The Maids is a play that challenges our notion of unified identity, so full marks to this production for honouring Genet’s original intention of having Solange and Claire played by men. Thus the blurring of identity between siblings, servants and mistress transforms to a blurring of the boundaries of gender and sexual identity. The love/hate relationship of the sisters as played by men may be read on a number of levels and revisits the Shakespearean convention with the frisson it brings. (Think of the ambiguities of the boy actor playing Rosalind, disguised as Ganymede, being wooed by Orlando.)
Overall, this is a brave and stimulating production. It is to be hoped that this company will in future present further works that challenge and provoke.
The Maids is playing through Saturday at the McAulay in Wanchai. For more information, click here.
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