Hungry for something a little more experimental, existential, and sensual in the theater? You need not to look further than The Curious Frog Company’s production of Jean Genet’s The Maids. Director Tracy Cameron Francis employs a bold and thoughtful palette when constructing her rendition of this post-modern classic. The rehearsal room within Roy Arias Studios was barely recognizable amidst a sea of pink hued garment bags, a wash of feminine details, flowers, and warm lighting. Stepping into this shrine immediately silenced the rush of the outside world, and transformed the audience member into a voyeur within the inner sanctuary of Madame’s bedroom. Warning: this play will require concentration, possibly Spark Notes, and a quick Wikipedia search of Jean Genet’s biography. Coming into the performance with that context in mind, it helps one to sort through the layers of meaning and “play within a play” meta-theatrical moments.
Dressed in a somber maid uniform, actress Bushra Laksar cuts through the pink space, foreshadowing a sinister plot through a trail of offenses she leaves behind. She spits on flowers before arranging them in the vase on the dresser. Pillows are vigorously punched then placed on the bed. Music like that of a Hitchcock movie drones in the background. When Laksar playing Solange, and Iracel Rivero as Claire enter the space, it is with ritualistic precision and intensity. Sharp physical jerks, and the spine tingling sound of rubber gloves being snapped add a brilliant texture to their dramatic procession. We are flung into their daily game of role-play, where they take turns playing the Madame as a saccharine yet patronizing maternal figure, and themselves as her lowly maids. The sensation of impending danger floods the room as they verbally abuse one another in these roles. They constantly flirt with the line between sensuality and violence.
The two sisters entangle themselves in their role-playing so thoroughly that both characters and audience begin to blur the boundaries between fantasy and reality. Solange has to remind Claire “be yourself again, be my sister again.” Since their fates are intertwined, the balance between their ritualized game and reality of confinement within the working class is crucial. What is “real” changes as their perceptions of reality change depending on whether they are playing a role, or being themselves. The culmination of the fantasy is always the death of Madame, and their ensuing freedom. As they plot to poison Madame’s tea, they begin to have doubts while they debate the authenticity of her affection for them. Solange is adamant that nobody loves them, that “filth cannot love filth, and though Claire protests, Solange asserts that Madame only loves them “like she loves her pink enamel bidet.” Genet’s descriptive language takes life when Madame, played by Alex Runnels, sashays into the room like a drag queen Barbie doll.
Runnels is fearless; giving a nuanced portrayal of Madame that is exactly sympathetic enough to help the audience understand that the sisters plot to kill her is driven by a combination of idol worship, and hatred of the situation that forces them to remain in her servitude, never her equal. There is palpable tension between the three women when Madame offers to give the sisters her dresses and fur, and they are torn between wanting to accept these favors, and remain steadfast in their plan. Madame applies lipstick to Claire as though it were her first communion. Solange kneels by the bed and receives a stroke under her chin like a housecat. Solange recognizes this longing for maternal affection, and its ultimate dead-end when she tells Claire, “her joy feeds on our pain.” Their only escape is through their game.
The final thrust of the action reaches a fever pitch as Madame rejects the poisoned tea, and exits, leaving the two maids alone once again. When she returns, they know they will be incriminated for their involvement in the Monsieur’s legal affairs. Suddenly the game is no longer just a means of escapism through fun and laughter, but takes on a serious undertone. Watching their role-play take a more vicious turn feels like a metaphoric slitting of the wrists. Francis uses bold imagery like having Claire crawl on the floor towards the window in a big white dress. It informs us that they have succumbed to their own fears, and they are prepared for final consequences.
Solange triumphantly describes her imagined aftermath of Madame’s death. During this section, we get a flavor of Genet’s inspiration for Solange and Claire. He loosely based these characters on real life maids who received notoriety for killing their mistress. However, it is Claire who actually dies while playing Madame, who “dies” vicariously through her. Solange assists in giving her sister “une belle mort,” a beautiful and virtuous death. This is their only escape from the monstrous soul of servantdom. Through this action, they liberate themselves from their situation. Solange’s final line rings in the air amid the glow of a single red lamp, “we are beautiful, joyous, drunk, and free.”
Evidently, Francis did her homework. At the time he wrote The Maids, Genet was involved in a homosexual affair with his Algerian lover, Abdullah. After Abdullah’s tragic demise, Genet became an advocate for immigrant rights, and protested the treatment of Algerian, and working class peoples in France. Francis made an intelligent choice in casting actresses of Latina and South East Asian descent, bringing a contemporary relevance to Genet’s intention. When Claire is playing Madame at the beginning, she wails to Solange, “you force your colors on me.” We understand this line differently through this context.
Genet created an existential conundrum similar to his contemporaries like Albert Camus, but dramatized this conflict using the meta-theatrical motif. What an interesting choice to place both performers and audience within a rehearsal studio, to remind us of this. These artists exhibit the kind of passion, and commitment to experimentation that we crave in the theater. It is well balanced with a solid understanding of this admittedly difficult text, and focused performances that allowed us to follow both the characters, and their role-playing.
The Curios Frog Theatre Company’s production of The Maids by Jean Genet, Directed by Tracy C. Francis plays at the Roy Arias Studios 300 West 43rd Street, NYC floor 6 April 24- May 8, 2010. The play is now closed, but stay tuned for more from this company.