At Theatr Pena |
| The Maids , The Riverfront, Newport , June 14, 2012 |
The maids in this powerful production of Genet’s existential play are not young; Christine Pritchard and Olwen Rees’ surreal response to their many years of servitude demonstrates a strength and sensuality intensifying the dark eroticism that lies within the play.From the outset, with the bold and beautiful singing of Buddug Verona James accompanied by Joe Corbett on a whispering accordion causing the hairs on the back of the neck to tingle and with Saz Moir’s voluptuous setting we know that we are in a Paris from which much of the romance has been drained. Genet loosely based his play on the infamous Papin sisters, maids Lea and Christine, who brutally murdered their employer and her daughter in Le Mans, France, in 1933, although the play is not the story of the Papin sisters as such. Solange (Olwen Rees) and Claire (Christine Pritchard) are two housemaids who construct elaborate sadomasochistic rituals when their mistress (Madame) is away. Claire rises from Madame’s luxurious bed, sits at her dressing table and pampers herself; she calls Solange to help her dress into Madame’s luxurious gowns. She accuses Solange of letting the milkman (Mario) seduce her, and insults her appearance and manners. Claire defends herself for having "denounced" Monsieur to the police in a letter that sent him to prison. Claire then strikes Solange and we see the start of the bullying and spitting alternating with the gentle caressing with which they continue to smother each other throughout the play. Eventually Madame returns, she sees the telephone has been left off the hook. Claire says it was Monsieur. After Madame presses, Solange says they wanted to keep it as a surprise that Monsieur is free, on bail and waiting for her at a bar. In a flurry, Madame orders Solange to get her a taxi and Claire to get her furs ready. Madame is piqued by Solange's delay and the sisters not telling her Monsieur had called. Claire insists that Madame drink the tea, which they have poisoned but Solange runs in, pushes Claire aside, and says the taxi is finally ready. Claire angrily asks if Solange wants to "make a scene." Solange praises Claire's beauty, but Claire tells her to start again with the insults. She is unable to do it, so Claire tells her how much she despises the servants. Solange takes over and, with a riding whip, orders Claire down on her knees. She slanders her more, strikes her, and commands her to lie down. Then she comforts her and walks her off to the kitchen, where she has ways of putting an end to all suffering. One remarkable thing about this production is that the strength of the performances almost subsumes the matter of the play. Madame appears for only a short time but Rosamund Shelley gives her both a glittering glamour and a gentile vulnerability, much in contrast to her servants. Christine Pritchard’s Claire may sniffle and whimper but there is a definite touch of evil deep in her heart. In the closing moments of the play Olwen Rees standing alone on the stage produces such a powerful charge of emotion, as great a demonstration of the art of acting as anyone could ever wish to see. |
Reviewed by: Michael Kelligan |
This review has been read 2335 times There are 15 other reviews of productions with this title in our database:
|
