Jean Genet’s The Maids has long been a provocative exploration of power and identity. In this bold new translation by Kip Williams, now playing at the Donmar Warehouse, the classic text is reimagined for a digital age, with a visually arresting production that places social media at the heart of its storytelling.
Originally written in 1947, Genet’s play centres on two sisters, Claire and Solange, who work as maids for the wealthy and glamorous Madame. In their mistress’s absence, they indulge in elaborate role-play, taking turns impersonating her and fantasising about her murder. Williams’ adaptation retains this central conceit but expands Madame’s presence, allowing her to dominate the stage for longer than in the original. This shift adds a new layer of tension, as the line between fantasy and reality becomes increasingly blurred.
Yerin Ha is magnetic as Madame, a modern-day influencer with tens of millions of followers. Her portrayal is both playful and terrifying, capturing the unpredictable volatility of someone who lives for the camera. The character’s obsession with image and status is cleverly underscored by the set design: towering mirrored wardrobes conceal couture gowns and glittering jewellery, while the mirrors double as screens, projecting live footage from the characters’ phones. This ingenious device immerses the audience in the world of Instagram and TikTok, highlighting the performative nature of identity in the digital age.
Phia Saban and Lydia Wilson are equally compelling as the sisters. Their twisted games of domination and submission are laced with dark humour, shifting from absurdity to menace with unnerving ease. Saban’s Solange simmers with resentment, while Wilson’s Claire is more fragile, her descent into delusion both disturbing and poignant. Together, they navigate the play’s psychological terrain with precision and intensity.
Williams’ direction is meticulous, demanding technical dexterity from his cast as they manipulate cameras and filters mid-performance. The integration of Snapchat effects and live video feeds is more than a gimmick: it becomes a vital storytelling tool, reflecting the characters’ fractured psyches and the performative nature of their existence.
The production is visually stunning, thanks to Rosanna Vize’s opulent set and Zakk Hein’s inventive video design. The abundance of flowers, much to Madame’s irritation, adds a surreal touch, while the lighting and sound design heighten the sense of claustrophobia and impending doom.
In this version of The Maids there are many liberties taken with Genet’s original, but this adaptation feels timely and urgent. It’s a visionary recreation that speaks to contemporary anxieties about the curated self. The result is a darkly comic, unsettling and thoroughly modern piece of theatre.
Listings and ticket information can be found here.
