Review by Daz Gale
⭐️⭐️⭐️
Piccadilly Circus is the home to the first major press nights of the year with Titanique opening this week and Oliver! opening next week. They are not the only shows opening in the area, however. Though much smaller in scale and not known to every theatregoer nearby, the 70-seat Jermyn Street Theatre, hidden away not far from both theatres, is kicking off their 2025 output with a revival of The Maids. Having played host to some exciting shows last year, will this co-production with Reading Rep get 2025 off to an equally strong start?
Written by Jean Genet, The Maids premiered in 1947, with Martin Crimp’s English translation debuting in 1999. The play sees sisters Solange and Claire working for their wealthy, glamorous madam, all the while fantasising about putting an end to their misery once and for all. The time they spend role-playing their desire away from her sets them up for the deadly task, but would this just be a case of harmless fun or would it have real-life consequences in a game of cat and mouse?
Blurring the lines between fantasy and reality, The Maids builds the tension through a singular 90-minute act, played predominantly in real-time with the use of a clock on a stage signifying the late hour of the day as it builds to a dramatic climax. It can be a bit of a slow-burn at times, with the initial role-playing scene taking a while to get going, but this is a case of patience being necessary as the payoff makes it worthwhile.
Annie Kershaw’s direction takes Genet and Crimp’s writing and utilises it to build as much tension as possible, filling the play with nuggets of humour, all the while setting a trap that becomes apparent as it progresses. Using the tiny space of the Jermy Street Theatre stage, the use of space becomes inspired at best, particularly with the use of a large mirrored window at the back of the set, allowing for some fantastic reveals making the play feel more akin to a horror at times.
The design elements work in tandem with Kershaw’s direction to create suspense with Catja Hamilton’s lighting brilliantly allowing for these reveals, even emulating a fire at one stage through clever effects. Similarly Joe Dines’ sound design, though subtle in its approach, is ever-present, giving an ominous and foreboding feel as it provides a continuous and tense soundtrack.
Where The Maids feels slightly short is in how uneven it is, particularly in the performances of its three cast members. Though all talented in their own right and each showcasing moments of brilliance throughout, it proves frustratingly inconsistent with some of their choices lacking believability and delivery of lines lacking at times. This isn’t to say their performances are bad in any way – far from it, in fact, I just got the sense their characterisations needed bedding in to get to the level befitting of the writing itself.
Though she is on stage by far the least of the three, Carla Harrison-Hodge’s time as the Mistress more than leaves a lasting impression in a changeable portrayal that works for the character, even if the grandeur doesn’t always make itself known. Initially not seen as the monster the sisters paint her to be, the true nature of her character does make fleeting appearances and is teased in sudden switches, showcasing Harrison-Hodge’s ability though it felt as if this could be pushed even further at times.
In the role-playing scene that opens The Maids, Charlie Oscar comes across slightly over-the-top as the Mistress, but then transforms completely as Claire. Fellow maid and sister Solange proves the most interesting of the three with Anna Popplewell delivering a captivating portrayal in a sinister and subtle role. The one thing I would have liked to have seen more of is the chemistry between the two sisters as I believe their performances could have been far more impactful had the air not been as frosty.
The Maids is a fine example of building tension and what can be achieved staging-wise in even the smallest of spaces. Though far from perfect in its own right, fans of this play will enjoy seeing how Jermyn Street Theatre and Reading Rep have tackled this, and anyone new to the play will be delighted and horrified in equal measure at the many twists and turns that befall these three characters. Though it doesn’t exactly clean up, it serves more than enough to allow an enjoyable night at the theatre.
The Maids plays at Jermyn Street Theatre until 22nd January. Tickets from https://www.jermynstreettheatre.co.uk/show/the-maids/
It then transfers to Reading Rep from 28th January – 8th February. Tickets from https://www.readingrep.com/the-maids/
Photos by Steve Gregson