Theatre Review: The Maids – The Depot Theatre (Performances until 30 April)

It’s hard to be critical of non-professional productions, because they are the training ground for so many working in the industry. Certainly, newcomers should be congratulated for sticking out their proverbial necks and adding to Sydney’s ever-expanding theatrical quilt. But unfortunately, some productions just don’t work, no matter how much effort the creatives put in. Phable Production’s The Maids is one such show.

The fault of the production most likely lies at the beginning, with play selection. Jean Genet’s The Maids is a complex, psychological play in the absurdist style, exploring themes as wide as religious fanaticism, classism and sadomasochism. While on the surface this appears to be the story of two maids seeking revenge against their oppressive mistress, this is also a story about sibling love and rivalry. This work is a difficult undertaking for any company (take a look at the mixed reviews STC received for their attempt under the direction of Benedict Andrews in 2013), but for a staging of The Maids to be successful the cast and crew need to immerse themselves in the text. This does not appear to be the case here.

In the roles of the titular maids are Jessica Saras (Claire) and Chantelle Von Appen (Solange) both deliver impassioned performances but sadly miss the mark. There is an intimacy missing here that comes from a shared history of poverty and servitude. Nor do we get a clear picture of the hatred bubbling under the surface that both sisters hold for the other.

As their mistress, Louise Harding looks the part, and brings a youthful energy to the role, but lacks the viciousness needed to make the premise believable. Whether a conscious directorial decision or a simple omission, we do not feel that these maids are truly oppressed by their mistress. The threat of violence is missing between Madame and her charges. So, too, is the clear division of class implied by the setting; servants would hardly be permitted to perch on their mistress’ bed while in her presence, for example. Downton Abbey may have left our screens but it is easy enough reference material to get one’s hands on.

The entirety of the play takes place in Madame’s room, a location achieved through a significant amount of furniture and props, set against the plain black walls of the theatre space. The inconsistencies of period in the set could be forgiven, especially due to the limited production budget, but some elements failed to deliver the appropriate sense of opulence needed. For example, the wardrobe was too short for Madame’s flowing gowns, which trailed indecorously onto the stage floor. Distracting, too, were the plastic coat hangers.

Ultimately though, it was the fake flowers that were the most trying. The show opened with masses of floral stems strewn across the stage. I assume this was an attempt to imply the maids were more interested in enacting their fantasies than attending to their duties, but this decision made little dramatic sense. It also caused the actors difficulties as they went about their ‘stage business’ – there was simply no way they could return all those blooms to their rightful places before Madame’s return while still advancing the story. If a mistress walked into her boudoir to find her make-up scattered across the dressing table, her bed poorly made and leaves and petals littering the floor, she would fire her maids on the spot. The other problem was that a woman of Madame’s stature would hardly tolerate her flowers to be stuffed unceremoniously into vases with no discernible arrangement or colour scheme. But maybe I’m being too picky.

Perhaps the strongest element of the production was the costuming. The maids’ conventional black and white uniforms contrasted well against Madame’s bright and lavish wardrobe. Ethan Thomas gave us an admirable lighting design, highlighting the mood swings of Solange.

Ultimately, this play was too big an undertaking for a first time director (Angelo Samolis) and producer (Chantelle Von Appen). It feels as though neither the actors nor the director have developed a good understanding of what the play is trying to say. More time spent delving into the text, discussing its deepest, darkest secrets would no doubt have elevated the delivery and direction. Sadly, what we see here is more of a surface reading – no-one seems to be convinced of who they are and what they are doing.

That said, there is definitely talent to be found within this company, and with the right text, and perhaps some more rehearsal time, they could all achieve great things.

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The Maids is playing at The Depot Theatre in Marrickville until April 30th. Tickets and further information can be found here: http://thedepottheatre.com/what-s-on

The reviewer attended the opening night performance on April 28th.

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