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The maids keep her clean, while they do the dirty work. A Coldly Marbled World: Yu Shibagaki’s scenic design isn’t only, as I said above, “sleek and sophisticated.” Marbled and austere, it’s also cold, colorless and a bit cruel, reflecting the smooth but unforgiving surface of a postmodern world with neither history nor depth (we’re a long way, here, from Genet’s envisioned rococo set of Louis-Quinze furniture).
No wonder this more outspoken of the two sisters not only admits how unhappy she is, but also openly fantasizes a rebellion. Claire may willingly indulge fantasies involving Madame’s life. Its opaque mirror doesn’t reflect light or show us who we are.
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Set in a sleek and sophisticated contemporary American bedroom suggesting upscale urban living in a place like New York’s upper west side, this 95-minute play begins with a game of dress-up, involving sisters who are also maids imagining life as their boss.
That would be Madame (Rebecca Hurd), whose absence of a name reflects her impersonal relationship with “the help.” We won’t meet her until nearly half way through the play; when we do, we’ll see she can’t keep the maids’ names or skill sets straight.
Claire and Solange, Solange and Claire: minor, seemingly interchangeable extras in the drama starring Madame.
Sure Madame can be kind, muses Solange (Andrea San Miguel), early in the play.
As presented by a frighteningly intense Pereyra, Claire’s version of Madame betrays the consequent self-loathing that all three of this play’s women feel – as well as the murderous, corresponding anger toward those who make them feel this way. This production of “The Maids” isn’t just disturbing because it so accurately describes divisions of race, class and gender in a country where the bounty promised by the American dream is both tantalizingly close and forever receding for most of its immigrants. Even relentlessly rehearsed playacting can’t transform these women’s lives; as the maids impatiently tell each other, the script through which they’ve imagined both becoming and then destroying Madame has grown tired. “Everyone’s listening, but no one will hear,” Solange says, late in the play.