Tag Archives: Jean Genet

“Deathwatch” at The Print Room

Lurid, dense and poetic, Jean Genet’s play is revived with an expert translation by David Rudkin. We join three prisoners in a cell who say they will be “the slow death of each other”. The felons plot a murder, while creating a hierarchy of criminality that baffles as much as it intrigues. Genet said the play should unfold as in a dream and director Geraldine Alexander bears the dictate in mind, so this is a style that won’t appeal to all. Cryptic and cerebral, it’s an experience that’s dazzling, but might leave you dazed.

The cell is a cube reminiscent of cage fighting, placed in a circus ring with sawdust on the floor. The design from Lee Newby fits the play perfectly and The Print Room’s (newish) home at the Coronet only adds to the atmosphere. With an impressive lighting rig utilised by David Plater, the production values are top notch. As are the performances – there’s outstanding acting here. The murderer Green-Eyes, awaiting execution, has the most “clout” in the cell and the character’s animal magnetism and poetic fervour are convincingly portrayed by Tom Varey, showing the twisted depths of Genet’s writing. The cellmates share an obsession with Green-Eyes. Lefranc’s crimes may be “hot air” but he becomes a chilling figure through a balanced performance from Danny Lee Wynter. And Maurice is confrontationally played as a “screaming Queen” by Joseph Quinn, who gives a professional stage debut of great detail that bodes well for his future career.

Joseph Quinn
Joseph Quinn

All three roles are challenging. Unlike most (maybe all) crime fiction, Genet isn’t interested in the personal motivation behind crime. Backstories are suggested, but can they be trusted? Philosophy is explored as much as psychology. All this could ring alarm bells – or excite. Call me slow, I wanted more pauses – time for everything to stop and slow down – allowing an opportunity to drink in the language. Instead Alexander’s emphasis is on the tension, so fair enough. A more justifiable quibble is that even in this strong production the depth of Genet’s text isn’t plumbed, with the roles of brute force and mindless violence neglected. Nonetheless, an exceptional show.

Until 7 May 2016

www.the-print-room.org

“The Maids” at the Trafalgar Studios

Jamie Lloyd might well be the perfect director for iconoclastic playwright Jean Genet. Both share an irreverent bold approach and a Baroque intensity epitomised in Lloyd’s stirring production of Genet’s 1947 piece. The sick, twisted, sexualised fantasies of two servants, role-playing the murder of their mistress, are made “drunk, wild, beautiful” in this visually arresting and accomplished show.

Lloyd also has a way with stars, enticing exciting talent to the West End and getting the most from many a performer. The luminaries here are Uzo Aduba (from Orange is the New Black), joined by Zawe Ashton, playing the titular revolting servants. Ashton gives a fine performance, Aduba a tremendous one. Intense from the start, Ashton drags up as her mistress for a disturbed ‘ceremony’ that’s an orgy of degradation, violence and kink – her jerky movements unsettle and excite. Aduba is an astonishing presence on stage, frightening and engrossing, her intelligent appreciation of the rhythm of the text carrying you forcibly through the traumatic, suspenseful, action.

Laura Carmichael and Uzo Aduba in The Maids CREDIT Marc Brenner
Laura Carmichael and Uzo Aduba

When Mistress arrives it’s a blunt shock to find she’s every bit as bad as we’ve been led to believe. Laura Carmichael holds her own (no small achievement given the brevity of her role) portraying a superficial, doll-like rich bitch. This contemporary, recognisable, figure allows Lloyd to emphasise the play’s political content: the accents may be American but a London audience is instantly connected to Kensington.

Fun is had by Lloyd, in keeping with the work of translators Benedict Andrews and Andrew Upton. Genet’s rich themes are explored bravely but there’s also humour from some of the exaggeration here – the maids giggle more than you might expect. The language is blue (very) but I can’t imagine Genet would blush. It’s surprising you don’t see this play revived more often. Lloyd’s production is a valuable addition to the reputation of a modern classic.

Until 21 May 2016

www.atgtickets.com

Photos by Marc Brenner