Genet’s ‘the maids’ gets a modern shock – influencers, murder fantasies, and a voyeuristic twist
Kip Williams’s audacious reimagining of Jean Genet’s ‘The Maids’ is set to ignite Brooklyn audiences, swapping a grand estate for the slick, hyper-curated world of an heiress-turned-influencer – a chilling commentary on contemporary privilege.
A new breed of servants
The production, starring Yerin Ha as Madame, a figure obsessed with status and appearances, promises a provocative exploration of power dynamics, sex, and identity, echoing the play’s core themes while injecting a distinctly 21st-century sensibility. Claire (Wilson) and Solange (Saban) – the downtrodden housekeepers – are now entangled in a complex web of domestic servitude and unsettling fantasies, reflecting a disturbing fascination with the unattainable.
“It was a bit of a revelation,” says Elizabeth Wilson, “I read it in a coffee shop the day he sent it. I was just laughing out loud like, Oh, my God, the audacity to turn it this modern and to give it such a spin.”
Ha’s rising star and a shifting lens
Yerin Ha, fresh off her breakthrough role as Sophie Baek in Netflix’s ‘Bridgerton,’ returns to the stage with a newfound understanding of Madame. “Coming back into the rehearsal room, I felt like I was ready, but also hoping to expand and dive deeper into what we had already explored,” she explains. “That’s a real gift, because it doesn’t come often.”
Her recent accolades – including a 2026 Ambassador of the Actor Awards – underscore her rapid ascent in the industry, a journey fueled by an increasingly nuanced interpretation of the character. “I feel like the way I understand Madame now comes through a new lens,” Ha reveals. “It is a very modern take, examining materialism, and this obsession with youth and beauty, and the role that it plays in our society.”
The staging is rife with knowing references to follower counts, designer labels, and the relentless pursuit of media attention – potent symbols of wealth and influence. Williams’s script isn’t simply updating the setting; it’s dissecting the very values that drive it.
A director’s bold vision
Director Kip Williams deliberately shifts the audience’s perspective, using the strategically placed sheers to transform viewers into silent voyeurs, fueling the play’s tragic trajectory. “Diving deeper into those themes and how that resonates with me today, versus how it resonated with me a year ago—that has shifted as well,” Ha adds. “It’s been quite an evolution of me as a person, as an artist, and with him as well. Now we’ve reached this place where we’re able to create something really fun without censoring anything.”
‘The Maids’ opens May 17th at St. Ann’s Warehouse, promising a theatrical experience that’s both unsettling and undeniably relevant—a testament to Genet’s enduring power and Williams’s inventive vision.