Genet’s ‘the maids’ gets a shockingly modern makeover – starring bridgerton’s yerin ha
Jean Genet’s darkly seductive play, ‘The Maids,’ has long captivated theatergoers, and now it’s getting a provocative, hyper-stylized revival at St. Ann’s Warehouse in Brooklyn.
A heiress, an influencer, and a descent into madness
This new production, directed by Kip Williams, reimagines the core dynamic, casting Yerin Ha as Madame – a recently-minted heiress who’s swiftly transformed into a polished, algorithm-driven influencer. Gone are the subtle anxieties of the original; instead, Williams presents a jarring caricature of undeserved privilege, a world saturated with follower counts and designer logos.
The play’s central tension, the simmering resentment between the three housemaids – Claire, played by Lydia Wilson, and Solange, portrayed by Phia Saban – and their domineering mistress, remains at the heart of the story. But Williams doesn’t simply revisit the familiar; he amplifies it, creating a deliberately unsettling atmosphere.
Ha’s transformation: from bridgerton to a haunting presence
Ha, who recently captivated audiences as Sophie Baek in Netflix’s ‘Bridgerton,’ brings a palpable intensity to the role 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.”
The journey has been significant. Just weeks after ‘The Maids’ closed at the Donmar Warehouse in London, Netflix unleashed the fourth season of ‘Bridgerton,’ thrusting Ha into the international spotlight. Awards, interviews, and a burgeoning global recognition followed swiftly. “I feel like the way I understand Madame now comes through a new lens,” she shares with Vogue, describing her evolved interpretation of the character’s motivations – specifically, a preoccupation with materialism and the relentless pursuit of youth and beauty.
A director's calculated provocation
Kip Williams’s adaptation isn't shy. He’s injected a lurid, absurdist humor into the text, refusing to offer easy resolutions or comforting moralizations. “It was a bit of a revelation,” Wilson admits, recalling the initial read-through. “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.”
The director’s innovative staging actively engages the audience, subtly shifting the dynamic. “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 notes. Williams strategically positions the audience as silent voyeurs, their attention driving the tragic narrative toward its inevitable conclusion – drawing back the sheers surrounding Madame’s opulent bedroom suite to expose their complicity.
A legacy of transatlantic success
‘The Maids’ represents the latest in a lineage of West End productions that have successfully transferred to New York, retaining their core casts. Ha’s return to the project, following her acclaimed performance in Sydney’s production of ‘Lord of the Flies’ in 2019, underscores the play’s enduring appeal. “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,” she says.
The play opens may 17th
‘The Maids’ runs at St. Ann’s Warehouse from May 17 through June 14, 2026.