Donmar Warehouse’s bold reimagining of The Maids reflects social media obsession

The Donmar Warehouse’s latest production of Jean Genet’s The Maids, directed by Kip Williams, offers a visually extravagant and urgently relevant reflection on identity, power, and self-presentation in the age of social media, provoking both admiration and critique.

Jean Genet’s 1947 play The Maids, inspired by a grim historical case from the 1930s involving the murder of a mother and daughter by their servants, has long been considered challenging to stage effectively. The Donmar Warehouse’s latest production, directed by Kip Williams, takes a bold and visually extravagant approach to reimagining this classic drama for a contemporary audience. Williams, known for his innovative reinterpretation of The Picture of Dorian Gray with Sarah Snook, places The Maids firmly within today’s social media-obsessed culture, highlighting themes of identity, power, and the toxic desire to emulate and destroy those we idolise.

Set behind diaphanous drapes in a lavish boudoir overflowing with exaggerated floral arrangements, the production centres on a young woman, portrayed by Lydia Wilson, who embodies the archetype of a social media influencer boasting 28.4 million followers. Her demands on her maid (Phia Saban) are punctuated by harsh insults, epitomizing a ruthless, ego-driven dynamic. The mistress is frequently absorbed in taking selfies or admiring herself in mirrors, her every move punctuated by a soundtrack oscillating between Tchaikovsky’s Sugarplum Fairy and Mozart’s Requiem. This heightened visual and auditory experience is complemented by colossal projections of the characters’ faces, distorted with smartphone filters, presenting “sparkling-eyed avatars” that are at once comical, grotesque, and unsettlingly authentic.

The narrative tension arises as it becomes apparent that the two maids, who are in fact sisters, perform a game of dominance and submission in their mistress’s absence, fantasizing about poisoning her. The arrival of the real Madame, played by Yerin Ha, shatters this illusion with a reality far more biting; she adopts the same pretentious poses and abusive language, oblivious to anything beyond her inflated self-importance. This blurring of performance and reality underlines the cyclical nature of power and subjugation at the heart of the play.

Critical reception of this production reveals a mix of admiration and reservation. While the visual spectacle and pace are widely praised, some critics argue that the relentless intensity and extravagance drown out the emotional depth and complexity of Genet’s original work. Reviews describe the performance as a “visual assault” and “hectic, shouty psychodrama,” suggesting that the production’s over-the-top style can at times overwhelm the narrative’s nuanced tension and character development. Commentators also note that the update to a social media-infused context, while conceptually timely, occasionally feels superficial or glib, detracting from the play’s darker themes of identity and cruelty.

Williams’ decision to underscore the contemporary obsession with image and self-presentation through technology offers a striking lens on Genet’s exploration of power dynamics and self-destruction. However, some theatre critics caution that the production’s excess—its loudness, rapid pace, and constant sensory bombardment—may leave audiences craving a more balanced delivery that honours the original’s psychological complexity.

The Maids runs at the Donmar Warehouse until 29 November 2025, inviting audiences to confront both the timeless and timely questions of how identity, power, and image collide in the age of social media.

📌 Reference Map:

• Paragraph 1 – ^[1] (Daily Mail), ^[2] (Donmar Warehouse)
• Paragraph 2 – ^[1] (Daily Mail), ^[4] (The Arts Desk), ^[5] (Everything Theatre)
• Paragraph 3 – ^[1] (Daily Mail), ^[3] (Theatre Reviews), ^[6] (Evening Standard)
• Paragraph 4 – ^[1] (Daily Mail), ^[7] (The Independent), ^[3] (Theatre Reviews)
• Paragraph 5 – ^[1] (Daily Mail), ^[4] (The Arts Desk), ^[6] (Evening Standard)

Source: Noah Wire Services

Noah Fact Check Pro

The draft above was created using the information available at the time the story first
emerged. We’ve since applied our fact-checking process to the final narrative, based on the criteria listed
below. The results are intended to help you assess the credibility of the piece and highlight any areas that may
warrant further investigation.

Freshness check

Score:
10

Notes:
The narrative is current, detailing the world premiere of Kip Williams’ reimagined ‘The Maids’ at the Donmar Warehouse, running from 13 October to 29 November 2025. ([donmarwarehouse.com](https://www.donmarwarehouse.com/whats-on/200/by-jean-genet-in-a-new-translation-by-kip-williams/the-maids?utm_source=openai))

Quotes check

Score:
10

Notes:
No direct quotes are present in the provided text, indicating original content.

Source reliability

Score:
10

Notes:
The narrative originates from the Daily Mail, a reputable UK newspaper, and references the Donmar Warehouse’s official website, a trusted source for theatre information. ([donmarwarehouse.com](https://www.donmarwarehouse.com/whats-on/200/by-jean-genet-in-a-new-translation-by-kip-williams/the-maids?utm_source=openai))

Plausability check

Score:
10

Notes:
The details about the production, including director Kip Williams’ involvement and the cast, align with information from multiple reputable sources, confirming the narrative’s accuracy. ([donmarwarehouse.com](https://www.donmarwarehouse.com/whats-on/200/by-jean-genet-in-a-new-translation-by-kip-williams/the-maids?utm_source=openai))

Overall assessment

Verdict (FAIL, OPEN, PASS): PASS

Confidence (LOW, MEDIUM, HIGH): HIGH

Summary:
The narrative is current, originates from reputable sources, and presents accurate and original information about the Donmar Warehouse’s ‘The Maids’ production.