{"id":447543,"date":"2025-09-24T04:59:14","date_gmt":"2025-09-24T04:59:14","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/447543\/"},"modified":"2025-09-24T04:59:14","modified_gmt":"2025-09-24T04:59:14","slug":"the-maids-returns-to-unity-theatre-after-30-years-in-memory-of-former-director-graeme-phillips","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/447543\/","title":{"rendered":"\u2018The Maids\u2019 returns to Unity Theatre after 30 years, in memory of former director Graeme Phillips"},"content":{"rendered":"

Jean Genet\u2019s\u00a0The Maids\u00a0returns to Unity Theatre on 15th & 16th October after 30 years. <\/p>\n

That Theatre Group CIC brings together stalwarts from Liverpool\u2019s theatre scene in what was to be Graeme Phillips\u2019 directorial follow-up to last year\u2019s critically acclaimed\u00a0Krapp\u2019s Last Tape.\u00a0<\/p>\n

Exploring themes of oppression, isolation and incarceration, Unity\u2019s Artistic Director\u00a0Elinor Randle\u00a0will direct a modern and radical interpretation of the classic \u2013 fusing opera, spectacle and movement. The production is inspired by the Unity\u2019s former Artistic Director, the late\u00a0Graeme Phillips MBE, who originally directed the play first in 1992 and then began working on the new interpretation, but sadly died earlier this month.\u00a0<\/p>\n

Producer and long-term partner,\u00a0Peter Ward<\/strong>\u00a0says:\u00a0<\/p>\n

\u201cThe ruby ring in the advertising symbolises the 40 years Graeme and I had, and the hundreds of theatre projects we worked on. Our personal and professional lives were intertwined by a shared passion for creating new groundbreaking work, nurturing emerging talent and providing a platform for established artists to take risks. As his partner and co-producer for four decades, I hope that presenting his vision, in what would have been his directorial swan-song, will go some way to repairing my broken heart and he continues to inspire me to create more work with and for older people living in care.\u201d<\/p>\n

\"\"
\nDirector,\u00a0Elinor Randle<\/strong>\u00a0says:<\/p>\n

\u201cI\u2019m thrilled to be working on this piece and to be carrying forward Graeme\u2019s remarkable vision here at the Unity. It explores powerful themes of class struggle and power dynamics, while embracing a beautifully absurd style that allows for bold theatricality and movement. I feel fortunate to be collaborating with such a hugely talented team, and I can\u2019t wait to see what we create together.\u201d<\/p>\n

This translation by\u00a0Benedict Andrews\u00a0and\u00a0Andrew Upton\u00a0was first performed on the 12th October 1987 at the Royal Shakespeare Company.\u201d It contains explicit language and is suitable for ages 14+.<\/p>\n

Accompanying the production, That Theatre Group has created a participatory programme with\u00a0Afloatduring which refugees and asylum seekers, under the guidance of\u00a0Phoebe McSweeney,\u00a0will explore themes of oppression, isolation and incarceration, which will result in an exhibition in Unity\u2019s foyer.<\/p>\n

Residents in\u00a050 care homes\u00a0have also been invited to create a flower in memory of a loved one who is no longer with us. Their flowers will be exhibited in public spaces around the whole of the Unity.<\/p>\n

Cameron McKendrick\u00a0and\u00a0Samuel Perez Duran\u00a0star as the Maids, whilst\u00a0Jane Hogarth\u00a0reprises her celebrated role as the Mistress from the 1992 staging of the play. <\/p>\n

\"\"Unity Theatre \u2013 Graeme Phillips
\nShe says:<\/p>\n

\u201cIn the original production, I had the most spectacular entrance with flowers, lights, smoke you name it\u2026 It is a great role to play, but behind the glamour the Madam is utterly selfish and controlling making the lives of her Maids intolerable. The themes of feeling trapped and disenfranchised are so relevant for today\u2019s audience with zero hour contracts and feeling of loss of control over your future. I\u2019ve never had another entrance like it in 30 years, but am excited to see what Eli, Ashley and Phil have in store for me!\u201d<\/p>\n

A lavish set and Alexander McQueen inspired costumes will be designed by\u00a0Ashley Shairp<\/strong>, who says\u2026<\/p>\n

\u201cGraeme and I had been talking about the production for a few months, through words, pictures and eventually a model. Even though he was very poorly, he was captured drawing squares within squares, which is a motif I have tried to include in the final set design. Following the relentless flower imagery present in the text, I suggested early on that we set the whole play on a carpet of flowers. Graeme said, \u201cI think we can play with that\u201d. It is incredibly sad that Graeme won\u2019t be part of this but I know we will all strive to keep his spirit present in the production and hopefully honour his visionary, magnificent life.\u201d<\/p>\n

As in the 1992 production, lighting will be provided by\u00a0Phil Saunders<\/strong>, who says\u2026<\/p>\n

\u201cI started working at Unity in the autumn of 1991 and, as I came to realise over the 30 odd years I was there, Graeme\u2019s programme was packed, full on, and challenging! He asked me to design lighting for the show, and a particular scene he asked for \u2018weird lighting\u2019. I was never sure if he liked what I did, as he commented\u00a0\u201cIt\u2019s definitely weird\u201d. I\u2019m very happy to be revisiting\u00a0\u201cThe Maids\u201d, working again with Graeme\u2019s ideas and realising them with such a fantastic team.\u201d<\/p>\n

Find out more on the Unity Theatre website<\/a>.
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