The Siren Call of The Grotesque

My acting ambitions have changed somewhat since I first set my sights on treading the boards. Since I was young I have admired the graceful, feminine icons of the silver screen: Audrey Hepburn, Tippi Hedren ,Grace Kelly. The flawless, fashionable glamour was the height of sophistication; if I could pull off that aura, if I could be eloquent and graceful through anything, I would be untouchable.

Since then I’ve read a few plays. I’ve heard stories about characters that are damaged, desperate, marginalised, fascinating. I’ve acquired a taste for the grotesque.

One of my university lecturers, Harold, who passed away a couple of years ago, introduced me to Jean Genet. He impressed upon us the essence of Genet. The homeless man in town with a bleeding head. The pair of old women who always walked side by side wearing identical clothes.

I began searching for a kind of tragic truth in everything I read and wrote. Detail, pain, wildness.

Around the time of his death, I got the opportunity to act in my first Genet production; The Maids. A friend of mine runs a theatre company and shares a Harold-inspired love for Genet’s works, and we found ourselves very much on the same page. Our maids were feral women in lapdogs’ clothing. They were wild, hurt, angry, fired.

Perhaps there’s something of my old ambitions living in the hearts of Claire and Solange. The desire to be glamorous, fashionable, loved, untouchable. Despite their hatred of the bourgeoisie, while they’re chewing it up, they suck up all the juice. Why not take for yourself the best of both worlds?

Claire and Solange are ugly, twisted, animalistic rebels whose pain and frustrations might just resonate a little loudly with the public of today.

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Photograph courtesy of www.hedgepigtheatre.com

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