Not The Maids Review (Economic Journal)

At an international conference on documentary theatre, the organizers referred to Robert Leach's findings, stating that this genre can be considered art when it explores how imagination constructs objective facts and presents them from a different perspective. While I don't fully agree with this view, as the beauty of documentary theatre lies in the intersection of theatrical elements and real-life stories, it is the reflection it evokes in the minds of the audience. Reflection is initially triggered by the author's imagination, but it is ultimately the audience who engages in contemplation between the imaginative world of the stage and the realities of life, which cannot be fully constructed on stage.

"Not the Maids" is a successful example of this. Directed by Ivor Houlker of Rooftop Productions, the stage does not have the photographic cameras used in television or film to record events in a specific time and space. So how does the stage document while simultaneously sparking boundless imagination, deep reflection, and expanding ethereal artistic realms?

Ivor Houlker, as the director, skillfully employs Bertolt Brecht's concept of Gestus. By combining certain physical movements and mindsets, he instantaneously presents a certain characteristic within a particular attitude towards life on stage. "Not the Maids" is a splendid collage of diverse traits, ingeniously pieced together. The actors participating in the performance are called creative actors, as they not only embody the characters within the play but also present themselves outside the play, constantly reflecting on their attitudes towards the characters' lives. Each actor plays multiple roles, showcasing versatile acting skills that are delightful to watch.

For example, when Isabella Leung, in the role of the maid, takes the stage, the director stimulates dramatic associations using props and clothing. The maid vividly describes the thoughts of a young girl's private space and her psychological refuge, comparing it to the size of a red, white, and blue handbag. This imagery is not created through dialogue or lines but by the actor serenely immersing themselves in the handbag and personally zipping it shut from above.

This one-act play creatively utilizes every inch of the stage space and skillfully handles transitions in time, resembling a multi-threaded film where the transitions between time and space are as seamless as a single film frame. When the actor playing the employer, Michelle Li, confidently reveals her identity, a simple change of clothes allows her to seamlessly transition into a puppetry performance, displaying overflowing emotions and bringing a child vividly to life. The music gently plays as the lively young mistress engages in playful antics, refusing to part with her maid sister. In moments of interaction with the young mistress, there are not only difficulties but also joy, instantly creating a spiritual space in the theatrical world that transcends social hierarchies.

Karen C. Siu and Russell Terre Aranza, who are fluent in English and Tagalog, bring different characters to life, including multiple maids and intermediaries, adding a rich social dimension to the play. The research efforts of the director and the entire creative team are also showcased on stage. The audience hears the actors sharing their true Hong Kong identities on stage and encounters the Tagalog language, which is a result of their research, portrayed convincingly by the actors. Thus, "Not the Maids" blurs the line between fiction and reality, expanding the artistic space that traditional theatre often struggles to capture.

Note: This unofficial English translation is provided by Rooftop Productions. The original article is available only in Chinese.