Not The Maids Gallery

A widescreen video thumbnail for the full stage performance of Not The Maids (不是女僕) by Rooftop Productions. The image features four female performers on a bare theatre stage, sitting on wooden chairs in a semi-circle. They are dressed in matching white, minimalist contemporary costumes, each holding a vibrant red cup. A grand piano sits in the background, dimly lit. The performers exhibit engaged, conversational expressions, evoking the tense, experimental atmosphere of this contemporary Hong Kong stage play.

A close-up studio portrait of actor Karen C. Siu, captured for Rooftop Productions' 2017 stage play 'Not The Maids'. She is peering through a narrow vertical gap between two white panels, her face illuminated in high contrast against a dark background. Her expression is calm yet inquisitive, emphasizing the themes of surveillance and identity explored in this contemporary Hong Kong theatre production. Photo by Ivor Houlker. 'Not The Maids'

Karen C. Siu explores themes of surveillance in Rooftop Productions' 2017 stage play, 'Not The Maids'. Photo by Ivor Houlker.

In this scene from the contemporary Hong Kong theatre production 'Not The Maids' (不是女僕) by Rooftop Productions, three performers occupy a dimly lit, minimalist stage. In the foreground, a woman in a white dress stands beside a dressmaker's mannequin, her expression somber. To the left, a performer in a white top and red gloves cleans the floor, while a third performer sits at a polished grand piano in the background. The scene evokes themes of labor and domesticity. As Michelle Li, in character, reflects on the nature of their reality, she muses: 'Dust. There's clean dust, and there's dirty dust.'

Michelle Li and Isabella Leung explore the blurred lines of labor, as Li contemplates: 'Dust. There's clean dust, and there's dirty dust.'

Russell Terre Aranza, starring in Rooftop Productions' contemporary Hong Kong theatre play 'Not The Maids', performs on stage under dramatic blue lighting with an expressive, open-mouthed gesture while wearing a bold red coat with a large fur collar. In the background, a large, distorted face is projected onto the stage wall, adding to the intense atmosphere. Russell Terre Aranza delivers a powerful line: 'What are you doing? I will be back soon and I expect things to be perfect.'

Russell Terre Aranza commands the stage in 'Not The Maids', echoing the chilling demand: 'What are you doing? I will be back soon and I expect things to be perfect.'

In a poignant rehearsal scene from Rooftop Productions' contemporary Hong Kong play 'Not The Maids' (不是女僕), four actresses are captured sitting on simple wooden chairs on a dimly lit stage. Dressed in coordinated white outfits, they hold small red cups, their expressions ranging from contemplative to emotionally expressive, highlighting the play's exploration of domestic worker dynamics in HK. One of the performers in the foreground sings with deep intensity: 'My house started employing a 'helper' when I was about 15.'

Isabella Leung and the cast reflect on the complexities of domestic work in Hong Kong through this pivotal scene. 'My house started employing a helper when I was about 15.'

In a dramatic scene from Rooftop Productions’ contemporary play 'Not The Maids', actor Isabella Leung stands center stage, brightly lit against a dark background, wearing a white top and orange rubber cleaning gloves, giving a thumbs up with a cheerful expression. Behind her, two large, dimly lit projections of faces add a haunting, multi-layered visual effect typical of experimental Hong Kong theatre. As she gestures, she says, 'I don’t know… maybe because I like children?'

Isabella Leung navigates the uncanny tension of the scene with a chilling inquiry: 'I don’t know… maybe because I like children?'

Isabella Leung embodies the societal pressure of perfection, reflecting on the weight of being ‘elegant enough to show around the guests, and diligent enough to make good food.’

Isabella Leung performs on stage for Rooftop Productions' contemporary Hong Kong theatre piece, Not The Maids. Bathed in high-contrast stage lighting, she wears white-framed sunglasses and sings passionately into a microphone, while a large, distorted blue projection of her face looms in the background, emphasizing the show's intense and surreal aesthetic. As she commands the stage, she delivers the line: 'No one said you have to come here, don’t try to change our rules.'

Isabella Leung commands the stage in Not The Maids, confronting the audience: 'No one said you have to come here, don’t try to change our rules.'

Three performers dressed in white stand on a dark, minimalist stage for Rooftop Productions' contemporary theatre piece, Not The Maids (《不是女僕》). The performer in the foreground kneels, letting grains fall from her hand into a metal bucket, while the two performers behind her stand, pouring more grains from pots. The dramatic, high-contrast lighting highlights the repetitive, ritualistic movement, a striking visual metaphor for the show's exploration of domestic labour. This scene encapsulates the "Global Care Chain".

Performers embody the ritual of domestic labour, illustrating the systemic complexities of the Global Care Chain.

A dramatic stage shot from the Rooftop Productions (天台製作) performance of 'Not The Maids' (《不是女僕》). A performer in an all-white ensemble kneels on a dark, minimalist stage, illuminated by a sharp spotlight. They hold a metal bowl in one hand while carefully picking up small, white grains scattered across the floor, evoking themes of labor, domesticity, and identity in contemporary Hong Kong theatre. As they perform the piece, they recite: 'Nipa hut, even though it's small, The plants that grow around it are varied'

Reflecting on identity and domestic labor, the performer recites: 'Nipa hut, even though it's small, the plants that grow around it are varied.'

Three performers in white clothing stand on a minimalist stage during a rehearsal for Rooftop Productions' (天台製作) contemporary Hong Kong theatre play, 'Not The Maids' (《不是女僕》). The lighting is dramatic and moody, casting shadows as the actors use bright red ladles to rhythmically strike pots and pans hanging from a metal rack, evoking domestic tension through percussion. 'If she’s doing the dishes in the middle of the night, it wakes me up.'

Russell Terre Aranza explores domestic tension through rhythmic percussion. "If she’s doing the dishes in the middle of the night, it wakes me up."

In this evocative production shot from Rooftop Productions’ contemporary Hong Kong play 'Not The Maids', a performer stands in sharp focus under dramatic, moody stage lighting, holding a metal cooking pot. In the blurred foreground, another performer holds a white cloth and a red object, creating a sense of tension and domestic ritual. This powerful scene from 'Not The Maids' highlights the company's signature minimalist aesthetic. Russell Terre Aranza performs the haunting line: 'Hear us, O Lord, and have mercy, because we have sinned against Thee.'

Russell Terre Aranza performs a haunting plea: 'Hear us, O Lord, and have mercy, because we have sinned against Thee.'

In this evocative scene from Rooftop Productions' contemporary theatre piece 'Not The Maids', two performers in white stand on a stark, minimalist stage. The performer on the left, Michelle Li, stands with arms outstretched in a cruciform pose, while Russell Terre Aranza on the right holds a singing bowl and mallet, illuminated by dramatic spotlighting against a grand piano backdrop. The composition evokes themes of ritual and existential inquiry common in Hong Kong experimental theatre. A character recites: 'Right hand of the Father, corner-stone, way of salvation, gate of heaven.'

Michelle Li and Russell Terre Aranza perform a ritualistic sequence: 'Right hand of the Father, corner-stone, way of salvation, gate of heaven.'

In a poignant scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Not The Maids' (《不是女僕》), actor Isabella Leung is captured in the foreground wearing a vibrant red head covering, her face upturned with an expression of intense longing and vulnerability. Behind her, bathed in cool, dramatic blue stage lighting, another performer stands with arms outstretched in a solemn, ritualistic pose, while a third figure holding an object stands further in the background. The minimalist staging highlights the emotional weight of the performance. A performer captures the central theme of the play with the line: "Why must foreign domestic workers live in the homes of their employers?"

Isabella Leung navigates the tension of domestic dependency in this haunting scene: 'Why must foreign domestic workers live in the homes of their employers?'

A dramatic stage scene from Rooftop Productions' (天台製作) contemporary theatre piece, 'Not The Maids' (不是女僕). Under cool blue theatrical lighting, a performer stands center stage with arms outstretched, partially enveloped by a white translucent sheet draped above. Beside them, another performer holds a red rattle and a metal bowl. The performance is marked by an ethereal, ritualistic atmosphere. As the performers engage in this evocative movement, a voice echoes: 'Hear, O Christ, the prayers of your supplicants.'

A haunting moment of ritual and devotion in 'Not The Maids,' accompanied by the plea: 'Hear, O Christ, the prayers of your supplicants.'

In a moody, spotlighted scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Not The Maids', a performer stands in the foreground wearing a simple white dress with a contemplative expression. Behind her, another performer in a white dress plays a grand piano, while a blurred, vibrant red fabric sweeps across the left side of the frame, suggesting kinetic movement. In the Stanford Prison Experiment, 24 psychologically stable college students were selected.

Within the clinical atmosphere of the Stanford Prison Experiment, power dynamics unfold through music. In the experiment, 24 psychologically stable college students were selected.

In this scene from the contemporary Hong Kong theatre production 'Not The Maids' (《不是女僕》) by Rooftop Productions (天台製作), four performers interact on a minimalist stage. On the left, an actor wearing a long, vibrant red fur coat looks toward the center, where another performer in a white sports bra and shorts holds a piece of white fabric, causing a cloud of dust or powder to billow into the air. In the background, a person in a white dress sits at a grand piano, while on the right, another performer in a white tank top and red cardigan holds a water spray bottle. The lighting is dramatic and moody, emphasizing the tension of the performance. The scene reflects the production's thematic exploration of power dynamics, as the performers act out the line: 'They were divided at random between the roles of guards and prisoners.'

Michelle Li, Russell Terre Aranza, and Isabella Leung navigate the tension of the experiment as they are divided at random between the roles of guards and prisoners.

In a scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Not The Maids' (《不是女僕》), a performer in a dramatic, swirling red coat takes center stage, while Isabella Leung (梁皓貽) stands to the right holding a clipboard. To the left, Russell Terre Aranza (區洛思) watches, and a pianist is visible in the background against a dark, minimalist set. As the actors process their surroundings, the sound design underscores the tension of the scene: "Prisoners were brought to the mock prison and went through the full booking procedure."

Russell Terre Aranza and Isabella Leung perform the intense booking sequence from 'Not The Maids'. As the scene unfolds, prisoners are brought to the mock prison and go through the full booking procedure.

In this scene from Rooftop Productions' (天台製作) contemporary Hong Kong theatre production 'Not The Maids' (《不是女僕》), a performer in a bright red hoodie stands in a dimly lit space, illuminated by a warm, circular light held near a white water dispenser. In the foreground, another performer, slightly out of focus, is partially visible. The staging evokes themes of domestic space and personal narrative. Reflecting on the character's experience, the performer says, 'I slept in the living room for 1 year and 8 months.'

The stage captures the quiet isolation of domestic life as the character reflects: 'I slept in the living room for 1 year and 8 months.'

In this dramatic scene from Rooftop Productions’ contemporary Hong Kong play 'Not The Maids', a performer in a red hooded garment stands beside a white water dispenser, illuminated by a warm, glowing lantern. The stark contrast between the bright light and the surrounding shadows highlights a moment of isolation and restlessness. 'what are you doing?' 'I can’t sleep I can’t sleep,'

In a moment of profound restlessness, the character lingers by the water dispenser. "What are you doing?" "I can’t sleep, I can’t sleep."

In this atmospheric still from Rooftop Productions' contemporary Hong Kong play 'Not The Maids', actor Isabella Leung is captured in a dimly lit, intimate stage moment. She sits in the shadows, focusing intently on a cup of instant noodles she holds, lifting a single strand with a fork. The moody lighting highlights her pensive expression, emphasizing the raw, everyday humanity portrayed in this production. As her character reflects on shared intimacy, she says, 'And he knows that I keep some cup noodles and then he would eat them.'

Isabella Leung reflects on stolen intimacy and shared daily habits in this poignant scene from Not The Maids: 'And he knows that I keep some cup noodles and then he would eat them.'

The truth blurs in rehearsal as the performer questions the reality of meeting the elusive Aki.

A performer in a black leather and fur jacket wearing dark sunglasses sings intensely into a microphone on stage, with a large, dramatic blue-toned projection of a face behind her, capturing a poignant moment from the contemporary Hong Kong theatre production 'Not The Maids'. 'How much we charge really depends'

A dramatic moment in 'Not The Maids' where the tension of the scene peak; as the performer questions, 'How much we charge really depends.'

In a dramatic spotlight on a dark stage, actor Isabella Leung stands in a white dress with a vibrant red scarf, capturing the intense and emotional atmosphere of Rooftop Productions' contemporary Hong Kong play, Not The Maids (不是女僕). Her focused expression suggests a powerful moment of performance. Isabella Leung delivering the line, 'Strangers at Home'.

Isabella Leung embodies the tension of being 'Strangers at Home' in this pivotal scene from Not The Maids.

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Not The Maids', actor Isabella Leung is captured in a poignant moment of performance. She sits inside a large, plaid plastic laundry bag placed on a low, wheeled trolley, her expression one of shock or distress under a sharp spotlight. In the dimly lit background, another figure in a white outfit kneels near a grand piano while an orange-clad figure is illuminated by a glowing orb. This experimental Hong Kong stage performance explores themes of identity and domestic life. Isabella Leung delivers the line: 'We live in a hotel, so animals are not allowed.'

Isabella Leung embodies the entrapment of domesticity in a surreal scene from 'Not The Maids'. As she notes, 'We live in a hotel, so animals are not allowed.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Not The Maids', actor Isabella Leung is captured in a high-contrast moment. She wears a striking red hooded garment with a glowing light source positioned near her head, creating a surreal, theatrical atmosphere. In the foreground, an out-of-focus figure is seen mid-performance. As she delivers a line from the script, she says, 'But we have a dog, it’s a half chihuahua half pomeranian.'

Isabella Leung brings intensity to the stage in 'Not The Maids', delivering the line: 'But we have a dog, it’s a half chihuahua half pomeranian.'

In a dramatic close-up from Rooftop Productions’ contemporary Hong Kong play 'Not The Maids', performer Russell Terre Aranza is captured in sharp, warm stage lighting against a deep, dark background. Her expression is pensive and searching, emphasizing the intimate, minimalist aesthetic of the production. As the character, she reflects on the moment: 'She was standing at the exit of Lai Chi Kok MTR station, waiting for me.'

Russell Terre Aranza embodies a moment of tense anticipation: 'She was standing at the exit of Lai Chi Kok MTR station, waiting for me.'

A dramatic stage scene from Rooftop Productions’ contemporary theatre piece 'Not The Maids', featuring three actors performing in white outfits against a minimalist, dimly lit set. On the left, an actor stands barefoot, holding a red object. In the center, an actor sits atop a rolling cart draped in a plaid fabric, holding a cooking pot, while an actor on the right stands beside a bright red suitcase. The lighting highlights the performers, emphasizing the tension and domestic themes explored in this Hong Kong theatrical production. One performer delivers the line: 'In Japan home, the foldable mattress is only 399. You know what? I can provide for you.'

Michelle Li, Isabella Leung, and Russell Terre Aranza capture the tension of domestic dependency. 'In Japan home, the foldable mattress is only 399. You know what? I can provide for you.'

In a dramatic scene from Rooftop Productions' contemporary Hong Kong theatre play, 'Not The Maids' (《不是女僕》), actor Isabella Leung stands center stage under a spotlight. She wears a white tank top and a voluminous white petticoat skirt, her face illuminated with a wide, expressive, and slightly manic smile. The dark, minimalist stage highlights her performance, capturing an intense character moment. Leung exclaims, "And that Fair Employment Agency you just told me about? Introduce it to me!"

Isabella Leung captures a manic turning point as she demands, "And that Fair Employment Agency you just told me about? Introduce it to me!"

In this scene from the contemporary Hong Kong theatre production 'Not The Maids' (不是女僕) by Rooftop Productions (天台製作), performer Russell Terre Aranza is captured in a medium shot, looking back over their shoulder with an intense, slightly mischievous smile. Dressed in a bright red textured sweater, the actor is positioned behind a white vertical frame or prop, with a mirror-like reflection visible in the background against a dark, moody stage. As Russell Terre Aranza delivers the line, 'There are people who are willing to help.'

Russell Terre Aranza shares a calculated moment of connection in this scene from 'Not The Maids': 'There are people who are willing to help.'

In a dramatic scene from Rooftop Productions' contemporary theatre piece 'Not The Maids' (不是女僕), a performer’s hands are raised in the air, delicately cupping a glowing, translucent object that illuminates their palms against the deep shadows of the stage. The stark contrast between the bright light and the moody, dark background evokes the intense emotional atmosphere typical of Hong Kong experimental performance. One performer whispers, "Oh Fortune, like the moon."

The stage glows with haunting intensity as the performer reflects, 'Oh Fortune, like the moon.'

In this atmospheric scene from the Rooftop Productions (天台製作) contemporary theatre piece 'Not The Maids', a performer sits at a grand piano on a dimly lit stage. The background is dominated by large-scale, ethereal projections of crystal bowls containing dice and kitchen utensils, bathed in a deep blue hue that contrasts with the warm, focused spotlight on the pianist. The visual composition captures the experimental and surreal aesthetic characteristic of Hong Kong's independent theatre scene. As the performer plays, they reflect on the theme of instability: 'You are changeable.'

A haunting moment of instability from Not The Maids, where the performer reflects: 'You are changeable.'

Two actors in flowing white dresses run barefoot across a dimly lit stage during a performance of Rooftop Productions' contemporary Hong Kong theatre work, 'Not The Maids'. In the background, a mannequin stands draped in a white crinoline skirt, illuminated by a glowing, abstract digital projection. The scene captures a moment of intense, kinetic energy. As one performer reaches out, she says, 'Dust. There's clean dust, and there's dirty dust.'

In a moment of kinetic tension, the performers navigate the ephemeral nature of memory, observing that 'Dust. There's clean dust, and there's dirty dust.'

A dramatic stage scene from Rooftop Productions' contemporary theatre performance, 'Not The Maids'. A woman in a white tank top and bright orange rubber gloves crouches in the foreground with a stainless steel pot on her head, her face contorted in an expression of distress. Behind her, a woman in a white button-down shirt looms over her with an intense, authoritative expression and outstretched arms, while another actor sits at a grand piano in the background. As the woman in the foreground cries out, she says, 'When I used this pot today, I found that it was mouldy.'

Michelle Li and Isabella Leung perform a tense moment in Not The Maids, where the line 'When I used this pot today, I found that it was mouldy' highlights the domestic strain.

In a dramatic scene from Rooftop Productions' contemporary HK theatre performance 'Not The Maids', Isabella Leung stands center stage with a metal pot on her head, wearing red rubber gloves and exhibiting a distressed, screaming expression. Behind her, Michelle Li looms in an intense, supportive, or menacing gesture, both dressed in white against a dimly lit stage background with a piano. The scene explores themes of domestic labor and identity, as Isabella Leung cries out, 'Do you think it's right that I should have to wash it?'

Isabella Leung and Michelle Li navigate the friction of domestic labor, captured in the piercing cry: 'Do you think it's right that I should have to wash it?'