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rogue, (rôg), n. [<16th-c. thieves' slang <L.rogare, to ask]

Recipient of the
2012 American Theatre Wing
National Theatre Company Award


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A man must dream a long time in order to act with grandeur,
      and dreaming is nursed in darkness.      
—Jean Genet

The Maids by Jean Genet, translated by Bernard Frechtman

Directed by Joseph McGrath
Musical direction by Harlan Hokin
Produced by special arrangement with Samuel French, Inc.

Featuring Susan Arnold, Cynthia Meier, and Arlene Naughton
Musical Prologue with Harlan Hokin, Joseph McGrath and David Morden

January 11–28, 2007

Thursday–Saturday 7:30 pm, Sunday 2:00 PM
Musical Prologue begins 15 minutes before curtain

Preview Night Thursday January 11 7:30 PM
Pay-What-You-Will Night Thursday January 18 7:30 PM

No performance Friday January 19

Performance Schedule

Cabaret Theatre, Temple of Music and Art, 330 S. Scott Ave., Tucson
See map

The Maids is a deep and turbulent exploration
of two servant sisters who play games,
both make-believe and real,
in which they impersonate their mistress
and express their own love/hate relationship.

View the full poster

View production photos


Claire and Solange
(Susan Arnold and Cynthia Meier)

(Arlene Naughton)

Photos by Tim Fuller


The Maids

4-page review by Iris J. Arnesen in the March, 2007 The Opera Glass

Virtual Reality —Three excellent plays all deal with perception in entertaining ways

Review by James Reel in the January 25 Tucson Weekly

The Maids yet another Rogue Theatre winner

Review by Kathy Allen in the January 19 Arizona Daily Star

The Maids explores chance to kill from every angle

Review by Chuck Graham in the January 18 Tucson Citizen

An Interview with the Director

Preview by Sherilyn Forrester in the January 5 Arizona Daily Star


Director’s Notes

“Ripped from the headlines” is a phrase that Jean Genet would appreciate—with some irony and a great deal of delight. The Maids was one of the first literary treatments of an actual crime committed in 1933 in Le Mans, France. Two maids, the Papin sisters, murdered and mutilated their mistress and her daughter. It was a shock. They had been otherwise very quiet and reserved in their demeanor. The crime caught the French imagination. What had gone on here? What dark and awesome forces had quietly gathered in this unremarkable place? Genet’s play looks at these questions without actually restaging the Papins’ crime. The mere facts of the real world are much too mundane, disappointing and prosaic for Jean Genet.

At first blush, The Maids might seem to be a statement in sympathy with the oppressed classes. Genet’s sympathies certainly lie with those less favored by society, since he himself, imprisoned as a criminal, and at times surviving as a male prostitute, might be the most outsider figure of writers. But he reaches much deeper than mere class or economic circumstances. In fact, at some point you realize that such circumstances don’t seem to concern him at all.

There are two major ideas, I think, that Genet is pursuing in The Maids. The first is directly tied to his life in crime and prison: namely, the individual’s relationship to authority. In Genet’s view, our relationship to society is defined by dominance and submission, both of which offer joys and misery. This authority comes through official channels (law and convention, i.e., government and class)—and unofficial channels (struggles for dominance among peers).

A second, and deeper, more resonant theme is our search for satisfaction as we face those forces that dominate us. This gives rise, in Genet’s view, to rituals and ceremonies that depict imagined realities which offer us some consolation.

Can I possibly touch on all the other themes and resonances of this play in these notes? Impossible. Usually, the rehearsal process involves spending a few days figuring out the actions—the “what” of a play—, and the remaining weeks are spent making choices in the process of rendering those actions—the “how” and the “why.” With this project, however, the actions and events of the play have been elusive at every step, because there is so much going on. I haven’t even discussed sexuality and gender, role-playing, the criminal as saint, the fact that in French the same word is used for “maid” and “good”, etc.—and, of course, those things that you might see or hear that haven’t even occurred to us.

So let us look under the rugs, behind the drapes, between Madame’s sheets or in the sink for M. Genet’s many messages to us. We are allowed. We are the maids.

—Joseph McGrath, Director



Claire Susan Arnold*
Solange Cynthia Meier
Madame Arlene Naughton

  *Member of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States,
appearing under a Special Appearance Contract

Production Staff

Stage Manager James Naughton               
                  Marketing and Publicity Thomas Wentzel
Poster and Program Thomas Wentzel


Scenic Design Joseph McGrath
Costume Design Cynthia Meier

Our Thanks

Jenny Carrillo
David Hoffman
James Reel
Chuck Graham
Jesse Greenberg
Kathy Allen
Patricia Dickson
Carol Elliott
Barbara Tanzillo
Arizona Theatre Company
William Killian
Eileen Bagnall
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Cast Biographies

Susan Arnold (Claire)

Susan Arnold (Claire) works in theater and film as an actor, director, writer and producer. She recently appeared as Gertrude in Southwest Shakespeare’s production of Hamlet, for which she received an Arizoni nomination for Best Actress. Her roles in local productions include Circe in The Rogue Theatre’s Endymion, Vita Sackville-West in White Garden, Polina in The Seagull, April in Hotíl Baltimore, and FS in Anger Box. Her regional credits include Maria Callas in Master Class, Molly in Molly Sweeney, Patsy in A Closer Walk with Patsy Kline, Maria in Twelfth Night, Lady Macbeth in Macbeth, Kathy in The Kathy and Mo Show and Halbrech in Scotland Road. Susan is a member of Screen Actorís Guild and has several commercial and independent film credits. She received her M.A. from the University of Arizona and currently serves as Artistic Director for C.A.S.T., Clean and Sober Theatre in Tucson.

Cynthia Meier (Solange) has performed in Endymion and The Balcony (The Rogue Theatre), A Streetcar Named Desire (Arizona Theatre Company), Blithe Spirit, A Midsummer Night’s Dream (Michigan Repertory Theatre), Romeo & Juliet, Chicago Milagro (Borderlands Theatre), Top Girls (Damesrocket Theatre), A Namib Spring (by Patrick Baliani, winner of the 1999 National Play Award), A Nightingale, Smirnova’s Birthday, The Midnight Caller, The Ballad of the Sad Cafe (Tucson Art Theatre), and A Maid’s Tragedy (directed by Domini Blythe of the Royal Shakespeare Company). Cynthia adapted and directed James Joyce’s The Dead and directed Wallace Shawn’s The Fever for The Rogue Theatre and directed Chekhov’s The Seagull (featuring Ken Ruta) for Tucson Art Theatre. Cynthia is a Division Dean at Pima Community College and holds a Ph.D. in Performance Studies from the University of Arizona.

Cynthia Meier (Solange)
Arlene Naughton (Madame)

Arlene Naughton (Madame) most recently played the Horse in The Balcony, Mary Jane in The Dead, and Venus in Endymion, all for The Rogue Theatre. Her Arizona credits include Nunsense (Flagstaff Festival of the Arts), Brighton Beach Memoirs (Serendipity Playhouse), A Christmas Carol (Gaslight Theatre); and Wigged Out! (Stray Theatre Company). Arlene also toured with the Nebraska Theatre Caravan and performed in Lady Audley’s Secret (Imperial Hotel) and I’ll Be Back Before Midnight (Derby Dinner Playhouse). She is a licensed marriage and family therapist and works at Cottonwood de Tucson.


Musical Prologue to The Maids

The Piano Player Harlan Hokin
The Man in the Tuxedo J. Andrew McGrath*
The Man in the Silver Dress David Morden*

  *Member of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States,
appearing under a Special Appearance Contract

Tango Choreography by John Dahlstrand


Gymnopédies by Erik Satie Instrumental
L'Enfance de Ko-Quo by Erik Satie Instrumental
La Piège de Méduse by Erik Satie Instrumental
Carlotta's Galop by Nino Rota Instrumental
Night and Day by Cole Porter The Piano Player
Sylvie by Erik Satie The Man in the Tuxedo
As Long as I Love by Kurt Weill The Man in the Silver Dress
Elégie by Erik Satie [arr. Harlan Hokin] All Three
Tango dei Clowns by Nino Rota Instrumental with Dance
Je ne t'aime pas by Kurt Weill The Man in the Silver Dress


Harlan Hokin (Musical Director,The Piano Player)

Harlan Hokin (Musical Director, The Piano Player) has performed extensively as a singer in Europe and the United States, including a stint with the Oregon Shakespeare Festival. He earned a doctorate in historical performance practice from Stanford, and has taught at Stanford and UC Santa Cruz. Harlan is an active workshop teacher and writer on topics of interest to singers and early music performers. Recent theatrical involvement has been with The Rogue Theatre as Musical Director for Endymion, The Dead and The Balcony, and Arizona Onstage Productions as Vocal Director for their production of Assassins. He is currently serving as Artistic Director for the Arizona Early Music Society and is the father of two nearly perfect teenagers.

Joseph McGrath (Director, The Man in the Tuxedo) is a graduate of the Juilliard School of Drama. He has toured with John Houseman’s Acting Company, appearing in Pericles, Tartuffe, Twelfth Night, and The Country Wife. At the Utah Shakespearean Festival, Joe appeared in Hamlet, Henry IV: Part I, and Much Ado About Nothing. In New York City, he directed Rough Magic: A Shakespeare Quartet. In Tucson, he is a frequent performer with Ballet Tucson appearing as Quasimodo in The Hunchback of Notre Dame, a Stepsister in Cinderella, Bottom in A Midsummer Night’s Dream, VanHelsing in Dracula and, perennially, as Drosselmeyer in The Nutcracker. He has also performed with Arizona Theatre Company, Arizona Opera, Tucson Art Theatre, Arizona OnStage, Green Thursday, Damesrocket Theatre, and Old Pueblo Playwrights in such roles as Trigorin in The Seagull, Sam Byck in Assassins, John in Oleanna, Weeping Willow Walter in Threepenny Opera, and This Rock in Anger Box. Joe is the Artistic Director for The Rogue Theatre, for which he directed The Balcony and Endymion, performed The Fever, and performed in The Dead and Endymion. Joe is also a scenic designer and owns Sonora Theatre Works with his wife Regina Gagliano, producing theatrical scenery and draperies.

Joseph McGrath, Artistic Director (The Man in the Tuxedo)
David Morden (The Man in the Silver Dress)

David Morden (The Man in the Silver Dress) appeared most recently as Glaucus in The Rogue Theatre’s production of Endymion and Constable Smith in the Arizona Opera’s production of The Threepenny Opera as well as singing in the chorus of The Flying Dutchman. As an actor, he has performed locally with Arizona Onstage Productions (Assassins), Actors Theatre (The Bible: The Complete Word of God (Abridged)) and Green Thursday Theatre Project (Anger Box, Rain), of which he is a co-founder. As a director, he has worked with Green Thursday (Shakespeare’s R&J, White Garden), Oasis Chamber Opera and Arts For All. A member of the Tucson Symphony Chorus, he will delve once again into the world of opera this spring in the chorus of Arizona Opera’s Susannah.


Performance Schedule for The Maids

Location: Cabaret Theatre, Temple of Music and Art, 330 S. Scott Ave.  See map

Musical Prologue begins 15 minutes before curtain

Thursday January 11, 2007, 7:30 pm (Preview)
Friday January 12, 2007, 7:30 pm
Saturday January 13, 2007, 7:30 pm
Sunday January 14, 2007, 2:00 pm matinee

Thursday January 18, 2007, 7:30 pm
Friday January 19, 2007 NO PERFORMANCE SCHEDULED
Saturday January 20, 2007, 7:30 pm
Sunday January 21, 2007, 2:00 pm matinee

Thursday January 25, 2007, 7:30 pm
Friday January 26, 2007, 7:30 pm
Saturday January 27, 2007, 7:30 pm
Sunday January 28, 2007, 2:00 pm matinee



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