The Maid

The journalist and writer Andrés Rivera published his novel "The Maid" in 1992, which focuses on the tumultuous relationship between Lucrecia Basualdo, a maid, and Saúl Bedoya, a judge, in Argentina during the second half of the 19th century. This story was recognized by the Fundación El Libro as the best work by an Argentine author in the same year of publication. In the early 2000s, it was adapted for the theater under the direction of Andrés Bazzalo. Today, this story returns to the stage with Daniel Moreno and a cast including Rosario Suban, Daniel Troppino, and Dario Serantes.

"Words are hard for me," is the first thing the character Lucrecia (Rosario Suban) says, and yet, she is the one narrating the work, perhaps the only moment where she has power because this is what the story is about: dominating the most vulnerable - not to say taking advantage of them. The play takes place in a context where being a woman was, by itself, a condemnation. This female protagonist, as the title indicates, has served various men throughout her life. Her role consists of simply obeying. It is not just about, for example, feeding them or bathing them, but also satisfying them sexually. However, Lucrecia fantasizes about one day taking control.

"One is born a mistress," her current master, Saúl Bedoya (Dario Serantes), arrogantly tells the protagonist. Throughout the story, Lucrecia tries to assert herself over her "owner," even reminding him that, some time ago, she killed a man (Daniel Troppino) whom she also served. However, even when Bedoya is in his most vulnerable state, due to a fever, Lucrecia steps aside and bows her head. Can one escape from roles, or are they our greatest condemnation?

During the course of the play, the actors display themselves in a vulgar and aggressive manner, reflecting the dehumanization of the era. This is also enhanced by the lighting and sound design. The acts of violence and sexual encounters are tinged with darkness and stun the audience, almost symbolizing the suffocation that Lucrecia experiences.

Although there are three actors on stage, the sociopolitical context imposes itself and fills the gaps. Bedoya is not just a master, but also a judge with high-ranking friends. In this way, he paints with words the corrupt and despotic climate that plagues the country. A historical work that has not aged.

It is not a coincidence that "The Maid" is reborn at this moment. Even in times of deconstruction, the play remains relevant. The dialectic of master and slave transcends all eras, as an intrinsic part of human relationships. And, in broader terms, class disputes -- not just gender -- continue to persist. Despite the temporal distance, the work invites reflection, but especially discomfort.

Technical Sheet

Author: Andrés Rivera. Adaptation and direction: Dani Moreno. Cast: Rosario Suban, Daniel Toppino, and Darío Serantes. Lighting: Roberto Traferri. Costume and set design: Jorgelina Herrero Pons. Choreography: Mecha Fernández. Music: Facu Moreno-Ruggi Grignani. Photography: Camilo Moreno. Assistant direction: Clara Lucía Biondo. Executive production: Claudia Quinteros. Duration: 70 minutes.

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