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Kip Williams is back with his cameras, projecting the actors’ faces onto every available surface until you stop knowing where to look. It is a cynical, claustrophobic mess in the best way possible. Yerin Ha and the rest of the cast lean into the psychological rot of Genet’s 1947 script, turning a simple house-help fantasy into something far more jagged. If you hate experimental staging or get motion sickness from live-feed screens, stay home. Everyone else should go. It is sharp, uncomfortable, and manages to make the class divide feel like a knife to the throat rather than a tired lecture.
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