The Maid and the Mesmerizer

Patrick T. Horn and Patricia Lynn in a scene from The Maid and the Mezmerizer. Photo by DLW Photography NYC
Patrick T. Horn and Patricia Lynn in a scene from The Maid and the Mezmerizer. Photo by DLW Photography NYC

NEW YORK – The Maid and the Mesmerizer

A work relationship turned sexual becomes complicated when one partner is the so-called master, and the other becomes the captive in the gripping performance of The Maid and The Mesmerizer.



The mesmerizer (Patrick T. Horn) is a somewhat successful hypnotist, now using the softer title of Mesmerizer to engage a larger audience. He seeks an assistant to add spark to his stage show.

The maid (playwright Patricia Lynn) is eager to take the job, and she chooses her outfit, which conjures up the image she has entered the partnership as a servant. She carries a notebook of relationship rules to live by. But rules are to be broken, or are they? And that brings conflict to the play.

Linguistics plays a part as both maid and mesmerizer contemplate the dictionary meaning of hypnotic, a person under or open to the influences of hypnotism or mesmerizing, capturing one’s complete attention as if by magic.

“You’re right, semantics, words, are important,” the mesmerizer says. “More important than we wanna admit. As soon as anyone hears the word ‘hypnotize,’ they only think about the stereotypes. They think I’m gonna control them.”

And perhaps he does.

The mesmerizer hypnotizes the maid. She shares her innermost darkest dreams and fears; it’s confusing whether she is exercising her own free will when she comes out of the trance or whether it’s controlled by her boss. Sounds confusing, but when is something free will or controlled? You cannot always tell, and neither can the maid.

The two take the stage show on the road, living in hotels and interacting closely until their relationship becomes intimate. Roles are reversed as the mesmerizer becomes the captive, deeply in love with his assistant. The maid ultimately becomes the master, so torn up by her book of rules and it is not clear whether she has given up too much control. She’s confused about her own rules.

“I know the anti-romance rules, sex safety addendums…I know it’s weird,” the maid says. “And not necessarily a cute quirky charming weird, but like what is wrong with this woman weird.”

After nights and nights of passion, the mesmerizer crosses her line of safety or weirdness, and the outcome isn’t good (sorry, no spoiler alert here). The audience sympathizes with her and him.

The outcome of The Maid and The Mesmerizer is not what one would expect. Actor/playwright Lynn suggests her writing style is that of the Bronte sisters, a story of the flames of passion, love, and morality. The chain of events that occurs between both lovers certainly carries the realism of the sexual atmosphere of our time, but also realism that is ageless. Communication between lovers is crucial, and so is trust.

Lynn’s story ultimately asks: when does one partner cross the line and sex becomes controlled seduction? Go see The Maid and The Mesmerizer for its edgy storyline. It won’t disappoint you.



The Maid and The Mesmerizer is now playing at the Jeffrey and Paula Gural Theatre through March 16. Starring Patrick T. Horn and Patricia Lynn. Written by Patricia Lynn. Produced by Patricia Lynn and Alejandra Venancio. Press by Alton PR and Production.

Readers may also enjoy our reviews of Seven Year Disappear, Until DarkThis is Not a Time of PeaceThe ConnectorAberdeen at the SOHO Playhouse, and The Days of Wine and Roses.


The Maid and the Mesmerizer

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