Kip Williams disappeared into the wardrobe. The face of the Australian director, the auteur of theatrical sensations like “The Picture of Dorian Gray” and “Dracula,” suddenly loomed large across the 13-foot-high mirrored cupboard fronts, flanked by the two actresses who had been using a phone to film themselves in its interior moments earlier. They were rehearsing a vital, phantasmagorical sequence from Williams’s production of Jean Genet’s “The Maids,” and when Williams re-emerged from the wardrobe, the actress Lydia Wilson tried the scene again. “Eternity of me! Eternity of me! Eternity of me!” she cried out ecstatically, as a kaleidoscope of pink lights streamed behind her projected image on the wardrobe. The passage comes toward the end of “The Maids,” which began performances on May 17 at St. Ann’s Warehouse after a run last year at London’s Donmar Warehouse. It encapsulates a central preoccupation in Williams’s version of Genet’s 1947 drama, which centers on two sisters, Claire (Wilson) and Solange (Phia Saban), who enact daily rituals of power and submission as they fantasize about killing their …