Top Girls

After watching the disappointing Phaedra’s Love, I was almost grateful to return to the more traditional theatre venue of Trafalgar Studios to view Caryl Churchill’s Top Girls.  I wasn’t sure how I would react to this play; again the thematic elements of the play intrigued me but, through experience, I understood how vital performance would be in bringing the plot to life.  I was relieved as I took my seat and noticed the considerable improvements in set design and especially costume in comparison to Phaedra’s Love.  Unfortunately, as acceptable as the performances were this time, I sat in my seat in sheer boredom from the opening act.  Maybe I just wasn’t in the mood for a play that night, or maybe I was unprepared for the density of Churchill’s message.  In either case, I found myself to be utterly apathetic and at times considered walking out during both intermissions.

For me, the greatest problem with the play was it felt like I was watching a glorified soap opera.  Though I understood why the first act, the dream sequence in which famous women from history dine with Marlene to celebrate her promotion, was appropriate, it dragged on considerably.  I appreciated the animated conversation between the cast and respected the intricacies of the overlapping dialogue but it was the actual script that pulled me away from the play.  Simply put, I felt it was dull, tedious, and ultimately preachy.  I could hear the sighs of fatigue in the audience and my patience was quickly dwindling.

After the first intermission, my disinterest was slightly alleviated as the second act takes place in reality.  I decided to give the play another chance and it redeemed itself to a certain extent.  The character Angie was well played and her exchanges with her younger friend, Kit, were slightly amusing.  Most impressive was how organic the interviews conducted by Marlene and the potential employees were; they seemed to reflect quite accurately the economic and social climate of the time and the ruthlessness of it all felt very real.  It is through these interviews that the various obstacles women face is portrayed, and I enjoyed the realism of it all.  Though I felt it was overly political at times, I realized I had a sense of appreciation for Churchill’s desire to put this on stage so clearly.  I began to let go and immerse myself in the play but I felt myself quickly pull away as scenes continued to drag on.  It felt like every scene was collapsing on itself as it tried too hard emphasizing the ideals of the playwright.

I thought the end of the play, the encounter between Marlene and her sister Joyce summarized Churchill’s purpose sufficiently.  The scene was intense and incredibly dramatic, but this time there was credibility.  Unlike the actors and characters of Phaedra’s Love, there was absolutely chemistry between the sisters.  What made this scene the most successful above all others is the tension between the sisters was justifiably built up throughout the play.  Overall, this tedious play was saved by great performances and my admiration for its aspirations and influence.