REVIEW OF CARYL CHRUCHILLS TOP GIRLS SEEN AT THE LIBRARY THEATRE ON MONDAY 20TH OCTOBER.

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Top Girls is the story of women, women in Britain in 18. Margaret Thatcher is Prime Minister. Ronald Reagan is President and all is right with the world. At least as long as you are on top. The playwright, Caryl Churchill, approaches the role of women in society at the end of the 0th century with a critical eye to what it takes to be successful and what we all have lost in the process. It is unapologetically both touching and angry.

Chris Honers Interpretation of Top Girls did the play justice, and whilst there were parts that might have needed more contrast and emphasis, I felt that the play was a good interpretation and that some of the themes and issues explored in the play are still relevant to women and men in society today. The play was done utilising a mix of both Brechtian and Stanislavskian elements. The characters were strong characters you could believe in, however the plot was short and episodic, and typical of Epic Theatre. In my personal opinion, I felt that Leah Muller, the actress playing both Lady Nijo and Angie, needed more of a contrast between the two characters. However, you could see in Sophie James, who played Isabella Bird, Joyce and Louise, the actual thought processes and the internalisation. Having said that, all of the actresses managed to create a distinction between the characters that they were playing, this was done in the way they used their body language to convey their thoughts and feelings to the audience, right the way down to the mannerisms and quirks of their individual characters.

I thought that set utilised the space in a efficient and well planned manner. The first scene used a revolve which whilst over-used in terms of revolving was effective as the dinner scene went on, and helped to convey the idea of drunkenness to the audience, whilst letting every member of the audience see the facial expressions of each of the actresses. The background for this scene looked to be a mural that involved stars and gods, which to me seemed to convey that Marlene was at the top. Behind the actual set itself was a very Brechtian Element of darkness, which gave the impression that the actors came from nowhere and went back into nowhere. Since this was an alienation effect to remind the audience that they are in a theatre watching a performance, it helped with the non-chronological order of the scenes in the play.

After the dinner scene, we saw the office, which had a massive attention to detail, from the coffee machine to the 18 wall planner on the wall. In all of the different places that the play takes part in the attention to detail was wonderful. In the office set there were levels that were utilised to show status in the office, with Marlenes desk being on the top level. This set had no feminine touch, and was bleak and blank. It showed us how impersonal and how Marlene lived her life. She didnt want family to interfere with her career and this set of an office showed us this and helped to make us believe that vision of hers. Between the scenes music from the 180s, however since I was born in 185 I couldnt recognise it, yet some members of the audience were "reliving their youth", this once again was adding to the attention to detail for the play and helped to convey to the audience the time period of the play. For the set of the Back Yard and the interview office, it wasnt realistic, which was another alienation effect utilised by the designer, Sarah Williamson, and the director, Chris Honer.

All in all I felt that it was a good interpretation of a play, with some excelling acting performances, and a set that made you think what was going to happen next. The combination of the Stanislavskian and Brechtian elements further enhanced the play and helped us to imagine what it would be like in 18. As well as doing that it made us think about some of the political and moral issues that we can still apply in the year 00 as audience members.

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