Top Girls: A Revival Examines Feminism & Neoliberalism | Theatre Review

A new production of Caryl Churchill’s 1982 play, Top Girls, is currently captivating audiences. Directed by Édith Patenaude, with Sarah Berthiaume as the translator, this revival builds upon a previous staging orchestrated by Martine Beaulne in 2005 at the same theater.

Reimagining a Classic

The play centers around Marlène, portrayed by Ève Pressault, who is celebrating her promotion to head of the Top Girls placement agency. Rather than surrounding herself with traditionally celebrated female figures, Marlène invites a diverse group of real and fictional women—all of whom challenged societal constraints—to a unique, unconventional gathering. The invited women remain standing throughout the scene, while Marlène dances.

Did You Know? The play features historical figures like Isabella Bird, a Victorian explorer, and the legendary Pope Joan, who, according to legend, reigned in the 9th century disguised as a man.

Among those present are figures like Dame Nijō, who was offered to an emperor at age 14, and Griselda from Chaucer’s Canterbury Tales. Cynthia Wu-Maheux delivers a particularly brilliant performance in the roles of both Dame Nijō and a career woman. The actors, including Christine Beaulieu and Marie-France Lambert, are adorned in striking monochrome period costumes designed by Oleksandra Lykova.

Shifting Focus to the Modern Workplace

The first act, featuring these historical figures, culminates in their symbolic disappearance from the stage—engulfed by a hole in the elevated platform—shifting the play’s focus to Marlène’s contemporary work environment. Here, the play examines the behaviors of professional women who adopt traditionally masculine traits, such as emotional detachment and competitive exclusivity.

Expert Insight: Churchill’s play, even decades after its creation, continues to resonate by exploring the complex compromises women navigate in pursuit of professional success, and the potential costs of assimilation into traditionally male-dominated structures.

The production attempts to update the play’s relevance by incorporating elements highlighting the “violence of neoliberalism,” including brief, unsubtitled quotes from Margaret Thatcher, who was in office when the play was written, and a backdrop of a graffitied concrete wall with crossed-out lines representing passing days—a visual metaphor for a life lived within a confining system.

While considered a well-performed and thoughtfully staged production, some critics find the play’s impact somewhat diminished after 44 years of feminist discourse. The final scene, featuring a confrontation between Ève Pressault as Marlène and Christine Beaulieu as Marlène’s sister, who has adopted her daughter, is expected to be particularly memorable, highlighting the sacrifices made in the pursuit of individualistic, capitalistic ideals.

Frequently Asked Questions

What is the central theme of Top Girls?

The play explores the complexities of female ambition and success, examining both the oppression women have faced and the ways in which they sometimes perpetuate harmful behaviors in their pursuit of power.

Who are some of the historical figures featured in the play?

The play includes Isabella Bird, a Victorian explorer, Pope Joan, and Dame Nijō, who was a concubine to an emperor at age 14, among others.

How does the production attempt to modernize the play?

The production incorporates elements referencing the “violence of neoliberalism,” including quotes from Margaret Thatcher and a visual representation of time passing as a metaphor for a confining system.

How do you think societal expectations influence individual choices, and what compromises might people make to achieve their goals?