For the play’s 40th anniversary, writer Caryl Churchill has reimagined some aspects of Top Girls to re-set the Sussex scenes in Liverpool. The effect of this is intriguing, as on paper you might think it would serve to highlight the text’s stance on the Thatcher era in which it is set. In fact, along with the innovative casting choices, it seems to have almost the opposite effect, emphasising the play’s ‘small p’ politics rather than the public political regime of its day.
This is the first dramatic piece that Creative Director Suba Das’ has made since he began his tenure at Everyman and Playhouse, and what he has done is to throw an intense spotlight on the power play between the central character of Marlene and everyone else in the muti-layered storyline.
The play challenges us to consider both Marlene’s success in the world of business and the tactics that she employs in achieving it. Is she just playing the men at their own game, or has she sold out by joining them in trampling on all the shoulders she climbs on to reach the top?
Tala Gouveia gives a storming performance as Marlene. Rarely off the stage, she is a commanding presence but, like her character, her success is hugely dependent on the achievements of all around her. As is traditional for the play, many of the remaining cast perform multiple roles, and notably one of these performers – Elizabeth Twells – has been brought in at very short notice to cover the parts of Isabella Bird, Mrs Kidd and Louise. Although working book-in-hand, Twells gives a performance of immense confidence that feels absolutely integrated into the tight ensemble.
Nadia Anim (familiar from YEP and the Everyman Rep company) impresses with her poise and carriage as Lady Nijo, and appears to shrink substantially in height to become the young Kit. Meanwhile Sky Frances, whilst putting in a great physical performance as the monosyllabic Dull Gret, goes on to deliver some outstanding dialect work when transformed to both Shona and Jeanine. Both the chain-smoking Pope Joan and Top-Girls employee Win have a good deal of humour in the writing, and Lauren Lane, other-worldly as the Pope and over-the-top as Win, makes the most of it without over-egging the delivery.
Alicia Eyo is a perfect casting for Marlene’s sister Joyce, and when the more domestic issues of Marlene’s past come home to roost as the narrative moves towards its end, the dynamic between the sisters is played out beautifully.
Churchill famously developed her technique for writing overlapping dialogue in this play and, although it has since become a popular style for many playwrights, it has rarely been bettered. Suba Das navigates the difficulties of presenting the complex interwoven lines of text on a thrust stage with real mastery, especially in the lengthy, mind-boggling opening scene. Both the skilful movement of actors about the stage and the careful balance of vocal dynamics ensure that, whilst we frequently hear several voices at once, we are always listening to the most important thread or phrase.
As to that thrust stage itself, designer Ellie Light makes ingenious use of the Everyman’s technical capabilities to ensure slick, speedy transitions between scenes. The production follows Churchill’s preferred format that places a single interval prior to the short final act, and the continuity afforded by the staging results in a steady pace throughout the lengthy first part, which accordingly does not feel like its 90 minutes at all. The sets are evocative of the period, as are the bold costume designs.
This is serious theatre that isn’t afraid to have a good laugh whilst delivering its message. The tweaks to relocate certain scenes in Liverpool are subtle and, as noted earlier, they relegate the references to Thatcherism to a background presence, in front of which the interplay of the characters’ personalities becomes more focused. Here is this production’s biggest strength, in bringing the gender politics of the play bang up to date.
Production photographs © Marc Brenner
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| Tala Gouveia as Marlene |
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| Alicia Eyo as Joyce and Tala Gouveia as Marlene |
Star rating – 5 stars
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