Review: "Top Girls", Otterbein University Department of Theatre and Dance

Caryl Churchill’s 1982 “Top Girls” is described as an exploration of what it means to be a successful woman.  It was written and originally produced in London about the same time that Margaret Thatcher became the first female British prime minister.  The play’s focus is on the idea of women breaking glass ceilings.  The piece is best known for the opening scene where a modern-day Marlene (Daria Redus) is celebrating her recent promotion at the “Top Girls” employment agency by hosting a dinner party for strong women of history including 19^th Century Explorer, Writer, photographer, Isabella Bird (Kara Jobe); Dull Gret, (Isabel Billinghurst), a celebrated figure from Flemish folklore who was famous for leading an army of women to plunder and pillage Hell; Pope Joan (Kaylee Barrett) who, disguised as a man, was said to have been Pope between 854 and 856; Lady Nijo (Sally Clark), mistress of a Japanese emperor, and later a Budhist nun; and Griselda (Lauren Dimario) "The Patient Wife," a literary figure from Chaucer’s Canterbury Tales. 
    It is difficult to follow the dialog in this opening scene, because all of the women are talking over each other in their constant diva competition to be the center of attention.  Though I am certain that is how the author intended for the scene to be played, I found this extremely annoying. 

    We left at intermission, as did many others.  The subject matter didn’t offer a lot of encouragement for people like me to want to stay. Several people left after the first scene, though they had to crawl over folks in the dark in order to escape. I am sure the medical emergency with an audience member which caused a hold in the action just prior to the intermission, was also a contributing factor to the massive audience exit. (By the way, the house staff and the stage manager handled this emergency in an efficient, compassionate and professional manner.) 

    Director Lenny Leibowitz does a great job in helping his creative team fulfill the playwright’s intentions.  The actors are especially to be commended for their courage, skill and commitment to these difficult characters.  Rob Johnson’s set design provides a nice outline for the various scenes, while furniture and props fill in the details. Julia Ferreri’s costuming is good – especially in the first scene.  Assistant Director Emily Bubeck’s program notes help us understand the background of the dinner guests.  Leibowitz’s program notes help prepare us for the non-linear nature of the action and the sequence of scenes.

    I realize that Otterbein needs to do shows like this because of the many strong female acting students that are among its ranks.  This piece has the classical flavor that the students should be exposed to as part of their training.

   Though the show has outstanding production values, “you are only as good as your material,” as my dear friend, Otterbein Theatre Department Chair Chris Kirk, is often wont to say.  The script is difficult for the audience to follow even with all the helpful program notes.  During the drive home, my husband summed up my feelings nicely:  "After over 25 years, many of us are tired of being beaten over the head with this kind of defensive, angry, in-your-face, feminist activism."  
   I am equally certain that those who are dedicated to the continuing causes and concerns of the feminist "sisterhood" will find this production uplifting, affirming and inspirational.