![]() ![]() This was emphasised in the following acts, with new characters (played by the same actresses) echoed previous characters’ dilemmas. This allowed the audience to get a full view of each guest and, on another level, harked towards the cyclical nature of the challenges faced by each woman over the years. This was alleviated in part by Simon Coleman’s set design, which incorporated the simple yet remarkably effective use of a revolving stage. In the context of the play, I would rather have heard what they were saying – without being able to follow the conversation there wasn’t much to hold your attention. ![]() Rachel Forman as Patient Griselda demonstrates a complexity of character that embodies the dilemma each woman at the table faces: pride in their particular brand of success coupled with the devastating realisation of the price they paid to get there – which begs the question of what Marlene will pay for hers.Īt times, I found the overlapping dinner party chatter in the first act frustrating – it didn’t add to the atmosphere of the occasion, though in an abstract way it highlighted each woman’s struggle to be heard in history. The all-female ensemble cast work seamlessly together, and Rima Te Wiata is a highlight as Pope Joan, commanding a presence onstage that is powerful without being ostentatious. Divided into three acts, the play opens with Marlene (Danielle Cormack) celebrating her recent promotion to managing director with an eclectic and incredible bunch of women from history: There’s Isabella Bird (Bronwyn Bradley) a nineteenth century explorer and writer, Lady Nijo (Nancy Brunning), a thirteenth century concubine to the Japanese emperor, Dull Gret (Sophie Hambleton), the painted figure who led an army of women to Hell, Patient Griselda (Rachel Forman), whose obedience was the centre of many a fourteenth century tale, and Pope Joan (Rima Te Wiata), who rose to her seat by masquerading as a man. Society has come far to ensure that this is a trade-off we can make, but it’s clear we have a long way to go and it’s this position that Silo explores in Caryl Churchill’s Top Girls. When people talk about women having careers, there’s a trade-off implied: You can’t have a career and a family – one will suffer if you try, and if you pursue the former, you’re defeminised: there’s something wrong with you or, at the very least, your womb. You Can Be a Successful Woman, Too! (Terms and Conditions Apply) Top Girls ![]()
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