Plimpton mines Angie, the niece with whom Marlene has an extremely close relationship, for every nugget of the personal and emotional confliction that define a decade of girls being sent all the wrong signals.Ĭaught between the two is Marlene's sister Joyce (Marisa Tomei), whose difficulty in raising Angie and coping with her sister's aggressive anomie gives way in Act III to a brutal confrontation between the old world and the new. And without Elizabeth Marvel and Martha Plimpton on hand to leap across cultural and generational barriers for our benefit, it might well have been inviable, too.Īs Marlene, the satisfied single willing to sacrifice her humdrum Suffolk upbringing for a high-power position at London's Top Girls employment agency, Marvel mixes mannishness and cunning into a terrifying portrait of a selfish life spiraling out of control. So Top Girls's Broadway bow - at the Biltmore, in a production directed by James MacDonald - was perhaps inevitable. Is it today? You need look no further than our headlines, crammed with news bites big and small about Hillary Clinton's presidential bid, to find your answer. With conservatism taking root on both sides of the Atlantic, with Ronald Reagan on these shores and Margaret Thatcher on those, it's not hard to see why Churchill considered this message vital. It's an acidic challenge to the prevailing wisdom of 1982, the year it premiered, that suggested to her the goal of getting ahead at any cost came with prices too high to pay. Only when she removes such mantles may she be judged for who and what she truly is.īut Churchill's symbolic strip tease is anything but a gentle look at femininity in the modern age. To find equal footing with men, must women trade heels for flats? Footwear is never the chief concern of Caryl Churchill's Top Girls, but protective adornment, after a fashion, is: The physical and emotional cloaks a woman dons to steel herself, promote advancement, or even just fit in can be the most damning components of any wardrobe. Ticket price: Orchestra, Premier Circle (Mezzanine Rows AA-BB), and Mezzanine (Rows A-E) $91.50, Mezzanine (Rows F-G) $46.50 Children under the age of 4 are not permitted in the theatre. Running Time: 2 hours 30 minutes, including two 10 minute intermission.Īudience: May be inappropriate for 12 and under. Schedule: Tuesday through Saturday at 8 pm, Wednesday, Saturday, and Sunday at 2 pm. Theatre: Biltmore Theatre, 261 West 47th Street between Broadway and 8th Avenue Cast: Mary Catherine, Garrison Mary, Beth Hurt, Jennifer Ikeda, Elizabeth Marvel, Martha Plimpton, Ana Reeder, Marisa Tomei.
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