Fitting For Our Time

Top Girls – Remy Bumppo Theatre

If given the opportunity to ask any famous person from history to a dinner party, who would you invite? Well, to celebrate her big promotion at the Top Girls Employment Agency, Marlene has chosen an extremely interesting, eclectic group of strong, independent women, particularly considering the varied locales and time periods from which they come. Invited to Marlene’s soiree are the mythical Pope Joan, who was alleged to have achieved her position dressed as a man during the Middle Ages; the 19th century Scottish author and international explorer, Isabella Bird; Chaucer’s fictional Patient Griselda, from his Canterbury Tales; a 13th century Japanese concubine to the Emperor, Lady Nijo; and Dull Gret, the Flemish peasant woman who invaded hell with a brigade of women warriors, depicted in artist Peter Brueghel’s painting, Dulle Griet. 

This surreal opening of Caryl Churchill’s 1982 classic dramatic comedy examines the 1980’s Women’s Liberation Movement by looking at one extremely career-driven, independent woman, bent on becoming a success in the predominantly male-dominated world of business. Told unconventionally, in a non-linear, reverse-chronological fashion, Churchill’s story begins at the end, flashes to the middle, and then ultimately concludes at the beginning, soon after Marlene’s decision to leave her small town home and head off to London to seek her fortune. She leaves her illegitimate daughter Angie to be raised by her working class sister Joyce, who not only miscarried her own child but was abandoned by her husband. The audience will recognize the similarities between the Act I dinner guests, Marlene’s own life and the various other characters she has encountered. The playwright takes a hard look at what it means to be a “successful” woman and explores the achievements made through the feminist movement. With British Prime Minister Margaret Thatcher as her role model, Marlene is shown to be a somewhat heartless and uncaring woman, driven to achieve her own personal success.

Remy Bumppo’s production is particularly noteworthy for it’s almost entire female company of behind-the-scenes supporting theatre artists. Leading the way, and admired for her vibrant productions at About Face, the Gift, TimeLine, Steep and Strawdog Theatres, Keira Fromm’s production is funny, vital and creative. It’s the perfect show for contemporary audiences in light of the 21st century’s powerful focus on women’s rights and needs and, especially, the Me Too Movement. Her direction is crisp and flawless, especially when coupled with Krisina Fluty’s dynamic, highly-stylized movement and intimacy choreography. Set to Sarah D. Espinoza’s wonderfully evocative 1980’s techno sound design, Fromm’s talented, eight-member ensemble company is stirring and exciting, yet sensual and mesmerizing. 

An array of chic costumes, co-designed by Raquel Adorno and Meeka Postman, are exquisite and quite perfect, especially Marlene’s stunning, sparkly black floor-length gown, along with the rest of the historical fashions in the first act. Courtney O’Neill’s unique, amazingly adaptable scenic design presents a playground of opportunities for the cast. The onstage transformation of O’Neill’s Act I setting into a laundry-strewn backyard, a high-tech employment office and, finally, into a detailed, 1980 era kitchen and living room, a feat that earned the stage crew some  much-deserved applause. 

The stylish, superbly talented Linda Gillum, always magnificent in every role she undertakes, superbly leads the cast as Marlene. This is, after all, this tough woman’s story. Ms. Gillum beautifully balances a cold-hearted business acumen with Marlene’s continual battle with her conscience and emotions. But as strong as Ms. Gillum is in this central role, and she is so commanding that theatergoers won’t be able to take their eyes off her, so is the rest of this talented cast. 

Accomplished actress Annabel Armour is strong and verbally imposing, both as the stalwart, Scottish explorer, Isabella Bird, and as Louise, a middle-aged, hopeful employee looking for a change. To this character Ms. Armour brings a sad empathy to her character’s mysterious desire to change her situation. Karissa Murrell Myers’ Lady Nijo is the model of poise, control and self-promoting verbosity and propriety, while her portrayal of  contemporary employee, Win, is charismatic and catty. Amber Sallis, always a standout at Steep Theatre, is terrific as both twelve-year-old Kit and a pleasingly sensuous Patient Griselda. She arrives late to the dinner party and proceeds to defend her unorthodox life choices and how she’s become content with their consequences. 

Rebecca Spence is an absolute revelation, playing both the confident and captivating, often glib and humorous, Pope Joan, as well as Mrs. Kidd, a devoted wife fighting for her husband’s job at the Agency. But some of her finest dramatic moments come as Joyce, Marlene’s working class sister, who wrings a great deal of emotion and heart from her portrayal. Proving her skill with both drama and comedy, Aurora Real de Asua, recently earning kudos in Northlight’s Jane Austin-inspired holiday offering, “The Wickhams,” earns big laughs as the primitive, leather-clad warrior, Dull Gret. While voraciously swilling booze and chowing down vittles throughout Act I, she occasionally comments through a series of monosyllabic, guttural grunts. But, in a remarkable change of character, this gifted actress achieves both pathos and playfulness as Angie, Joyce’s heartbreaking adolescent, confused daughter and Marlene’s affection-starved niece. Both Rebecca Hurd and Vahishta Vafadari are funny and fantastic in supporting roles. They both play sassy, stylized waitresses in Act I, while portraying overbearing interviewers and prospective employees at the Top Girls Agency.

This classic comedy by Caryl Churchill is most famous for its unique, surreal opening scene, during which five famous historical and fictional women enjoy each other’s company at a contemporary dinner party. During this scene, the ladies discuss the various societal roles for women throughout the ages. But, largely because of Keira Fromm’s smart direction and her talented cast, the scenes that follow are equally as exciting. This stunning production amplifies everything the playwright is saying about women’s rights, feminism and personal life in a way that makes this almost 40-year-old play feel fun, fresh and fitting for our time.

Highly Recommended

Reviewed by Colin Douglas Presented January 16-February 22 by Remy Bumppo Theatre at Theatre Wit, 1229 W. Belmont Ave., Chicago.

Tickets are available at the box office, by calling 773-975-8150 or by going to www.remybumppo.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.