Not the 'Top' girls, but not bad

Martha Plimpton as Pope Joan in "Top Girls", Caryl Churchill's play set in London in the early 1980's, which crosses generations, cultures and politics to discuss the sacrifices made, and joys experienced, by women. (Newsday/Ari Mintz)

By Matt Windman | AMNewYork theater critic

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The first act of Caryl Churchill's 1982 drama "Top Girls" is one of the most perplexing scenes in postmodern dramatic literature. It is a dreamlike sequence in which Marlene, an ambitious career woman, celebrates her new promotion with friends. Let us explain

These female friends happen to include Pope Joan, who is thought to have been pope in the years 854 to 856; explorer Isabella Bird; Dull Gret, a peasant woman who leads an army through hell in a Brueghel painting; Lady Nijo, a Japanese mistress and Buddhist nun; and Patient Griselda, the patient wife of Chaucer's " Canterbury Tales." Acts Two and Three, though also presented in a nonlinear style, at least make sense and have real characters.

But in spite of its puzzling, rather condescending tone and theatricality, "Top Girls" is one of Churchill's most successful political dramas. It is certainly better than "Drunk Enough to Say I Love You," her idiotic 45-minute writing exercise that played the Public Theater last month.

This production marks not only the Broadway debut of "Top Girls," it is only the second Caryl Churchill show to ever make it to Broadway. The other one, "Serious Money," folded after 15 performances.

"Top Girls" is extremely critical of Reaganomics and the individualistic spirit of American feminism, arguing instead for a more socialistic, collective form of feminism. Marlene (Elizabeth Marvel), speaks highly of Margaret Thatcher and describes the poor as lazy and stupid. Meanwhile, her sister ( Marisa Tomei) works as a maid and takes care of Marlene's daughter.

This revival, directed by James Macdonald, is not bad at all. Several in the ensemble cast have trouble with working-class English accents, especially Tomei. And the typically excellent Martha Plimpton, who plays the 16-year-old daughter, is miscast.

But overall, the play's political arguments still speak pretty powerfully. Manhattan Theater Club deserves a lot of credit for bringing this very difficult drama to Broadway.

Biltmore Theater, 261 West 47th St, 212-239-6200, $46.50-91.50. Tues-Fri 8pm, Sat 2 & 8pm, Sun 2 & 7pm. Thru June 22.