Top Girls is historical in content, feminist in construct, absurdist in execution, and somewhat whimsical in theatricality. The text itself is intentionally non-linear. The historical characters in the first act are symbolically connected to the characters in the more narrative second act, but Churchill’s disregard for Aristotle’s regulations for dramatic composition really develop this piece into an anti-drama of sorts. The piece is very much a commentary on the Thatcher Era in England and the struggle of Second Wave Feminists who sacrificed parenthood for the sake of their careers. The play is unique in its ability to straddle several genres, which is actually the wonderful thing about the playwright! Churchill, who began her career writing radio plays, has subsequently created works which challenge all previous drama constructs. She’s exemplary for blurring the lines of gender, structure, politics, language, and narrative.
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