University of Iceland School of Humanities 

Department of English   

  

“Frightening” Women’s Road to Success in Caryl Churchill’s Top Girls 

          

B.A. Essay Fanney Benjamínsdóttir 

Kt.: 080890‐4439  

Supervisor: Mark Chamney Asch January 2017 

 

Abstract 

Caryl Churchill‘s Top Girls was premiered in 1982, but the ideas it brought forward are still 

relevant to the status of women today and the current political climate.  

In this essay, the intersection of class and gender is looked at in the context of Top Girls 

through Engels‘s assertion that private property is the source of women‘s oppression, as it 

forces them into marriages where men control them, as they control property. In Engels‘s 

view this creates a relationship between men and women which is analogous to the 

relationship between the proletariat and the bourgeois, in which women are doubly 

oppressed. Futher, issues  surrounding women‘s careers and success in Top Girls are 

explored through Edwin Ardener‘s theory of muted groups and Sherry Ortner‘s theory of 

public and private spheres.   

The questions of what success means for a woman in a system where the very definition of 

success is framed by male ideals, and whether women‘s successes can perhaps serve to 

further oppress other women rather than empower them, are raised through the play‘s 

themes of competition, motherhood and the idea of success as a male discourse.  

The play is put in context with the political landscape of the time of its premiere under 

Thatcher‘s government and with Thatcher herself, who models the type of denial of 

femininity Churchill seems to believe is neccecary in order to succeed in a world where the 

definition of success in general is derived from traditionally male templates. The central 

relationship of the play, between the protagonist, Marlene, and her sister, Joyce, is thus 

viewed as a political allegory: the struggle of the upper classes to accept that their success is 

built on the backs of the lower classes they oppress.   

 

 

  

1.0Introduction...................................................................................................1

1.1TopGirls,MarxistFeminismandLabor................................................2

1.2TopGirlsandtheThatcherEra................................................................3

2.0ExpressionsofSuccessinTopGirls........................................................6

2.1TheThemeofChildren.................................................................................9

2.2SuccessonMaleTermsandtheAbsenceofTopWomen...............12

2.3MarleneandthePrivateSphere.............................................................17

3.0Conclusions...................................................................................................20

WorksCited.........................................................................................................21

 

1

1.0Introduction

“Playwrightsdon'tgiveanswers,theyaskquestions,”CarylChurchilloncesaid

(TheGuardian).ThequestionsshehasaskedinTopGirls(1982)seemtocenter

aroundwomen'scareers:whatonewoman'ssuccessmeansforwomenasa

group,whethersuccessforonewomanisbeneficialforthewholeorsimply

servestoobscuretherealitiesofthemajority—orevenworse,tofurtheroppress

them.Theplay,despitehavingfirstbeenperformedthirty‐fiveyearsago,can

stillbeseenaspointingafingerattoday'spoliticsofclassandgender.Theplay

aptlyraisesthequestionofhowfarwehaveactuallycome,throughan

explorationofwomen'srolesinhistory,literature,artandpolitics.

Theplayisfeministinthesameway“thepersonalispolitical”;theplay

hassixteencharacters,allofthemwomen,insomewaysharingtheirstoriesof

strugglestheyhavehadtofacebecauseoftheirgender.Theirpersonalstories

becomeavesselforthesharedexperiencesofwomenandbigideasareexplored

throughthelivesofindividuals.Throughthewomen’stellingoftheir

experiencesatthedinnerpartyinActOne,SceneOne,wecanseethatnoneof

themhastrulymanagedtotranscendtheboundariesimposedbytheirsex.This

ideaisbroughtupagainandisparticularlypronouncedintherelationship

betweenthemaincharacter,Marlene,andhersister,Joyce,inlateracts.Through

Joyce'slower‐classstatusandlifewithinwhatOrtnerwouldcallthe“domestic

sphere”(Moore14‐16),sheissetupincontrasttoMarlene's“smartworld”in

thepublicspherewhereJoyceiskeenlyawarehersisterwouldbeashamedof

her(Churchill95).ThroughtheirdisagreementsweseetheeffectMarlene's

ruthlessindividualismhashad;Joyce,asitturnsout,isinthesituationsheis

becausesheisraisingMarlene'sillegitimatechild,aclearechooftheMarxist

ideaoftheupperclassesbuildingtheirsuccessonthebacksoftheproletariat.

TiedintothisisMarlene'sstaunchThatcherism,hercharacterechoingthe

Thatcheriteideathatwithhardworkanyonecandoanything,whileignoring,or

simplybeingunabletosee,theoppressiveeffectthecompetitivenatureofthe

capitalismshesostronglybelievesandparticipatesinhashadonhersister.

Inthisessay,Iwillfocusonhowtheplaylinksindividualexperiencesand

situationswiththedeploymentofideologyindifferentwaysthroughthethree

acts.IwillexplorehowChurchillhasintertwinedtheideaofclasswiththestatus

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ofwomeninsocietythroughaMarxistreading.Inordertosupportmyclaims

andsupportsomeoftheideasoftheintersectionofclassandgenderIwillbe

usingOrtner'stheoryofdomesticandpublicspheresaswellasArdener’stheory

ofmutedgroups.IwillalsobesituatingTopGirlswithinthecontextof

standpointfeminismthroughthetheoriesofArlieHochschild.Iwillarguethat

classandgenderarelinkedintheplay,throughtheideathatclasssocietyforces

womentopartakeintheirownoppressioninordertogain“success”inaworld

wheretheveryconceptofsuccessisdefinedbypowerrelationsbuiltonthe

oppressionofwomen.

1.1TopGirls,MarxistFeminismandLabor

Workisintegraltoanyperson’sself‐understandingaccordingtoMarxisttheory.

Asaphilosophy,Marxismlooksatsocialchangethroughouthistoryinrelationto

thechangingmodesofproductionofeachera,althoughthefocusisonthe

capitalistsystem.Withinthecapitalistsystem,profitdrivestheupperclasses

(thebourgeois)toforcethelowerclassesintowagelaborthroughturningland

intocommodityandmovingawayfromtheagrariansystemwherethehome

functionedasthemainsiteofproduction.AccordingtoEngels’sTheOriginofthe

Family,PrivatePropertyandtheState(1884),theconceptofprivatepropertyis

thesourceofwomen’soppression,asmencontroltheproperty.Thislineof

thinkingdrawsaparallelbetweenthestatusofupperclasses,thebourgeoiswho

controlthemeansofproduction,inrelationtotheworkingclasses,the

proletariat,andthestatusofmen,whoalsocontrolthemeansofproduction,to

thestatusofwomen.Men’scapabilitytogeneratecapitalthus,accordingto

Engels,turnsthenuclearfamilyformintoapatriarchalonewherewomen

becomeaformofproperty,astheyareeconomicdependentsoftheirhusbands.

Thusitfollowsthatthedefinitionofsuccessisbuiltonthesubordinationof

womenandthelowerclasses.Underthepatriarchalcapitalistsystem,

opportunitiesarecreatedforwomentoparticipateinwage‐laborandbecome

economicallyindependent,butthisoftenrequiresthemtoeitherturntheirbacks

ontraditionalfemaletraitsandroles,ortooutsourcethem,thusinaway

entrappingotherwomeninthesituationfromwhichtheyhaveescaped.

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AsHochschild(2000)haspointedout,careerwomenoftenpayworking‐

classwomentotakeovertherolestheywouldotherwisefulfill,suchaschild‐

rearingandhousework.Thisallowsupper‐classwomentoavoidunpaid

domesticlabor,butitalsoincentivizesthemtokeepworking‐classwomen’s

wagesaslowaspossibleinordertokeepthesurplusforthemselvesandthus

retainmoreoftheirwages.Thisisoneofthereasonsmanycontemporary

Marxistsbelievethatinorderforwomentobeliberated,feministswillhaveto

unitetheirfightwiththeworking‐classstruggleagainstcapitalism;thatthetwo

areinfactinseparable(Cliff).

DespiteEdwinArdener’sbackgroundinanthropology,histheoryof

MutedGroupsseemsparticularlyrelevanttotheideaofwomen’ssuccessinTop

Girls.Thetheorywasoriginallyintendedtotakeonthebuilt‐inmalebiasin

anthropologicalresearch.Ardener’soriginal“mutedgroup”iswomen,but,as

MooreexplainsinthefirstchapterofFeminismandAnthropology,thetermcan

beusedtodescribeanysub‐dominantgroup,suchasminorities,childrenandthe

workingclass.Ardenerstatesthatdominantgroupsinsociety“generateand

controlthedominantmodesofexpression”andthat“mutedgroupsaresilenced

bythestructuresofdominance,andiftheywishtoexpressthemselves,theyare

forcedtodosothroughthedominantmodesofexpression,thedominant

ideologies.”Furthermorethetheorystatesthatwomen“areforcedtostructure

theirunderstandingoftheworldthroughthemodelofthedominantgroup”

(Moore3‐4).

Inthecontextofwomenandwagelabor,thismeansthatsuccessisa

male‐dominateddiscourse,whichwomencanonlyexpressthroughthe

dominantmodeoftheexpressionofsuccess,whichisalwaysamasculineone.

Theonlywayforwomentoachievetheirownsuccess,accordingtothetheory,

wouldbetoredefinetheexpressionofsuccessorwomanhood.

1.2TopGirlsandtheThatcherEra

TopGirlsbyCarylChurchillwaspremieredin1982intheRoyalCourtTheatrein

London,inthethirdyearofMargaretThatcher’sstintasPrimeMinisterofthe

UnitedKingdom.Despiteitsverycurrentthemes,theplaywasnotanimmediate

successaccordingtothedirectorofthefirstinstallments,MaxStafford‐Clark.In

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thepostscripttothe1991versionoftheplayproducedfortheBBC,Stafford‐

Clarktellsaninterviewerthat“itwasnotanimmediatebox‐officehit.Wethen

tookittoAmerica,toJosephPapp’sPublictheatre,whereitwasbilledasahuge

Londonsuccessandplayedtoalargeaudienceandwasverysuccessful.Wethen

returnedtotheRoyalCourtwithitwhereitwasbilledasahugeAmerican

successandtheplaywasverysuccessful”(Stafford‐Clark).

ThetimingoftheplaywithintheeraofThatcher‐andReaganismwasno

coincidence,asmanyoftheplay’sthemesaredirectlyrelevanttoliberalist

policiesbeingimplementedatthetime,aswellastoThatcherasanindividual:

hergender,politicsandherpublicattitudes.Growingliberalismandbigchanges

intheareaoflaborlawdefinedThatcher’syearsinoffice,buthergenderwas

arguablynolessimportantthanherpolicies.Electedin1979,shewasthefirst

femalePrimeMinsteroftheUnitedKingdom,sittingfortheConservativeparty,

andherenactmentofhergenderwasanareaofmuchspeculation.Insomeways,

Thatcherrepresentedanewkindofwoman:onewhohadleftthedomestic

spherebehindandcouldcompetewiththeproverbial“bigboys.”Ina1987

articleinMarxismToday,commentatorRosBruntsaidthatThatcher“became

knowntohercolleaguesas'thebestmaninthecabinet',andmasculine

attributesweregraftedontoherfemininityinwaysthatmadeherdoubly

superior.Thesovietepithet'IronLady',andherownslogan,'TheLady'sNotFor

Turning',displayedherasawomanwithmoregutsforadesperatepolitical

gamblethananywimpyman”(Brunt23).InthecontextofTopGirlsthis

juxtapositionisimportant,asitsprotagonist’ssuccessissetupasparallelto

Thatcher’s.ThequoteshowsusthatThatcherwasregardedasawoman,butone

whohadstrongmasculinetraitstocounterbalanceherwomanhood;inmuch

populardiscourse,hersuccessseemstohavebeenseenasaresultofherbeing

abletoovercomehergender.Thatcherneverclaimedtospeakfor,orrepresent,

women.InthesameMarxismTodayarticle,BruntclaimsThatchercannotbe

“regardedastheoutcomeofthefeministmovement.Shesetouttomakeitina

man'sworldandwasneverinterestedinevennegotiatingthetermsof

patriarchy”(Brunt23).Inotherwords,Thatcherexpressedhersuccessthrough

thedominantdiscourseaboutwhatthatsuccessmeant.However,itisdebatable

whetherThatcherreallycouldhavehadanychoiceinthematterofhergender

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expression.Inheressay“Isfemaletomaleasnatureistoculture?”SherryOrtner

exploresthewaysinwhichgenderisconstructedworldwide.Thequestionshe

wantstoanswerhastodowithwhycertainnotionsofgenderappearacross

culturallines,despiteothermajordifferencesinculturalunderstandingsof

gender.Atthestartoftheessay,Ortnersaysthat“[t]hesecondarystatusof

womaninsocietyisoneofthetrueuniversals,apan‐culturalfact.”Theanswer,

accordingtoOrtner’stheoryofprivateversuspubliclife,isthatthefactthat

womenbearchildrenmeansthattheyareseenasbeingmorecloselyassociated

withnature.Thatis,child‐rearingandfamilylife,orthe“privatesphere,”isseen

asthewoman’sdomainandthisisgivennaturalisticexplanationsbecauseofher

biology.Men,inturn,areseenasconnectedtothesocialandculturalpublic

sphereofcultureandemployment(Moore4‐49).Onewaywomencanbeseenas

full‐fledgedmembersofthepublicsphere,then,andpossiblytheonlyway,isto

detachthemselvesfromtheprivatesphereandanythingseenasconnectedtoit,

whichseemstohavebeenexactlywhatThatcherdid.

ManyideasaboutbothThatcherasapersonandThatcherismaspolicy

areechoedinTopGirls.Thefigureofthewomanwhoneedstodisavow

femininityorwomanhoodinordertogainsuccessisreflectedinmanyofthe

characters,suchasMarleneherself,whogivesupherdaughterandtraditional

familylife,orPopeJoan,whoisforcedtoliveasamaninordertowalkherown

path.Politicalideologiesarealsoreflectedthroughthecharacters.Theseideas,

whichlargelydealwiththeissueofclass,aresetupasresponsestothe

situationsthecharactersarein,andareespeciallypronouncedinMarlene’s

relationshipwithhersister,Joyce.Theirrelationshipissetupasoppositeendsof

thepoliticalspectrum,withMarlene,representingconservatism,almostacting

asastand‐inforThatcherherself.Meanwhile,Joycecanbeseenasemblematicof

themoresociallyliberalworkingclass.

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2.0ExpressionsofSuccessinTopGirls

ThroughmyanalysisIwillinterweaveOrtner’stheoryofgenderedsphereswith

Ardner’stheoryofmutedgroups,allowingthelattertotakeover.InOrtner’s

theory,domesticlaborandchild‐rearingbelongstothefemininediscourseofthe

privatesphereandhighcultureandprofessionalismaredelegatedtothe

masculinepublicsphere.

Ortner’spremiseisthatwelookatwomen'ssubordinationthroughan

analysisofgendersymbolism.AccordingtoOrtnerthedomesticsphereof

women,associatedwithnature,isdevaluedinsocieties,wherethepublicsphere

associatedwithcultureanduniversallyassociatedwithmenismorehighly

valued(Moore13‐15).Inhistheoryofmutedgroups,Ardenersupposesthatifa

memberofamarginalizedgroupwantstoexpresssomething,theyhavetodoit

throughthemodesofexpressionorideologiesoftheculturallydominantgroup

inordertobeheard.Thismeansthatinasocietywheremenaretheculturally

dominantandmorehighlyvaluedgroup,asOrtnerclaimstheyare,womenhave

tochoosetoexpressthemselvesthroughmalemodesofexpression.IfArdener

andOrtner’stheoriesareusedasalookingglassfortheexpressionofsuccessby

women,Ardenerwouldtellusthatthisexpressionwouldhavetobedone

throughthedominantmodesofexpression,orthemodesofexpression

associatedwithmenasadominantgroup.WithinthecontextofOrtner’stheory,

themodeofexpressingsuccesscouldbeeithermaleorfemale,or“public”or

“domestic.”Sincethedomesticsphereisassociatedwithwomen,whoarea

mutedgroup,womenareforcedtoexpresssuccessthroughtheavailablepublic,

malemodesofdiscourseassociatedwithcultureandlabor.

TopGirlslargelyfocusesonMarlene’sexpressionofhersuccess,which

shemust,accordingtoArdener,expressthroughthedominantstructureofmale

discourse,beitthecourtorthemarket.Inordertodothis,she,alongsidethe

otherwomeninActOne,distancesherselffromOrtner'sdomesticspherein

ordertogaincredibilityinthepublicsphereofherworkplace.

InActOneofTopGirls,Marlenehasinvitedagroupofhistoricaland

fictional,imaginary,womentodinner.Shehaschosenthegroupofwomen

becausesheseessomethingofherselfinthem,including,amongotherthings,

theirexpressionofsuccessthroughwhatevermodeswereavailabletothem.

7

Theirexpressionsofsuccessarecommunicatedthroughthediscourseofthe

dominantgroup,men,andtheyhavebeenforcedtodistancethemselvesfrom

thedomesticsphere.AccordingtoArdener,theyhavenootherchoice,astheyall

liveinpatriarchalsocieties.Thefactthattheyarefromsomanydisparatetimes

andplacesemphasizesthepermanenceofthispatriarchalsystemthroughout

timeandspace,whichbecomesclearerasthewomendiscoverexperiencesthey

allhavehadincommonbecauseoftheirgender,suchasthelossofchildren.The

waitress,whohasnoname,isanothermanifestationoftheideaofthe

permanencyofthisoppressivesystem.Shecomesandgoesthroughoutthe

scene:emptyingthetable,bringingfoodandwine,takingorders,neversayinga

singleword.Thewaitresshastwotraitsthatmakeherdifferentfromtheother

womeninthescene:sheisnota“TopGirl,”sotospeak,butamemberofthe

workingclass,andsheisnotsituatedinanyspecifictime,makingherthemost

universalcharacterinthescene,awomanwhocouldbeplacedanywherein

historyorthepresentday.Thefactthatthewomenignorethewaitressso

completely,onlyacknowledginghertoorderfoodforthemselves,speakstotheir

blindnessofthewayinwhichtheypartakeintheoppressionofothers.Theidea

reflectedisoftheuniversalityofthesituationofwomenfromhistorytothe

presentday:silentsupportingcharactersintheplayofamorepublically

successfulmaincharacter.Marlene’sexperiencesinthelatertwoactsare

situatedinthepresent,oratleasttheywerewhentheplaywaswritten.The

absenceoftheconstraintsoftimeandplaceinActOneasksaquestionthatis

underlinedbythewaitress’ssilence:Hasanythingtrulychanged?

Thedinnerpartysceneisasomewhatchaoticone.Churchillusesher

hallmarkoverlappingdialoguethroughouttheplay.Thisisparticularly

prominentinthefirstactandgraduallydevelopsthroughoutthescenetothe

pointwheretheguestsatthedinnerpartyarenotreallyspeakingtoeachother

towardstheend.Thecharactersinterrupteachother’ssentences,eachoneonly

hearingthepieceoftheother’sstorythatisdirectlyrelevanttothemselvesand

thenexpandingonthatpoint.Inthisway,allthewomenatthedinnerparty,like

Marlene,embodyindividualism,ahallmarkofthepoliticalethosofthetimeof

thepremiereofTopGirls.Theoverlapofdialogueissymbolicofthewomen’s

isolationintheirpositions:evenwhentryingtoreachouttoothersuccessful

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women,theyarealoneintheirpositionsandexperiences,unabletoconnect.

MuchlikeThatcherherself—who,inhereleven‐yearreignasPrimeMinister,

appointedonlyonewomantohercabinet(Brunt23)—thewomenhavereached

thetopandfindthemselvesstructurallyisolated.

Throughthisnarrativetechniquewelearnsurprisingbitsofinformation

fromthewomenandstarttounderstandwhotheyare,althoughtheydonot

seemtobereachingeachotherinthesameway.Theoverlapofspeechisalso

tiedinwiththeideaofwomenbeingpushedintocompetitionwitheachother,

whichisreiteratedthroughouttheplay.Likeall“TopGirls”theyarecompeting

withtheirsupposedallies,speakingoverthemanddrowningouttheirvoicesto

gettheirownstoriestold.

ThefirstactofTopGirlsissetinarestaurant,whereMarleneis

celebratingherrecentpromotiontomanagerattheTopGirlsEmployment

Agency.Asthegroupofhistoricalandfictionalwomentricklesintothe

restaurant,ordersandeats,eachwomantellsherstorytothegroup.Theideaof

adinnertocelebrateapromotionisofcoursenotagroundbreakingone,butin

thecaseofTopGirlsitbegsthequestionofwhyMarlenehasnotinvitedanyreal,

livingpeople.Marleneseemstohavenofriendstoinvite,andwelearnlaterin

theplaythatshehasnotseenherfamilyforsixyears.Asaresultofher

estrangedlabor,Marlenehashadtoacceptthatsheisalsoestrangedfrom

relationswithfriendsandfamily.Heronlyclose,livingrelativesarewomen;we

learnthathermotherisinaninstitutionandthatherfatherhasdied.Marlene’s

sister,Joyceandthedaughtersheisraising,Angie,stillliveinMarlene’s

hometown(Churchill87‐90).WithintheframeworkofOrtner’stheoryofpublic

andprivatespheres,itwouldfollowfromthestartoftheplaythatinorderto

gainpublicsuccess,Marlenehasbeenforcedtogiveup“private”success,such

child‐rearingandfamily,inordertogain“public”success.Itbecomes

increasinglyclearthroughouttheplaythatMarlenehasbeenforcedtopayan

unreasonablyhighpriceforwhateversuccessshehasachieved;shehasgivenup

herchildanddistancedherselffromherfamilyinordertomakeitinthepublic

domainoftheworkplace.RosBrunt’sassessmentofThatchersumsupMarlene’s

situationquitenicely:“Suchisolationfromotherwomenisofcoursestilla

structural'given'formost'topwomen',butithasbeenaccentuatedby

9

Thatcher'spersonalchoice”(Brunt23).Marleneisinthiswayanechoof

ThatcherandThatcheriteideas.Structurallyisolatedfromotherwomenand

forcedintocompetitionwiththemfortheseatof“TopGirl,”Marleneonlyhas

imaginaryfriendstoinvitetothecelebrationofherownsuccess.

Thewomenofthedinnerpartyareavariedgroup,inmanyrespects.They

areall,insomeway,“TopGirls,”buttheydifferinclass,fromDullGret,a

working‐classwoman,toaformerpope,toPatientGriselda,apeasant’sdaughter

whomovesupafewsocialclassesthroughhermarriagetoamarquis.The

womenarewhite,presumably,withtheexceptionofLadyNijo,whoisJapanese.

Theyhavedifferentexperiences;somehavetravelledtheworld,othershave

stayedinthesamevillagetheirwholelife.DullGrethaseventravelledtohell.

Religiondiffersbetweenthewomenaswell,fromCatholicismtoBuddhism;as

MarlenetellsLadyNijo:“Idon’tthinkreligiousbeliefsaresomethingwehavein

common”(Churchill6).Theonethingthewomenallseemtohaveincommonis

thattheyhavestrivedtoexpresssuccessintheirlifetimes,inwhateverwaythe

societiesandenvironmentstheylivedinallowedthemto.Thewomen’s“public”

successseemstohavecomeattheexpenseof“private”loss.Inaway,thewomen

haveallbeenforcedtogiveupthefemininedomainofchildcareinorderto

maintaintheirclassstatus,mostthroughhavingbeenforcedtogiveuptheir

children,orthroughlosingtheminsomeotherway.ThewomeninActOneare

allareflectionofMarleneandherownexperiencesinsomeway.Inthefirstact

thethemesofchildbirthandlossofchildren,masculinemodesofexpressing

successandclassreflectMarlene’sownstruggles.Aswillbedemonstrated

below,thesestrugglesaredemonstratedthroughMarlene’sinteractionswiththe

realworldinthesecondandthirdacts.

2.1TheThemeofChildren

Almostallthewomenatthedinnerpartyhavehadchildrenandsubsequently

lostthem,hadthemtakenawayorbeenforcedtogivethemup.Thetwowomen

presentwhoclaimnottohavehadanychildrenatallareIsabellaBirdand

Marlene,althoughwelaterlearnthatinMarlene’scase,thisisnottrue.A

commonmotifinthewomen’sstoriesabouthavingchildrenishavingbeen

forcedtopartwiththeminordertomaintaintheirstatus.ThroughArdener’s

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mutedgrouptheoryweknowthatinordertoexpressanidea,anoppressed

groupmustutilizethedominantmodesofexpressioninordertobeheard.The

“TopGirls”atthedinnerpartyallwishtoexpresssuccess,butasmembersofa

marginalisedandpowerlessgroup,theymustdosothroughthedominant

modesofexpression.Thedominantexpressionofsuccess,inthepatriarichal

societiesthewomenlivein,isdefinedinmaleterms.

AccordingtoOtner’stheorieswomenaremoreassociatedwiththe

private,domesticsphere,whilemenareassociatedwithpubliclifeandculture.

Thus,inordertoexpresssuccess,thewomenmustdosobypartakinginthe

pulbicsphereanddistancingthemselvesfromthedomesticsphereofchild‐

rearing,whichsociety,andinturnthewomenthemselves,lookdownupon.In

thiswaythelossofchildrenanddistancefromthefemininebecomestheprice

theymustpayfortheirsuccess.Themoretheycandistancethemselvesfromthe

privatesphere,themorecredibilitytheygaininthepublic.Thisisclearly

expressedthroughPopeJoan’sstory,whichisataleofawomanwholivesasa

maninordertobeabletochooseherownpath.Afteryearsofpretending,Joan

claimsshe“forgot”(Churchill10)thatshewasawoman,placinghercompletely

withinthepublicsphereofmen.Sheachievesasuccesssofirmlyimplantedin

thepublicspherethatitisoff‐limitstowomen,whichiswhyitisdangerousfor

herwhenshebecomespregnant.Joanherselfdoesnotrealizesheispregnant,

havingnoknowledgeofthefemalebodyandhavingnotspokentoawoman

sinceshewastwelve(Churchill17).LikeMarleneandtheother“TopGirls,”she

isisolatedfromotherwomen.Herlackofknowledgeoffemaleanatomyleadsto

hergivingbirthinapublicplaceduringareligiousceremony.PopeJoan’sstory

ofgivingbirthundertheseunfortunatecircumstancesisfunny,rightuntilwe

realizesheisimmediatelypunished,inthemostliteralsense,forbeingawoman.

Sheisoutedasanimpostorthroughchildbirth;proofthatsheisawomanina

positionreservedformen.Joanherselfisstonedtodeathwhileherchild,the

representationofhersexandstatus—accordingtoOrtnerarepresentationof

thesphereshebelongsto—istakenand,asfarasanyoneknows,killed

(Churchill9‐21).

Theotherwomenhavesimilaranddisturbingtalesofhavingtheir

childrentakenaway.Griseldadescribeshowshehadtwochildrenbyher

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marquisWalter,andhowhehadbothofthemtakenawayfromhereventually,

lettingherbelieveforyearsthathehadthembothkilled.Sheexplainshis

reasoning,howhetoldherthatthepeoplehatedherbecauseshewas“justone

ofthem”—apeasant’sdaughter.Griseldaherselfhasnostatus,butisinmany

waysanextensionofherhusbandandhisstatusandisthusaperfectvesselfor

thefeminist‐Marxistideathatwomenandtheproletariathavesimilarstandings

inrelationtomenandthebourgeoisrespectively.Griseldatellsthewomenthat

sheneededtoproveherobediencebygivingthechildrenup,andthatshedidso

withoutprotest,astheywere“Walter’s[…]todowithashepleased.”Herown

feelingsaboutthematterdonotcomeintoplayatall;sheseesherselfonlyasa

vesselfortakingwhateveractionthemeninherlifedemandofher.InGriselda’s

world,theonlyhopeforsocialmobilityforwomenisthroughmarriage.Shedoes

verywellinthissystem,butitleadstoherhusbandsecond‐guessingher

commitmenttohim.SheexplainsthatWalteronlyreallytookthechildrenasa

wayforhertoproveherloveforhim,asatest,whichshepassed;shewaswilling

togiveupher“domestic”roleandeverythingassociatedwithitinorderto

maintainherstatuswithinthepublicculturaldomainofhighsociety(Churchill

24‐28).Theveryindividualwhoenableshertobesuccessfulinthepublicsphere

throughthemeritsofhisclassstatus,demandsthatshegiveupherprivate

domain,herchildren,inordertoproveherworthiness.

MostofthewomenatthepartyareshockedbyGriselda’sstory,Marlene

evenleavingtheroombecauseshe“can’tstandthis”(Churchill25).Theonly

womanatthepartywhoisunderstandingofGriselda’sdecisionsanddemeanor

isLadyNijo,whosebackgroundisalsointhecourt,servingamanofhigher

statusthanherself.Nijo,welearnthroughhertelling,wasforcedtopartwithher

children,fourallinall,rightaftertheirbirthsinordertopreserveherstatus

withinthecourt.ShewastheJapaneseemperor’sfavoriteconcubine,andtakes

prideinhavingheldthisposition.Nijo’sfirstchild,whichdiedduring,orshortly

afterbirth,wastheemperor’s.Theotherthreewerethechildrenofothermen

andasaresultshewasforcedtogivethemaway.Ofoneofthem,alittlegirl,she

tellsthewomen,“itwasonlyagirlbutIwassorrytoloseit”(Churchill18).

DullGret,whenshefinallyspeaks,revealsshehadtenchildren.Itis

unclearwhetherallofthemdied,thoughitisclearthatsomedid,asshetellsthe

12

women:“mybigsondieonawheel”(Churchill31).Thelossofchildrenforthese

womenservesadualpurpose:theyreflectMarlene’sownsituation,aswellas

showingthereaderwhatthecommonexperiencesofwomenreallyareandhow

anindividualstorycanreflectastructuralreality.Whileitistruethatallthe

womenatthepartyshareexperienceswithMarlene,IsabellaandMarlene’sbond

standsoutfromtherest.Isabellastandsoutastheonlycharacterwhoneverhad

childrenandwho,atMarlene’sage,wasnotmarried.Marleneclaimstohave

neverhadchildren(Churchill15),butitislaterconfirmedthatthisisnotthe

entiretruth;likeotherwomenpresentshegavebirthtoachildandgaveitupin

ordertomaintainherpathtosuccess.Marlene’schildwasleftwithhersister,

Joyce,whostilllivesintheirhometown.Asaworking‐classwomanandasingle

parent,Joyce’soptionsforgettingoutorexpressingsuccessarelimited.Marlene

hasleftherbehindinasignificantway.Marlene’ssuccesshasbeenachieved

becausehersistertookoverherdomesticrole.Theirrelationshipisallegorical;

MarlenehasbuiltherpublicsuccessontheinvisiblelaborofJoyceasthe

bourgeoisbuildtheirsonthebacksoftheproletariat.

MarleneisreflectedinIsabellaastheothercharacters.Despitetheclose

bondbetweenIsabellaandhersister,Hennie,Isabellahastraveledtheworld

alone,leavinghersicklysisterathome.Isabella,likeMarlene,hasleftherless

ablesisterbehindtopursueherowngoals.WhileIsabellarealizesthatshecould

notsacrificeherownhappinessforhersister,sheopenlytalksabouttheguilt

shefeelsoverhavingleftHenniebehindandherattemptstobringHenniewith

her(Churchill1‐17).Marlene’sinteractionswithhersisterinActThreenever

admitanyguilt—sheisfiercelydefensiveofherchoicesandofThatcherism—

whichreflectsherindividualism,aswillbediscussedbelow.Thesceneleavesthe

impressionthatMarleneistryingtoconvinceherselfasmuchasJoycethatshe

hasdonenothingwrong.Isabella’spresenceatthedinnerpartyindicatesthat

herguiltoverherrelationshipwithhersisterisareflectionofMarlene’sown

buriedguilt.

2.2SuccessonMaleTermsandtheAbsenceofTopWomen

WhenPopeJoanentersthepartyscene,sheisintroducedas“bywayofaninfant

prodigy”(Churchill4).Herstatusinherformerlifearguablymakesherthe

13

personatthepartywiththemostmaleauthorityandthemostoutward“public”

success,aswellasbeingthecharacterwholeastidentifieswithfemininity.Her

careerbuiltuptoapointwheresheachievedapositionwhereshewasliterally

notallowedtobeawomananymore;theultimatesuccessinthemalediscourse

ofthepublicsphere.Griselda,injuxtaposition,seemstohavealmostnopersonal

authority.Theveryfirstlineshespeaksintheplayisanapology(Churchill21),

andherpresenceisallinallaveryfeminineone;itisclearimmediatelythatshe

isnotcomfortablewithtakingupmuchspace,shedoesnotwantafusstobe

madeonheraccount.Herappearance,foodandself‐denialarefocalpointsof

Griselda’scharacter,mademoreunderstandablebytheintroductionsheisgiven

byMarlene:“Griselda’sinBoccaccioandPetrarchandChaucerbecauseofher

extraordinarymarriage”(Churchill22).Sheisacreationofmen’sfiction,

amplifiedbythefactthatitisherhusband’sclassstatusthatseemstobeher

mainclaimtofame.

AsPopeJoantellsherstoryoflivingasamaninordertoobtainan

educationandbeabletotravelfreely,werealizethatshehasenteredthepublic

domainofthemasculinesothoroughlythatshehaslostallconnectionwiththe

feminine;inherownwords,“IthinkIforgotIwaspretending”(Churchill10).

Herrelationshiptohersexisacomplicatedone.Nodoubtinfluencedbyher

Catholicfaith,sheseeshersexasaproblemandatleasthalf‐believesthat

plaguesanddestructionduringherreignaspopewereherownfault—God’s

punishmentforherwomanhood.WhenGoddoesnotspeaktoherdespiteher

papalstate,sheassumesitisbecauseGodknowssheisawoman,evenifshe

hardlyknowsitherself(Churchill10).

Griseldaarriveslatetotheparty,andoneofthefirstthingswelearn

aboutheristhatshewasmarriedatfifteen,toamarquis,Walter.Theformer

peasantgirltellstheotherwomenthestoryofhowthemarquisaskedforher

handinmarriageandsheaccepted,promisingtoalwaysobeyhim.Hermarriage

allowshertomoveupinclass,abovealmosteveryoneelse,butthissuccess

comeswithoutpoweroverherownlife.

Griselda’sstoryisonethatthewomenhaveaverystrongreactionto;

Marleneevenstatingplainlythatshedoesn’tthink“Walterlikeswomen.”When

theissueofherpromisingtoobeyherhusbandisbroughtup,theotherwomen

14

areincredulous,butGriseldasimplytellsthemshewould“ratherobeyamarquis

thanaboyfromthevillage”—arefreshingmomentofclarity,whereGriseldais

keenlyawarethatmenholdthesamepoweroverherasthoseofhigherrank,as

herclassstatusistiedtohergender.PopeJoantellsher,“Ineverobeyedanyone,

theyallobeyedme,”(Churchill23‐25)whichbringsthereaderbacktothe

analogyofmeninrelationtowomenandthebourgeoisinrelationtothe

proletariat;WalterholdspoweroverGriselda,bothasamemberofthecourtand

asaman.Joan,whoneverlivedasawoman,neverhadtopartakeinthissystem

andisinturnblindtoit.

Theideathatawoman’smainqualificationsforanypositionhavetodo

withherphysicalappearanceisbroughtforwardatmanypointsintheplay.

BothLadyNijo’sandGriselda’sattachmenttomenofthecourtmeansthattheir

socialstandingsaredirectlytiedtothem.Onewaythisisexpressedisthrough

thewomen’sclothing,whichisemblematicoftheirstatusatanygiventime,an

ideaweseeechoedinlateractsoftheplay.WhenGriseldatellsthewomenhow

shewasreunitedwiththemarquis,LadyNijoimmediatelyasksabouttheclothes

sheworefortheoccasion.Griseldaproudlyrepliesthathedressedherin“cloth

ofgold”(Churchill28).ThisisreallythethirdtimeinthestorythatGriselda’s

statusisdeterminedbyherclothing.AsMargaretRoseJasterargues,indressing

herupintheclothesofthecourt,WaltertransformsGriselda.Sheisnolongera

peasant’sdaughterwhilewearingherclothofgold.Insteadherdressnow

reflectsherhusband’sstatus,andshehasbecomeanextensionofhimandthe

courtheserves(Jaster).

LadyNijo’sstatus,likeGriselda’s,isaresultofherrelationshipswithmen.

Theemperorprefershertootherwomen,whichputsherabovethem,atleastin

herownmind.HerspecialplacewiththeemperoriswhatmakesNijoa“Top

Girl”—sheisproudofthefactthatsheisthepreferredoneandisfinewithher

placeservingtheemperor.Shenevercomparesherstatustothatofthemenin

thecourt,butseestheotherwomenasheronlycompetition.Outofthewomen

atthedinnerparty,LadyNijoisthemostfocusedonclothing.Shetellsthe

womenhowshewasallowedtowearcolorfullylayeredsilkdressesreservedfor

womenofhigherclasses,becausehergrandfather,whoadoptedher,wasthe

primeminister.Whendescribingtheonetimeshesawthedaughtershewas

15

forcedtogiveuprightafterherbirth,Nijodescribestheplumdressthegirl

wore.Sheaskstheotherwomenwhether,ifshehadstillbeenatthecourtwhen

theemperordied,shewouldhavebeenallowedtowearfullmourning(Churchill

13‐28).Theideaofwomen’sdressbeinglinkedtotheirstatusissomethingNijo

isawareofonaconsciouslevel,thussheknowsthatherstatuswasstripped

awayalongwiththeclothesandprivilegesofthecourtandherabilitytolivethe

lifeshewanted.

Welearninthesecondactthattheplaygetsitsnamefromthe

employmentagencywhereMarlenehasjustbeenpromoted,theeponymousTop

Girlsagency.Thenameisnotinsignificant.Itisanemploymentagencyfor

women,whopresumablyarealladults,yettheword“Girls”isused.Whatwe,

andthewomenintheplay,arebeingtoldbythisisthatinthemale‐dominated

publicdomainoftheworkplace,thereisnosuchthingasawomanbecausea

womanwillneverbeseenas,treatedasorgiventheresponsibilityofafull‐

fledgedadult.Awomaninthepublicsphereisinthiswaya“girl”inaworldof

men,andthebestshecanhopeforistobea“TopGirl”—abovetheothergirls,

butstillnotquitefullyrealizedasasuccessfulprofessionalinthesamewaya

manwouldbe.Themessagethenamesendsisessentiallythis:Thebestany

womancanhopeforistodobetterthanotherwomen.Thus,otherwomen

becomethecompetitionandwomenarepittedagainsteachother.Thisideais

seeninvariouspartsoftheplay:inthecompetitive,overlappingmonologuesof

thewomeninActOne,aswellasinKitandAngie’sconversations,andin

Marlene’sinterviewinthesecondact.

InthesecondactofTopGirls,theideasthathavealreadybeenintroduced

asconceptsinthefirstactmanifestthroughthelivedexperienceofthe

characters.Thisacthappensindistinctscenes,unlikethefirstact.Thefirstscene

ofthesecondactstartsintheofficeoftheTopGirlsemploymentagency,where

Marlenehasjustbeenpromotedandtheideaofcommercialsuccessasamale

domainisemphasized.

Atthestartofthesecondscene,Marlene’scoworkersWinandNell

discussMarlene’squalificationswhenitcomestoherrecentpromotionin

preferencetoanothercoworker.Nellstates,“Howardthinksbecausehe’safella

thejobwashisasofright.OurMarlene’sgotfarmoreballsthanHowardand

16

that’sthat”(Churchill47).Nellequatesbeingqualifiedintheworkplacewith

havingmaleanatomyhere,anditisclearthatthewomenbelievethatbeinga

manishowtogetahead.Laterintheconversation,whendiscussingjob

prospects,theyagreethatthere’snotmuch“roomupward”because“Marlene’s

filleditup”(Churchill48).Oncemore,womenarecompetitionforotherwomen

andone’ssuccessmeanstheendoftheroadforanother.Thewomenarecareful

toexpresstheirintentionsforsuccessbyrejectingthedomesticinthissceneas

well,withNelltellingWin,“DerekaskedmetomarryhimagainItoldhimI’mnot

goingtoplayhouse,noteveninAscot,”towhichWinreplies,“Mindyou,you

couldplayhouse.”Nellagreeswiththis:“IfIchosetoplayhouse,Iwouldplay

houseace”(Churchill50).Therepetitionoftheexpression“playinghouse”

showsusthewomen’soutlookonmarriedlifeanddomesticlabor.Theyseeitas

trivial;theycoulddoitbetterthanmost,butitisunimportant.

InthescenewhereMarleneinterviewsajobcandidate,Jeanine,ideas

aboutcompetitionresurface.Thoughtheinterruptionsandoverlapofdialogue

arelessjarringthanthoseinthescenedirectlyprecedingit,theyarestill

prominentenoughtogivethereaderthesensethatMarleneisnotatall

interestedinwhatJeaninehastosay.Despiteherownambition,Marlenedoes

notunderstandJeanine’s.ThisistiedtothefactthatJeanineisengagedtobe

married,andMarlenethusseesherashavingchosenthedomesticsphereover

thepublicsphere.MarleneatonepointduringthejobinterviewasksJeanine

whereshewouldliketobeintenyears.JeaninetellsMarlenethatshemightnot

be“aliveintenyears”towhichMarleneresponds,“Ofcourseyouwill.You’ll

havechildren”(Churchill52‐56),againemphasizinghowdespitethesetting,

MarleneassumesthatsinceJeanineplanstomarry,herambitionsaredomestic.

Jeanine,whoisyoungerthanMarlene,representsanewgenerationofwomen,a

generationthataspiresto“haveitall.”Theideaofwomen“havingitall”was

beingbornatthetimeofthepublicationofTopGirls.Thethen‐editorof

Cosmopolitanmagazine,HelenGurleyBrown,iscreditedwithcoiningthephrase,

butperhapsnottheidea,inherbookHavingitAll:Love,Success,Sex,Money,Even

ifYou'reStartingWithNothing(1982),whichcameoutthesameyearasTop

Girls.Thisneworderofhavingbothworkandafamily,tobeabletotraveland

getdecentwages,isunthinkabletoMarlene,whobelittlesJeanine’sambitions.

17

OncemoreinthissceneweseetheTopGirlMarlenetakinguptheroleofthe

oppressor,layingdownrulesthatsheherselfperhapsregretshavinghadto

follow.WhenMarleneeventuallydecidestorecommendJeanineforajobata

lampshadecompany,shetellsher,“You’llbeatthetopwithnewgirlscomingin

beneathyou”(Churchill55).Againweseetheideathatwinningovertheother

“girls”isthebestawomanintheworkplace,orinanyotherdomainforthat

matter,canhopefor,whichrhymeswellwithMarlene’sopenhostilitytowards

Jeanine.

Thescenereiteratesmanyoftheideasofthefirstact,butalsoservesto

showusthatdespiteMarlenebeingawomanherselfandsharinginJeanine’s

struggles,shehasinternalizeddominantattitudesaboutwhatitmeanstobea

womanintheworkplace.

2.3MarleneandthePrivateSphere

Thesecondsceneofthesecondacttakesplaceinthecountryside,inthe

backyardofMarlene’ssister,Joyce.Twogirls,Kit,whoistwelve,andAngie,who

issixteen,aretalking.Animmediatelyrecognizablepatternemergesanditis

obviousthatlikealltheotherwomenintheplay,thegirlsarenotreallylistening

toeachotherinanyrealway.

Theconversationiscontentiousandquicklyturnsmean,withAngie

tryingtoscareKitwithhalf‐threatsandghoststories(Churchill33‐42).This

tensionbetweenthefriendsisemblematicofwhatistocome.InTopGirls,

womencannottrulybealliestoeachotherbecausetheirownsuccessdepends

onbestingtheother,andAngieandKitarenottooyoungtohaveinternalized

thisidea.Angieestablishesherselfinthissceneasacharacterwholongsforthe

socialmobilityshehasseenthroughherauntMarlene.LikeMarlene,Angiehas

internalizednegativeattitudestowardsthegroupsheherselfbelongsto;in

Marlene’scaseitiswomen,inAngie’scasetheworkingclass.Angie’shatredof

herstatushassouredherrelationshipwithJoyce,thewomansheknowsasher

mother,whoisanemblemoftheworkingclassthroughouttheplay.Joycehas

beenstuckinthedomesticspherebyhersisterandisbitteroverthelackof

acknowledgementofhersacrifices,eventellingMarlene“ListenwhenAngiewas

sixmonthsIdidgetpregnantandIlostitbecauseIwassotiredlookingafter

18

yourfuckingbaby”(Churchill90).Angie’sidolizationofthewomanwholefther

alsoseemstobotherJoyce,knowingfromexperiencethatinorderforAngieto

goontobea“TopGirl”shewillhavetosacrificetheirmother‐daughter

relationship.

Inthesecondscene,Angiedecoratesherselfinabeautifuldressthatdoes

notquitefither.WelearnlaterthatthedresswasgiventoherbyMarlene,and

thusitbecomesasymboloftheclassstatusAngiestrivesfor.Thefactthatitdoes

notfitistelling:evenJoycedoesnothavemuchhopeforAngie’sfuture,telling

Marlene,“She’snotgoingtogetajobwhenjobsarehardtoget[…]She’dbetter

getmarried”(Churchill44).Angie,meanwhile,hastoldKit,“Iputonthisdressto

killmymother”(Churchill46).Angie,weknowfromherconversationwithKit,

doesnotwantmarriageorchildren,onlycommercialsuccess.Angiegoessofar

astotellKit,“IfIdon’tgetawayfromhereI’mgoingtodie”(Churchill36).Sheis

sodesperatetotranscendthatsheattemptstokillherconnectiontothe

domesticsphereinordertoescapeit.Theideaisreiteratedinthethirdact,when

shespraystheperfumeMarlenebroughtonherself,JoyceandMarleneand

proudlyannounces,“Nowweallsmellthesame”(Churchill75),asifshecan

wipeoutthestructuraldifferencesbetweenthethreewomen’sstatusbysimply

maskingit.

ItisinthethirdactofTopGirlsthattheunderlyingideasoftheplayare

statedmostplainly.MarleneandJoycebecomefigureheads:Marleneforthe

capitalistcareerwomanandJoycefortheworkingclassuponwhosebackthe

formerbuildsitswealth.Upuntilthisact,whenwearetakenbackayear,timeis

linearinTopGirlsasfaraswecantell.Thelastsceneoftheplaytakesplacein

Joyce’skitchen,inthetownwheresheandMarlenegrewup.Marlenehascome

foravisit,herfirstinsixyears,tothehouseinwhichJoyceandAngielive.

Marleneclaimedduringthedinnerpartytoneverhavehadchildren,butwe

learnherethatthisisnottrue.Muchlikethesuccessfulwomenthatpreceded

her,shehadachildbutgaveitupoutoffearofnotbeingableto“escape”the

oppressiveprivatesphereifshekeptit.ThischildisofcoursethedaughterJoyce

hasbeenraising,andthereaderfinallyunderstandsAngie’ssuspicionsabout

Marlenereallybeinghermother.WelearnthatMarlenehasnotbeenableto

achievethesuccessshehasonherown,butrathershehasdependedonthe

19

private,domesticlaborofhersister,whohascaredforherdaughterandtheir

motheralltheseyears.Thisideaisilluminatedbytheargumentaboutpolitics

thesistershave,inwhichMarlenedefendsThatcher,andthesystemthathas

helpedhergetahead(Churchill93‐96).

Thelastact,becauseofitsplacementinthetimeline,informsthewaywe

lookbackonthefirsttwoacts.Marlenenolongerseemsquitetheindependent

successfulwomanshedidbefore,andwelearnthatthecostofhersuccesswas

evengreaterthanherisolation,bothpersonalandprofessional,anddidnotonly

affecther.WeseethedestructivenessofMarlene’scapitalistsuccessin

everythingaroundher,includingthefamilyshehasdistancedherselffrom.

Joyce’soppressionisdual:sheisstuckintheprivatesphereofdomesticdutiesin

orderforhersistertobeabletogaincommercial,capitalistsuccessinthepublic

sphere;ontopofthis,Joyce’sjobiscleaningotherpeople’shouses(Churchill91).

AsArlieHochschildpointsout,thistypeofworkcanbeaclearexampleofhow

successfulwomenmustpartakeintheirownoppression.Houseworkasajob

oftenmeansthatthepersontypicallyresponsiblefordomesticduties,classically

awoman,hasgoneouttoachievesomedegreeofsuccessinthepublicsphere.As

Hochschildpointsout,inorderforthesystemtopayoff,workingwomenare

incentivizedtokeepdomesticworker’swagesaslowaspossibleinordertobe

abletoretainthesurplusforthemselves(2000).Joyceistheperpetualvictimin

thecycleofotherwomen’ssuccessandthusoneofthefewcharacterswhose

eyesaretrulyopentothetruenatureofthesystemofoppression.

ItisinJoyce’skitchenthatMarlenereallyvoicesherdilemmaofsuccess,

andherdistainforthedomesticsphere,tellingJoyceabouthowshe“hadto

escape”inordertonotendupliketheirmother,whospentherlifetakingcareof

herfamilyandhome.Marlenestatedopinionthattheirmotherhada“wasted

life”(Churchill94)clearlytellshersisterthatshedoesnotvaluethekindofwork

shedoes—theveryworkwhichhasallowedMarlenetogainherpublicsuccess.

Herclaimthatshe“couldweartrousersattheoffice”butdoesn’t(Churchill9)is

aninterestingattempttodemonstratethatshehasnotentirelyturnedherback

onthefemininedomain.

20

3.0Conclusions

TheworldwhichCarylChurchillpresentsinTopGirlsisonewherethereisno

suchthingforwomenas“havingitall.”Despitebeingthirty‐fiveyearsoldatthe

timeofthecompilationofthisessay,theplayhasnotlostitssharpresonance

withthepoliticalclimateandtheroleofwomeninpositionsofpower.Thefinger

Churchillpointsatallofus,forpartakingineverydayoppressivediscourseand

consumption,isarguablynolessrelevanttodaythanitwasatthetimeofthe

premireofTopGirls.Thequestionsraisedaboutwhatonewoman’ssuccess

meansforthewholearestilljustasrelevantinaworldwhereclassandgender

arelittlelessintertwinedthantheywereinthe1980s.Thehypothesisthata

womaninpowercould,andperhapsneededtobe,justasoppressiveasamanis

broughtforwardthroughclassstrugglesunderThatcherism.Thisideahasbeen

broughtintoawholenewlightinthedecadessinceTopGirlspremieredandis

perhapsnowmorerelevantthanever:thirty‐fiveyearslater,theUnited

Kingdomfinallyhasanotherwomanprimeminister.ThefactthatTheresaMayis

achildlessmemberoftheConservativepartyisperhapsacoincidence.

Alternatively,itisacluetothepermanenceoftheworldChurchillwantsusto

openoureyesto.

IntheverylastsceneofTopGirls,Angiewandersfromherbedroominto

thelivingroomwhereMarleneasksher,“Didyouhaveabaddream?What

happenedinit?Wellyou’reawakenow,aren’tyoupet?”Angie’sresponseisa

singleword,theverylastoneoftheplay:“Frightening”(Churchill97).Angieis

awake,buthernightmareisnotover.Whatisfrighteningtoherisnotwhathas

happenedinherdream,butwhathappenswhenitisover.“Frightening”isthe

realityshehasopenedhereyesto;thatbeingawomanmeansshecan’twin,no

matterhowhardshecompetes.

21

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