All about the girls… Top Girls
Reviewed by: Mick Searles, 23 August 2012
The opening is a true ensemble effort where no actor out-shines another... While the number of actors on stage dwindles as the drama unfolds there is no genuine standout player. Lia Reutens as Lady Nijo/Win - contribute(s) intensely professional performances.
Top Girls | State Theatre Company of South Australia
Written by Stephen Davenport, 23 August 2012
Reutens switches from Lady Nijo to the animated Win. There isn’t anything short of a cracking performance from anyone in the ensemble.
Women of note sound warnings on division
Murray Bramwell, 23 August 2012
Fitzgerald and her excellent cast strongly emphasise the energy and warmth of the text, bringing gusto to the dinner party despite the daunting effect of Churchill's deliberately overlapping dialogue. The vignettes are vivid (like) Lia Reutens as the coquettish Lady Nijo
Review By Rose Pullen, 5 September 2012
Lady Nijo’s costume is a little distracting in the scene, her yellow one-shouldered dress cutting well below her right breast, exposing a strapless bra – but the humour is played well.
Review by Paul Rodda
The performances were outstanding, and the costumes – particularly in the dream sequence – were simply stunning. Director Catherine Fitzgerald and her cast of 7 women were crystal clear in their understanding of the issues. Of the entire cast ... there were no real standouts, but rather a feeling of true ensemble at work.
No Plain Jane
Top Girls, or, why I’m happy to be a young feminist
Reviewed by Jane Howard
Fitzgerald has brought out solid performances from all women involved. Reutens’ Lady Nijo, with high pitched giggles behind an outstretched hand (and) her Win gives some moments of rare heart in the Top Girls office.
Sisters: are we doin’ it for ourselves?
By Anita Baltitus
In addition to the Magical Realism of Act One, Top Girls deliberately followed a non-linear
structure and contained the doubling of roles, which served as an alienating device. This nod to
Bertolt Brecht by the playwright ensured that the audience did not empathise or connect
emotionally with the characters, but focused instead on the issues at hand. Each of the 16
characters was in some way flawed and portrayed by the seven all-female cast members
flawlessly. They took confident command of Churchill’s signature dialogue, convincingly intensifying the emotion of conversations, particularly during heated arguments.There are no stand-out performances in this engaging production – either by cast or crew. All elements were, as all good theatre should be, perfectly balanced and seamlessly integrated.