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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.

Australian Stage

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.

The Australian

Women of note sound warnings on division

Murray Bramwell, 23 August 2012

Top Girls

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


Lip Magazine

Top Girls

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.

Stage Whispers

Top Girls

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.


Theatre People

Sisters: are we doin’ it for ourselves?

Top Girls

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.