Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
IT’S somewhat depressing to watch a play almost four decades old, set in a particularly politically turbulent time in British history, and ponder at the end of it how little things have changed.
But that’s perhaps why Top Girls is one of Caryl Churchill’s most celebrated works, one that has been regularly performed throughout Britain since first written.
The National’s production is a far cry from the play’s Royal Court 1982 premiere, when a cast of six performed all 18-odd roles. It’s one of the first professional revivals to use different actors to play all the various characters and, while this might avoid any momentary confusion for audiences, it doesn’t necessarily do the play justice.
PAUL FOLEY revels in the coolest, most joyful piece of theatre you’ll get this summer
KEN COCKBURN relishes the memoir of a translator, but wonders whether the autobiography underlying the impulse would make a better book
MAYER WAKEFIELD is gripped by a production dives rapidly from champagne-quaffing slick to fraying motormouth
MARY CONWAY applauds the success of Beth Steel’s bitter-sweet state-of-the-nation play


