42 Patterson’s interpretation applies to this play as the success of Top Girls was due to Churchill’s focus on themes that challenge societal norms and parallel audience experiences. Through the subversion of the status and hierarchies of women, Churchill opposes the system under which the patriarchy was created. This narrative led to the production’s success, with critics today recognising its relevance: “But in its attempt to dramatise the compromises that women make to survive in a world built for men, it feels eternally relevant” (Lewis, 2019). Churchill uses the female identities and their respective class positions to present the primary message that as long as capitalism exists, there will always be people who are at a disadvantage. This shows that political theatre does not need to accomplish revolutionary political change in order for audiences to resonate with the narrative. Aston, Elaine (2010). Caryl Churchill. Liverpool University Press. Churchill, Caryl (1984) Interview with Caryl Churchill by Lynne Truss for Plays and Players (Jan. 1984), in File on Churchill, Ed. Linda Fitzsimmons, London: Methuen, p.10. Churchill, Caryl (1987). Interview with Caryl Churchill by Kathleen Betsko and Rachel Koenig. Available at: https://go-gale-com.uoelibrary.idm.oclc.org/ps/i. do?p=LCO&u=exeter&id=GALE%7CUZMBQT673881596&v=2.1&it=r&sid=sum- mon Accessed 6 January 2026. Churchill, Caryl (1991). Top Girls. London: Methuen Drama. Lewis, Helen (2019). “Caryl Churchill’s strange and brilliant play Top Girls is as relevant as ever”. Available at: https://www.newstatesman.com/culture/ theatre/2019/06/top-girls-national-theatre-caryl-churchill-review Accessed 29 December 2025. Luckhurst, Mary (2014). Caryl Churchill. London: Routledge. Patterson, Michael (2003). Strategies of Political Theatre: Post-War British Play- wrights. Cambridge; New York: Cambridge University Press. Tomlin, Liz (2025). Staging Class Conflict in the UK. Cambridge: Cambridge University Press.
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