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EUGENE CITY COUNClL -mRD 3
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secure our fair share of funding.’ ’
Paid Debra Khmiun lor t'M> Cimneil. Marilyn (Well. Treasurer. 764 Lawrence t\. liuyene
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Not just a 'woman's' play
"Top Girls," this year's
University Theatre Second
Season swansong, could be
dubiously tagged a "woman's
play." The two-act play is writ
ten by a woman, directed by a
woman and acted by women.
But to dismiss it as a feminist
piece would both limit and in
sult a production that appears
to strive for a more universal
appeal.
The action focuses on
Marlene (Kimberly Anderson), a
contemporary woman who has
just been promoted to an in
fluential position in the employ
ment agency, Top Girls. Employ
ment agencies are in the
business of selling people to the
world of commerce, and
Marlene is in the thick of it.
Marlene must test her emo
tional strength by balancing her
"female" sensibilities against
Four years in the making,
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“Quietly powerful,
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May 12-13
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($4.00 with student I.D.)
Recycte this paper
Recycle this paper
what are traditionally perceived
as male drives — ambition,
power and success. The prices
she pays are predictably exorbi
tant, and the resulting crimes of
the heart are poignant. Marlene
is the prototypical modern
woman plagued by the modern
woman's disease: self-doubt.
Top or not, she's still a girl.
Though convincingly por
trayed by Anderson, Marlene's
dilemma is a hackneyed one.
Fortunately, “Top Girls" is in
triguing enough to transcend
the familiar feminist line. In fact,
the play is so full of characters,
set changes and time warps
that, ultimately, the cliched
theme is overshadowed by an
interesting and experimental
production.
British playwright Caryl Chur
chill begins the first act with a
dinner party that is attended by
a handful of historical women
who have struggled with power
and position. The play then
jumps back and forth in con
temporary time. Structurally, for
most of us who think in linear
terms, this theatrical device can
be confusing, especially when
the same actresses play several
different characters. The struc
tural arrangement also requires
patience; the last scene of the
first act appears to have no rela
tionship to the first scene — un
til later. The play does, however,
fall together neatly in the final
scene.
Even if the play is awkwardly
conceived, it is well acted by a
number of the women, all of
whom play more than one role.
Nancy Julian and Shannon
O'Keefe give exceptional, in
sightful performances. Their
roles build the emotional
substance of the play. Both ac
tresses rarely miss a beat or
crucial detail in their parts as
Marlene's martyred sister, Joyce
(Julian), and Joyce's slow, clum
sy daughter (O'Keefe). Julian's
Scotch-1 rish brogue that she
delivers in her historical part as
Isabella Bird was a genuine
theatrical high point.
The set, which was designed
by the indefatigable Faber
deChaine, is one of the more
complex Arena Theatre designs.
The set is radically changed
several times, but most of the
transitions are pulled off with
grace by the cast members. Each
piece moves smoothly on and
off the stage. The most appeal
ing set is the first scene's, in
which Marlene meets with her
historical guests. A long table
dressed in a fuschia tablecloth
and sparkling with crystal at the
upscale Chez Femme
Restaurant, recalls a kind of
ironic Woman's Last Supper.
Director Lynda Czajkowska is
following in a Second Season
tradition of working with new
material that stands artistically
to the left of UT's more
mainstream Robinson Theatre
presentations. Czajkowska
could have directed a more stri
dent production, thrashing out
sins visited upon women from
the beginning of time. Such an
interpretation might have even
been suitable to the Arena
Theatre. The Arena audience,
more so than the Robinson
spectator, is better prepared for
dramatic innovation obsessed
with message.
Instead Czajkowska, who also
directed last year's "Slow Dance
on the Killing Ground," chose
wisely to vary the play's pace
and capitalize on its humor and
ironies. Women do jabber, do
expose their hearts easily and
do know the designs of martyr
dom, "Top Girls" suggests.
Without exploiting these
"weaknesses," Czajkowska
seems to have taken them
seriously enough to laugh at
them. The strength symbolized
by these women — compassion,
empathy and esprit de corps —
are thus even more triumphant
ly exposed.
The play continues in the
Arena Theatre May 11-12 and
May 17-19. Admission is $2.
Ticket information and reserva
tions are available at the Box Of
fice at 686-4191.
Angela Allen Morgan
jum.
Food Service
STUCK AT SCHOOL
THIS WEEKEND!
Weekend Special
at the Fishbowl Deli:
FREE
Cup of Soup with the
purchase of any Deli
Sandwich!
Don't Forget the Fishbowl is
still a great place for soft
drinks, coffee, pastries,
yogurts and more!
gel into nature,
this paper
ire, recycle A
Friday, May 11, 1984