In the following essay, Marohl demonstrates how Top Girls succeeds in debunking the myth of the feminist hero whose achievements are gained through her imitation of powerful men rather than through the avenues of a "socially conscious feminism. "

In the following essay, Marohl discusses the class discrimination that exists amongst workers of varying rank and wage levels in Churchill's Top Girls.

Taylor offers a very mixed assessment of a London performance of Top Girls. He finds both the theme and structure poorly delineated and considers much of the piece "fundamentally … old-fashioned."

Top Girls premiered in London at the Royal Court Theatre, transferred to New York for a run at the Newman Theatre, and then returned to London for further performances. In the following review of a performance during the first London run, Robertson extols the play as "brilliantly conceived with considerable wit to illuminate the underlying deep human seriousness of [Churchill's theme."]

One of the questions Caryl Churchill put to her fellow-feminists in Top Girls … was this. What have you, or indeed anyone, to offer the woman who hasn't the mental wherewithal ever to overtake the men on the promotion ladder, run her own office, jet off to New York for meetings and California for holidays, and do all the greater and lesser things associated with 'making it' in our sabre-toothed society? By way of illustrating the problem, she introduced a podgy, dim Ipswich schoo...

In Cloud Nine you could not always quite produce a logical reason why one thing followed another, but somehow you never doubted that it did. Top Girls … progresses in a similar zigzag way between present and past, realism and outrageous fantasy. The connections are just as much (and just as little) there for the reason to apprehend. And yet, to me at least, the pieces in the puzzle remain determinedly separate, never quite adding up to more than, well, so many fascinating pieces in a fascinating puzz...

Below, Watt censures the poor integration of the three scenes in Top Girls and judges the play of little interest to American audiences.

["Top Girls"] is no match for its predecessor ["Cloud 9"], but, happily, it is every bit as intent on breaking rules…. The actresses in the company keep popping up in new roles; the setting switches abruptly and at first inexplicably between London and a dreary working-class home in provincial Suffolk; the evening ends with a scene that predates the rest of the action by a year. Miss Churchill also makes abundant use of overlapping, intentionally indecipherable dialogue, R...

[Cloud Nine] and Top Girls, taken together, show that [Caryl Churchill] has evolved into a playwright of genuine audacity and assurance, able to use her considerable wit and intelligence in ways at once unusual, resonant and dramatically riveting. Top Girls itself opens with the sort of dinner-party you might conjure up in some spectacularly fanciful game of Consequences. In the Prima Donna restaurant, Pope Joan, who supposedly spread her skirts over St Peter's throne in 854, is hobnobbing with a Jap...

["Fen"] could well be called "Bottom Girls." As the author's "Top Girls" told of Marlene, a self-made businesswoman who sells out her provincial working-class roots and humanity for corporate success in London, so the new one examines the less privileged sisters such top girls leave behind…. As befits the shift in focus, the new play contains little of its predecessor's laughter: even as the audience enters …, it is swept up in a gloomy m...