ABSTRACT
The similarities between Caryl Churchill's Top Girls (London, Royal Court Theatre, 28 August 1982) and David Marner's Glengarry Glen Ross (London, National Theatre, 21 September 1983) are surprising. Both plays have large single-gender casts, open in restaurants; have extended scenes in the workplace, talk about "closing" sales, show concern for a daughter but feature work as the center of life. They share a common view of characters as highly competitive types whose aim, as Churchill's title indicates, is to top everyone, including family and friends. Finally, both plays end with uncompromising views of the destructiveness of their situations.
