Sydney Theatre Company, NSWMichelle Law’s new play, which sees a white media professional swap bodies with her Asian nail technician, has both joyful moments and didactic dialogue
here’s a sight gag in Top Coat, Michelle Law’s new play, where a character raises a broadsheet conspicuously towards us. “FREAKY FRIDAY 3 FLOPS,” the headline reads, above an image of the beloved Lindsay Lohan and Jamie Lee Curtis film that has become synonymous with the “body swap”.
Farcical and frenetic, Law’s spin on the body swap is one drawn on racial lines. Winnie is a hot-headed nail technician prone to outbursts over a never-ending deluge of demeaning, disrespectful – and white – clientele. Kate is one of them: a high-flying TV exec at the absurdly named Multicultural Broadcasting Corporation, and one of the last people for whom the term “girlboss” is a badge of honour rather than a pejorative.
While Kate struggles to buff nails and wash feet – much to the confusion of Winnie’s boss Asami – her counterpart soars through business meetings and television sets, accidentally righting the wrongs of her predecessor with little more than common sense.
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