Conventions of “polite dinner conversation” are thrown away in Ithaca College’s production of “Top Girls,” a play by Caryl Churchill that in the first 50 minutes encompasses a dreamlike dinner sequence, which includes six women, with topics ranging from abortion to sexual escapades.

The first scene of the play — which to some could stand as a separate play in itself — presents an assortment of historical, mythical and fictional women in history coming together for dinner. They are celebrating the promotion of Marlene, a high-class businesswoman played by senior Vanessa Sterling, to managing director of an employment agency. The women’s lives span centuries — a concubine from 13th century Japan and a world traveler from the 19th century, to name a few.

Churchill’s writing sets the characters into a complex duel of words. Overlapping dialogue and, at times, unintelligible statements require the audience to sit up, prepare a keen ear and listen to the intricacies of the masterful language. There is an underlying message of strength and overcoming adversity in the back-and-forth of the dinner guests. All of them deal with struggles and some find a way to laugh at their past.

It’s important to understand that Churchill’s work is not for the run-of-the-mill theatergoer as it borders on overly erudite. The first scene is a skewed parallel to the next act. Each historic character mirrors another character in the following scenes. What’s confusing about Churchill’s piece is she placed the challenging dinner scene at the forefront of the show. Regarded as a mezzanine-clearer, even in the play’s recent Broadway revival, the scene is riddled with intense emotion and witty humor but no traditional sense of cohesive structure.

However, the battalion of actresses tackle this theatrical maze of tricky dialogue with commitment and dedication. Sterling’s regal composure and hard-hitting British gait is nothing short of believable. She exemplifies the notion that Marlene has neglected what it means to be a woman. Alongside her is a powerful ensemble of actresses. Sophomore Katie Peters, who plays the concubine Lady Nijo, is natural and effective in her emotive facial expressions and spot-on accent.

Another standout in the scene is freshman Celeste Rose, who portrays the unresponsive yet hilarious Dull Gret, a figure from a Pieter Brueghel painting depicting a peasant woman leading an army of women to pillage hell. Relying mainly on physical acting — as most of her speech is limited to monosyllabic responses — Rose adds a hint of comedy to the scene. She doubles up as Marlene’s troubled niece, Angie, in the following scenes. Her transformation is nearly flawless. Acting as a parallel to the Gothic Dull Gret, Rose’s Angie is a stunning representation of morbid eccentricity. She idolizes her Aunt Marlene, but at the same time she represents a girl who, in Marlene’s words, is “not going to make it” in a male-dominated world.

After the unconventional first scene, the play moves into the traditional drama most viewers might be waiting for. Introducing a slew of additional characters, the second act examines Marlene’s relationship with her co-workers, Angie and her sister Joyce, played by senior Emily Brazee. Another doubled-up actress, Brazee also plays 19th century world traveler Isabella Bird. Her success lies in her ability to remain a strong argumentative contender while confronting the intimidating and towering Marlene about neglecting her family life.

Technical aspects of the play are a particular success. Junior Daniel Moss’ design mixes a rigid, boxy ’80s-reminiscent backdrop with a triangular table and floor pattern appropriately inspired by “The Dinner Party,” a 1979 feminist art installation of a dinner table with plates and fixtures, each commemorating an important woman in history. Moss’ bold and inspiring choice is a wonderful homage to a great work of art.

To choose such a strange and difficult piece of theater to kick off the college’s main stage season is daring to say the least. However, under the direction of associate professor Norm Johnson these ladies have taken a successful and deep plunge into what is arguably one of the most complex plays of the 20th century.

“Top Girls” is showing tomorrow at 8 p.m. and Saturday at 2 and 8 p.m. in the Clark Theatre.