‘Cloud Nine,' Court (Press, 21 October 1985)

"Cloud Nine," a play written by Caryl Churchill and directed by Alex Gilchrist, is being performed at the Court Theatre from 19 October to 16 November 1985. The play presents a comedic yet thought-provoking exploration of alternative sexual practices within a staunchly British family, juxtaposing a Victorian setting with a modern interpretation. The first half of the play is set in Victorian England, where the comedic elements are pronounced. The characters find themselves entangled in absurd sexual pursuits. Key figures include a pomposity-laden father, portrayed by Mark Hadlow, who is overly eager in his advances towards Mrs Saunders, a widow. His wife, Betty, played by Peter Elliot, is unaware of her husband's infidelities and instead harbours her own interests in Harry Bagley, an explorer with questionable inclinations towards the family's son, Edward. Edward, depicted with a love for unconventional pursuits like dolls, adds to the play's humour alongside the governess's subtle dishonesty and the presence of Joshua, the African servant. The farcical nature of the Victorian segment elicits laughter as the absurdity of the characters' lives unfolds. In the second half, the narrative jumps forward 100 years. Characters age by only 25 years, mirroring the restrictive Victorian values with moderated modernity. This shift, however, transforms the tone; the humour dissipates, revealing the characters’ unhappiness and disorientation amidst evolving sexual norms. The play takes on a darker layer, focusing heavily on sexual practices and relationships, diverging from the comedic elements of the first act. Although clever lines and the ongoing antics of a five-year-old character played by Hadlow inject some levity, the overall atmosphere shifts. The exploration of libertarian lifestyles contrasts starkly with the Victorian hypocrisy portrayed previously. The production features an effective set design by Tony Geddis, using a rotating canvas curtain that seamlessly transitions scenes. The visual contrasts and the staging of the two periods were creatively executed with symbolic floral changes reflecting the seasons. Costumes by Pamela Maling, Geraldine Ward, and Penny Wenlock effectively reflected the differing eras. The cast delivered nuanced performances; Jan Fisher's youthful exuberance as Edward, Mark Hadlow's pomposity as the Victorian father, and Peter Elliot’s subtler portrayal of Betty contributed significantly to the comedic impact. Additionally, the gender confusion introduced by Elliot was portrayed with sophistication rather than outright humour. The diverse roles played by Eilish Moran as the governess and modern companion, as well as the contributions of Lloyd Edwards and Jon Pheloung in various roles, rounded out a compelling ensemble. Overall, while “Cloud Nine” successfully engages audiences with its sharp wit and evolving themes around sexuality, it grapples with the inherent tensions of personal freedom versus societal constraints, making it a complex exploration of the human experience across two vastly different yet parallel time periods.

The text on this page is created, in the most part, using Generative AI and so may contain errors or omissions. It is supplied to you without guarantee or warranty of correctness. If you find an error or would like to make a content suggestion please get in contact

The text on this page is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 New Zealand