Left – Harry Greenwood and Kate Box. Cover – Josh McConville. Photos – Daniel BoudThe title of Caryl Churchill's play Cloud Nine is a figure of speech rather than a true meteorological term, but that doesn’t stop it being a thundering theatrical storm with flash lightning performances in Kip Williams' production for STC.
Seven actors populate this one play with two distinct acts with a vim and vigour that defines drama in the most fundamental way – a means of spending a couple of hours in the dark without being bored.
The first act is set in Africa, at the home of British Colonial super civil servant Clive, beautifully rendered by STC resident designer, Elizabeth Gadsby, with a glass conservatory an oasis of civilisation surrounded by dark brown dirt.
Clive resides here with his wife, Betty, their eight year old son, Edward, infant daughter, Victoria, mother in law, Maud, and children’s nanny, Ellen. There are two neighbours, widowed Englishwoman, Mrs. Saunders and renowned explorer, Harry. And a servant, Joshua.
The play begins with a rousing Britannia Rules type song belted out by the ensemble, marking out its cultural chauvinism, then proceeds to examine cultural concepts, constructs and constraints by subversion, inversion and pretty perversion.
Casting is colour blind, characters are age and gender bending, and pan sexuality runs riot.
Josh McConville revels as the terribly pucker Clive, wanting to pucker up with the widow, Mrs. Saunders, a beautifully unbridled Kate Box, who likes it in the saddle with the accoutrement of a riding crop, much to the delight of her salacious suitor.
Meanwhile his wife, Betty, played with a fine mix of hilarity and heartbreak by Harry Greenwood, is up to hanky panky with Anthony Taufa's heroic Harry.
Double standards of adulterous behaviour and veiled homo eroticism bubble to the surface.
Clive's anathema to effeminacy is sorely stoked by his son's predilection for playing with dolls and lack of proficiency with ball skills. The son, Edward, is played with petulant glee by Heather Mitchell.
Clive's trenchant paternalism is mirrored in his dealing with Joshua, a servant he owes his life to yet continues to keep in his place. Matthew Backer smoulders with simmering insubordination.
And Anita Hegh bristles, bustles and finds solace in the bottle as Betty's maudlin black clad widow weeded mother, Maud.
Second act sees a generational and geographical shift. Back in England, with green and leafy replacing dusty dirt, Edward and Victoria are now adults, he played by Harry Greenwood, she played by Anita Hegh.
Edward is clinging to an unrequited love with Gerry, played by Matthew Backer, while Victoria is married to Martin, played by Anthony Taufa. Victoria has taken the eye of single mum lesbian, Lin, played by Kate Box, mother to young daughter, Cathy, played by Josh McConville.
Betty is now played by Heather Mitchell reverting to her more adult age and gender after playing her son.
Cloud Nine is a shape shifting, thought shaping, shibboleth shaking show that's shocking, sharp and shameless. This well crafted cast and crew ensure it's a cloud with a silver lining, that turns the dark inside out into a theatrical seventh heaven.
Sydney Theatre Company presents
CLOUD NINE
by Caryl Churchill
Director Kip Williams
Venue: Wharf 1 Theatre, Pier 4/5 Hickson Road, Walsh Bay
Dates: 1 July – 12 August 2017
Tickets: $99 – $75
Bookings: www.sydneytheatre.com.au
