UIS’s Cloud Nine a mind-opening experience

November 19, 2008
By Michael Omenazu
Staff Writer

The UIS Theatre fall production is appropriately titled “Cloud Nine” as it is an intellectually elevated piece that contests its viewers’ normal conceptions of racial and gender roles, in every aspect, particularly dialogue and casting.

The two-act play utilizes its first half to establish its characters as they are found in the setting of a British colonial Africa during Victorian times. Returning twenty-five years later, the second act takes places in London in 1979 with characters that played one role in the first act, playing another.

This is just one form of Caryl Churchill’s creative and intentional manipulation of casting that strongly influences the dynamic of the play. Another instance is found in males playing females and the contrary; and also an African servant being portrayed by a white actor.

An example is found specifically in by the nine year old male Edward, who in the first act is played by a girl and behaves in a way that typically viewed as feminine, as he plays with dolls. This controlled confusion continues in the second half as Edward, now gay, is played by a man.

Actor Cassie Oswald commented on the unique nature of the play highlighting, “it was a challenge at times to let go of my inhibitions … and playing a character who did not share my sexuality was at first really strange, but once I did let go, it was great.”

Fellow cast member Roger Boyd supported her remarks by stating that, “the roles I had in this were certainly the hardest I have ever had and playing a four year old girl when you are built like a chimpanzee is a unique experience.”

Such technique effectively sparks both internal and open discussion about the issue of sexual stereotypes, orientation and gender personalities. This is emphasized by the studio theater’s intimate atmosphere which allows its audience to recognize the choices director Missy Thibodeaux- Thompson makes and thus encourages them to question what they mean.

Thibodeaux-Thompson, who believes that “theater is a collaborative effort” between the playwright, actors, crew and audience adds, “If someone is moved, touched or prompted to think then it is worth it.”

The opening act’s plot creates a structure for the conversation that it incites. A British family headed by Clive, resides in Africa in attempt to develop the country’s empire. Amidst the ongoing chaos that is taking place as a result of African resistance to British expansion, this family’s interactions are equally hectic and frenzied.

Clive’s family entertains Mrs. Saunders who is looking to find protection from the tumult of the revolt and also a visit from Harry Bagley, a British explorer. Their lodging leads to a series of multiple sexual encounters such as the expression of lesbian affection between governess Ellen and Clive’s wife and Clive with Mrs. Saunders.

The full extent of these relations is illustrated through Harry. He engages with most characters including Clive’s wife, Jonathan the African servant, an implied relationship with Edward a nine year old boy and homosexual efforts on Clive.

This theme is continued throughout the play as in the second half the characters attempt to participate in an onstage orgy.

Obvious weeks of hard work from the play’s actors and technical staff along with innovative leadership from its director that began in September, culminated in the masterful acting performance of a thought provoking and challenging piece.