´Cloud Nine´ by Caryl Churchill is a biting, witty satire in which all your assumptions about sex and gender will be stunningly exploded.

Victoria, Betty and Edward escape the confinement and suffocation of sexual repression in 19th century Africa to find themselves 100 years later (though only 25 years older) in 1970s liberated London, where it seems anything goes - but are they any closer to reaching Cloud Nine?

Young women are never happy. Then, when they´re older they look back see that comparatively speaking they were ecstatic.

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Reviews

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Team should be on Cloud 9

Indulgence Theatre Company really ought to be basking in a collective euphoric exaltation at having reached their own Cloud Nine.

The Lincoln company produces only one show a year, ever building on previous excellence to become a formidable force for other amateurs to aspire to.

Again, a small but perfectly formed cast have pulled off yet another theatrical triumph of sheer brilliance.

If you missed this, you missed what is destined to be regarded as Lincoln´s dramatic highpoint of the last decade.

They took on the challenges presented by Caryl Churchill´s Cloud Nine – a play exploring attitudes towards gender, sexuality and sex within one family but across a century – and emerged victorious.

I for one had grave reservations about what I was letting myself in for and I am sure that some of the seven strong cast felt likewise at times. No doubt it is a very dark and difficult text on the page but through inspired direction, skilfully subtle characterisation and individual excellence, sexual tensions were transformed into a surprisingly light, bright and breezy skip through two and a half hours of complete captivation.

Building on a script of biting, witty satire, transgender casting and deep insight, Indulgence capitalised on their own strengths to fulfil with sheer conviction their very diverse roles.

In very different ways Daniel Davis was excellent as the straight-backed Empire-building Colonial Clive whose manful attempts to impose his traditional ways crumble around him, just as he was when liberated into a pink dress as a larger than life four-year-old child.

Mala Selvon shone as fruity, ever-game widow Mrs Saunders, switching with ease to a frustrated governess and then mastering the intimacies of Lin for the second half by which time a century of change has brought gay and women´s liberation to bear.

Equally striking in both eras was Jo Hollingworth whose poise and expressive style were characterful, likewise Lindsey Slapp whose physicality and diction as an African servant were especially impressive and Simon Westerman who displayed sincerity and strength throughout. Kevin Troughton and Aggi Gunstone's enthusiasm for the piece spilled way beyond their insightful direction into their own diverse roles to which they brought great humour and humility.

Together they turned what I expected to be a very worthy but impenetrable play into one of the best nights of live performance I have enjoyed since - well, probably last year´s offering from Indulgence.

Although something of an annual one hit wonder, Indulgence are far from being a one-trick pony; they enjoy the very bearing of professionalism.

Jason Hippisley, Lincoln Chronicle, 09 November 2006

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On Cloud 9

Opening night for Indulgences´ performance of Caryl Churchill´s ‘Cloud Nine’ was quiet, but were the audience members able to find their own ‘Cloud Nine’?

Anyone who names themselves ‘Indulgence’ Theatre Company, after their shared love of cakes and wine at meetings and rehearsals are sure to put on a good show in my eyes. Opening night for Indulgences´ performance of Caryl Churchill´s ‘Cloud Nine’ was a quiet one, a shame for the actors, but perhaps not as nerve wracking as it could have been.

The stage was set at an unusual arrangement, in that some of the audience were sat in and around the actors, on the main floor. This meant that the actors performed 360 degrees, to all parts of the audience at all times.

Act One is set in Colonial Africa in the late 1880´s, centring around one family and the relationships between them and those around them. It focuses on exploring their attitudes, sexuality and the social structure during the repressed Victorian era. This is further portrayed by the swapping of gender roles within character. It appears that it takes a certain calibre of performer to change gender effortlessly and convincingly with aplomb. At times, the lead male in the ‘wife’ role in this first act seemed to struggle and didn´t quite show enough emotion which the character and role demanded. First night nerves perhaps?

The first act did feel a little slow to get going, but this was after all opening night. However, it soon seemed to pick up pace as the story unfolded, with each performer seemingly becoming more comfortable in their roles.

The underlying theme in Act One is that of keeping a stiff upper lip, ‘having a duty to the empire and god’, a dictating husband, master and father who imposes his rules and views onto his wife, son, servant and friends. Each are exploring their own sexuality and pleasure, which can be difficult issues to act and portray. What could have been uncomfortable for inexperienced actors was certainly felt by some, but strong performances were given by a number of the cast.

Thought provoking and at times the story was disturbing too. One rather sinister scene, involving the son and his uncle, was mistakenly seen by the majority of the audience as humorous, possibly because the son was played by a woman, but those following the storyline realised it was not.

Although perhaps necessary in keeping with the original, Act One was a little long, and I don´t think I will be the only one in the audience to admit that I was ready for a break!

Act Two sees three of the main characters from the First Act, 25 years older, but now the scene is set 100 years on, in 1979. What should be a time of freedom of speech, women´s rights and sexual liberation, still at first sees the characters fighting their emotions and repressed attitudes of the past. They are even visited during this Act, by their previous selves, as a Ghost of Colonial Africa Past, to remind them of where they were and see how far they have come on their own journeys.

The whole ensemble did appear to be a little more at ease during the second half. However, having still to deal with hard hitting, sensitive and sexual issues, this did at times make me, and clearly the audience too, feel a little… well, awkward. I´m all for sexual liberation people, but if it just isn´t done with quite enough emotion and feeling, then the audience won´t be feeling it either.

In a complex, intense story, with many different layers such as this the cast did well, certainly for an amateur theatre company. The costumes throughout were right, well designed and created for the roles, and the props and set minimalist, but then after all, there is no need to over–guild the lily. Yes, it was a little long, but the underlying message that I think Caryl Churchill´s story is all about was certainly delivered, acted and performed reasonably well. It´s about defying rules, ideals and societal ‘norm’, to discover and admit ones own pleasures, and to ultimately find your own ‘Cloud Nine’.

Zoe Powell, BBC Lincolnshire, 03 November 2006