Caryl Churchill’s CLOUD NINE

PROJECTS PACK compiled by Beckie Mills and Rebecca Manson Jones Introduction 2 Cloud aryl Churchill have kept alklands War, the Miners’ Strike, Live alklands War, to the Almeida Theatre’s production of production Theatre’s Almeida to the , when young couples started to live together , when young couples started to live aryl Churchill by Caryl Churchill. by Caryl by C ompany has been delighting in the questions and the zest for Nine Aid and the world pandemic AIDS. challenges and the today’s students, the play opens up the For choices which confronted their parents and grandparents and asks us to consider: How tolerant are we? Where do our taboos lie? What freedoms do we have that we didn’t have before? What has been lost? What responsibilities must we take on now? the Almeida Theatre Since beginning rehearsals in September, C life that this play explores and we very much hope that you and your students are able to draw energy both from its ideas and the skill with which they are presented. look forward to welcoming you to the Almeida soon. We Rebecca Manson Jones Projects Almeida Director, to the original settings, allowing us to look back to the eras of to the original settings, allowing us to government: a time and to just before the Thatcher Colonialism and women started to when mothers started to return to work get equal pay to live openly - the unmarried, and gays and lesbians began moment just before the F Welcome Welcome a week is in preview period, the production As we write, team make changes cast and creative the director, during which reaction (is to the audience performance in response after each sound), tune the design (lighting, music, the story clear?) fine used the actors and the stage crew get costume changes whilst show elements which form a successful to bringing all the rehearsals and technical calls It is a very busy time as together. day with a performance in the evening. take place during the is to this trouble? Our aim as a company Why do we go to all that the mixture of high quality theatre so present an eclectic Churchill’s modern a fresh light. Caryl plays are revealed in found in is an extraordinary play and we’ve classic CLOUD NINE as much in its richness as the last few weeks that its strength lies notoriety of its themes. a piece of stagecraft as it does in the century Britain, the play Set in colonial Africa and late 20th and men, men and explores relationships – between women sex, work, mothers, Africa, men, women and women. It is about and Queen children, grandmothers, politics, money power, juxtaposition of satire, Victoria presented in an unforgettable prose that is farce, high and low comedy and uncompromising first appeared on our stage as funny and as disturbing as when it in the 1980s. C Director Thea Sharrock and playwright Cloud Nine

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a a d d i i e e m m l l A A . Note: Quotations from the play are contained in this pack which sometimes include explicit references to sex acts and sexu- ally explicit language, or racist attitudes exprssed by some characters as members of the British colonial establishment in the Victorian era C PROJECTS PACK This packprovides an insight into our process in taking the pro-

duction from research stage to performance. We hope you will o use it help you in your own investigations into the play both

before and after your visit to the Almeida. This pack contains n quotations from the play which use strong language. t ALMEIDA PROJECTS e Under the artistic directorship of Michael Attenborough, the Almeida presents an eclectic programme, ranging from n redefined major classics to the cutting edge of brand new work. Our Projects reflect the main programme's ambition by finding ways to challenge and excite our participants about the work you t

come to see at the Almeida. We hope to inspire you to approach s your own theatre work in the same spirit of generosity and risk-taking that we encourage in our rehearsal room.

Workshops Before you see the production, one of our Projects Team will be visiting you for a workshop, bringing some of the techniques explored in the rehearsal room, the challenges the play presents and some questions. The sessions are designed to be practical and participatory so please come energised, ready to work and wearing appropriate clothes and shoes.

Hosts When you come to the theatre, you will be met by one of the Projects Team who will be on hand to answer your questions and listen to your feedback about the production. Please do take advantage of this opportunity to find out more about how the production has evolved. Thanks to all of the creative team and the cast who have been so generous in their enthusiasm and support of the Projects work.

PROJECTS PACK CONTENTS

Introduction Production credits Plot summary Characters and doubling Caryl Churchill Thea Sharrock Task - ideas Design - the model box Costume - the dresser In the rehearsal room Movement Voice Key events timeline Act One Key events timeline Act Two Further Investigation Almedia Projects

Sophie Stanton and James Fleet in rehearsal Photo: MarcBrenner

Almeida Projects: Cloud Nine by Caryl Churchill 3 P d Cast in order of speaking

Clive/Cathy James Fleet r

Betty/Edward Bo Poraj o Joshua/Gerry Mark Letheren

Edward/Betty Nicola Walker d Maud/Victoria Joanna Scanlan

Ellen/ Mrs Saunders/Lin Sophie Stanton u Harry Bagley/ Martin Tobias Menzies c Direction Thea Sharrock Designer Peter McKintosh t

Lighting Peter Mumford i

Sound Gregory Clarke o Music Stephen Warbeck

Choreography Scarlett Mackmin n Casting Sarah Bird

Dialect Coach Penny Dyer

Fight Director Terry King c Assistant Director Kate Budgen r

Production Manager Igor e Company Manager Rupert Carlile

Stage Manager Suzanne Bourke d Deputy Stage Manager Nicole Keighley

Assistant Stage Manager Lucy Taylor i

Costume Supervisor Mary Charlton t Wardrobe Supervisor Catrina Richardson s Wardrobe Deputy Eleanor Dolan Dresser Charlotte Damigos Wigs and hair Kathryn Fa Chief Technician Jason Wescombe Lighting Technician Robin Fisher Sound Technician Howard Wood Theatre Technician Mark Jenkins Production Carpenter Craig Emerson Set built by All Scene All props Set painted by James Rowse at DAP Studio Costume Makers Elsa Threadgold The design Anna Kesteven Photo: Peter McKintosh Production Photography Marc Brenner Hugo Glendinning Student on attachment to stage management Ali Hunter

For Almeida Projects

Director, Almeida Projects Rebecca Manson Jones Projects Co-ordinator Beckie Mills Projects Administrator Charlotte Payne/ Clare Lomas Workshop Team: Ayesha Antoine, Kate Budgen, Amy Hodge, Kirsty Hoiles, Nicholas Khan. Audience Development Katie Southall Placement

Almeida Projects: Cloud Nine by Caryl Churchill 4 Plot summary 5 , - olony in Africa. , but for the characters it is only aryl Churchill by C . Cloud Nine

: : s s t t Act One Scene One - 1879. A British C introduces his family: A song paying tribute to England. Clive year-old son Edward his wife Betty (played by a man), nine (a doll), mother-in-law (played by a woman), daughter Victoria Joshua (played by a Maud, governess Ellen and black servant white actor). on the verandah. He has Clive returns home and greets Betty tribes. She has been been managing troubles among the local She misses Clive when he is away but reading poetry. recognises that boredom is her form of service to the Empire. Clive has news that they are to expect a visit from Harry Bagley an explorer. Betty is pleased but pretends that Harry is a bit of a Betty an explorer. bore. She complains that Joshua, the servant, is rude to her. Joshua brings Clive a drink. Clive tells Joshua off but undermines Betty by winking at Joshua. He sends for his children, Edward (nine) and Victoria (four). Victoria (played by a doll) does not speak. Clive is annoyed, the others make excus catches sight of Edward holding Victoria’s doll. Clive es for her. Edward is let off with a He claims to be minding it for Vicky. warning. The children are dismissed. Clive waxes lyrical about the sunset and the British Empire. He spots Harry Bagley and goes to welcome him. Maud, Betty and Ellen speculate on how Harry’s stay may bring a bit of variety to the household. Maud sends Ellen away and then complains to Betty that she lets Ellen get above her station. who has Clive returns carrying Mrs Saunders, a wealthy widow, sought sanctuary from the warring tribes. Maud worries they c c 25 years later The first half of the play is set in Colonial Africa during the The first half of the play is set in Colonial in a park in North Victorian era. The second half takes place London in the late 20th century e e j j o o r r P P

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a n a a a I n a N “ S Clive s to Saunders Mrs o o J J Photo: Hugo Glendinning “ h “ “ a Edward to Harry “ Joshua “ h Edward to Betty Clive returns from the flogging, Edward apologizes for playing with P the doll and asks his father for forgiveness. Clive forgives Edward and sends the family into dinner. Alone with Betty, he confronts her l about her feelings for Harry. She pleads for forgiveness and he lec- o tures her on the weakness of the female sex. Edward sneaks out to pick up the doll. Joshua sees him and calls him names. Betty t

comes to find Edward. She tells Joshua to fetch some thread.

Joshua is rude to Betty again, but Edward stands up for her, forc- s ing Joshua to do as he is told. Edward then rejects his mother’s

thanks. Edward and the company sing ‘A Boy’s Best Friend is His u Mother’. m Act One, Scene Four - Early morning on the verandah.

Nicola Walker and Mark Letheren Joshua tells Edward a non-Christian story about creation but m Photo: Hugo Glendinning claims to believe in the Christian creation story. Edward asks Harry why he is avoiding him. He threatens to tell on Harry if he doesn’t

continue to have sex with him. Ellen worries that she will have to a leave Betty when the children go to school. She doesn’t want to be

“You don’t feel what you r a wife or governess. She loves Betty. Betty refuses to hear it. Joshua think you feel.” overhears the conversation. The men gather on the verandah to y Betty to Ellen discuss the growing tension with the native insurgents. The British Army is on the way to help quash the rebellion. So far there have been no white casualties but Clive has burned a village. Harry protests. Clive talks about the nature of fellowship amongst men. Mistaking his meaning Harry makes a pass at Clive, and Clive reacts with horror, offended by Harry’s homosexuality. Seeking a cure for Harry’s ‘disease’, Clive attempts to marry Harry to Mrs. Saunders. She refuses the offer. News that Joshua’s parents have been killed by British troops distracts Clive. He asks Joshua if he would like a day off to go to the funeral. Joshua refuses. When Clive turns his attention back to Harry, he forces an engagement between Harry and Ellen. Joshua tells Clive about the sexual tension between Ellen and Betty but Clive refuses to believe it and enraged dismisses Joshua. “I suppose marriage would be no worse than killing Act One Scene Five - Wedding. myself.” Harry Joshua sets up a table with a traditional British white wedding cake. He sees Edward playing the with doll. He takes the doll from Edward and cuts it up. The wedding party arrives. Betty complains that she cannot find her necklace. As revenge against Joshua, Edward blames him for the theft. Harry tells Edward to be honest. Edward then pretends he was minding the necklace for his mother. He is let off. Mrs. Saunders announces that she is leaving, but before she can go, Clive kisses her, prompting a fight between Mrs. Saunders and Betty. Disgusted at Mrs. Saunders behaviour, Clive kicks her out of the house. While Ellen sobs, Harry makes a speech, claiming this is the happiest day of his life. The cut up doll is discovered, and no-one believes Edward when he again accuses Joshua. Clive proposes a toast to the happy couple. Joshua raises a gun to shoot Clive. Edward sees Joshua but does not warn Clive.

INTERVAL

Almeida Projects: Cloud Nine by Caryl Churchill 7 P

Act Two Scene One - London 1979 A London park on a winter afternoon. The characters of Victoria, l

Edward and Betty who have appeared in Act One are now 25 o years older. t

Gerry describes picking a man up for sex on the train between

Victoria and Clapham Junction. Victoria reads a book while Lin s tries to persuade her four year old, Cathy (played by a man), to

go and play. Cathy goes to grab the big bike. Lin tries to get u Vicky to stop reading and talk to her. She admires Vicky’s con-

centration and her confidence. She is a lone-mother and is des- m perate for Cathy to go to school. Lin asks Victoria to go to a film with her. Cathy runs in shooting them with a gun. Vicky remarks

that war toys have been banned in Sweden but she lets her boy, m Tommy play with them in the hope he won’t join the army. Lin reveals that her brother is serving in Northern Ireland. They

bond over their difficult relationships with their fathers. Lin asks a if Vicky has a happy marriage. Hers ended in divorce because r Tobias Menzies and James Fleet she’s a lesbian but she did manage to get custody of Cathy. Photo: Hugo Glendinning

Edward, a gardener in the park, joins them. He warns Vicky that y Betty is on her way. Lin asks Edward if he’s gay, and says that she fancies Vicky. Betty arrives and announces that she is leav- LIN I hate men. ing Clive. Betty lets Cathy play with her jewellery leaving her two children thunderstruck at the news. After Betty has gone, Lin VICTORIA You have to look at asks Betty to have sex with her. Vicky asks if it’s adultery with a it in a historical perspective in woman. terms of learnt behaviour since the industrial revolution. Act Two Scene Two - Spring in the park.

LIN I just hate the bastards. Edward’s lover, Gerry, watches him work. Edward is nervous that his boss will catch them together. They argue about their relationship. Gerry does not want to be tied down to Edward. Victoria comes to the park with Betty and her husband Martin. Betty is struggling with her life as a divorcee. She is used to hav- Gerry: I don’t want to be married. ing a man to do everything for. Martin talks about Victoria’s job offer to go to Manchester. He also talks about his desire to Edward: I do. please her sexually. He claims that he is in favour of women’s liberation and thinks Victoria is still dominated by him. Furious Gerry: Well I’m divorcing you. with Martin, Victoria seeks comfort with Lin. Lin asks her to come and live with her but Victoria dismisses the idea. They argue until Lin reveals that her brother has been killed in Belfast. They lose track of Victoria’s son Tommy. Victoria feels guilty that she has forgotten him in her anxiety about what to do about her job and marriage. Panic ensues before they find him. “There has never been a Gerry and Edward return, and Gerry breaks up with Edward woman composer of genius. because Edward acts like his wife. Vicky returns to the park to They don’t have a sense of look for Tommy’s favourite toy. Edward tells her that he likes humour. They spoil things women and would like to be one. He wonders if he’s a lesbian. for themselves with their Act Two Scene Three - A summer night in the park emotions. I can’t say I do like women very much, no.” Lin and Edward are now living together in Lin’s flat. They come Betty to Lin with Victoria to the park to hold a ceremony for a goddess of

Almeida Projects: Cloud Nine by Caryl Churchill 8 sex. Martin arrives, looking for Victoria. The others do not recog- P nise him and decide to pounce on the stranger and get him to join the orgy. Moments later, Lin’s dead brother appears to her. l The ghost has been conjured for the sex and he talks about his o experience of boredom and sexual frustration in the army. The spell broken, Lin tells Martin that Victoria is coming to live with t

her and Edward. Martin tells Vicky to tell him when she’s sober.

They leave. Gerry comes to the park. He tells the audience how he s comes to the park to pick up strangers. Edward appears from the

first half asking for sex. u

Act Two Scene Four - A summer afternoon in the park. m

Edward is arranging childcare with Martin. Martin becomes

Nicola Walker irritated because Edward is telling him how to look after his own m Photo: Hugo Glendinning son. Betty arrives. She has got a job. She shows her wages to Cathy. Betty tells Martin to be patient with Vicky and wait for her

to return from Lin and Edward’s place. When Cathy reveals that a Edward, Lin and Victoria all share a bed, Betty pretends not to understand. She takes Cathy off with Martin to get ice cream. r

Gerry arrives looking for Edward. Edward tells him he is living off y “I think Edward did try to tell the dole looking after Cathy and Tommy. Gerry does not like me once but I didn’t listen.” children but asks Edward out on a date. Edward agrees and goes Betty to Gerry to find the others. Harry appears from the first half. Gerry and Harry go to have sex.

Betty returns with ice cream and sits on the bench alone. Maud appears from Act One warning about life alone. Betty dismisses her. She tells the audience how she has recently rediscovered the art of masturbation She shares her sense of defiance against her husband and mother as well as her increasing confidence.

Victoria and Lin arrive. Betty asks to share her inheritance to buy a house they could all share. She acknowledges Victoria and Lin’s relationship. Lin is keen but Vicky doesn’t want to because mother and daughter don’t like each other.

Cathy arrives in tears and bloody. Lin is furious with Martin for not looking after her properly. Martin objects to looking after some- one else’s child and for being made to look bad. Vicky reveals that she will soon be going to Manchester for her job so all the domestic arrangements will have to change. Lin goes off to deal with thebullies. Victoria goes off to find Martin. Betty is left alone. Gerry arrives. Betty recognises him as one of Edward’s friends. She asks him round for dinner in the course of which she realis- es that he is gay. She has to confront Edward’s sexuality at last. Clive appears from Act One and laments the state of England and communist Africa. Betty ignores him. Betty from Act One arrives. Betty from Act Two and Betty from Act One embrace.

Almeida Projects: Cloud Nine by Caryl Churchill 9 Characters and doubling 10 of roles is left up to is left of roles g g n n i i l l b b u u o o d d EDWARD Betty’s 34 year old son, Vicky’s brother Lives with Gerry and later with Lin as a gardener Works Likes cooking Likes looking after children Believes he should be allowed to be effeminate and be like a wife if he wants BETTY Has left Clive and is living alone Finds life without a man terrifying Doesn’t acknowledge that Edward is gay Finds children’s tantrums difficult to deal with Grows to accept unconventional relation- ships Vicky Does not like her daughter, GERRY Edward’s lover Enjoys his freedom Likes to pick up men for casual sex Rejects Edward for being too intense but later returns to him Helps Betty to understand that Edward is gay 1979 BILL Lin’s brother, A soldier killed in Belfast Relieves his boredom in the army by looking at porn CATHY Lin’s 4 year old daughter and playing with guns Likes wearing dresses her mum to wear dresses not jeans Wants to join the Dead Hand Gang Wants each play at least two roles in the roles least two play at each

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e e aryl Churchill h h T T the individual director by the playwright. For the playwright. director by the individual has Thea Sharrock this production, of original doubling to stay with the decided also favours. Churchill Caryl roles which production. The production. by C Cloud Nine 1879

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a a , the explorer d d i i e e m m l l A A ells lies to stay out of trouble CLIVE Head of the Family Married to Betty superior to women Believes that men are Queen Believes in God, duty and service to the Thinks non-whites are inferior to whites Is loyal to his black servant Joshua Enjoys sex with Mrs Saunders Is disgusted by homosexuality BETTY Married to Clive Likes reading poetry and playing the piano Has two children Spends all day in the house with her mother, Maud and the children’s governess, Ellen Is scared of Clive’s servant Joshua Clive’s Has a secret passion for Harry Bagley, friend Believes in duty Does not like her mother Is beaten by his parents if he is naughty Is not very good at sport T Is looked after by Ellen his governess EDWARD Clive and Betty’s son. He tries to be a man like Harry but likes playing with dolls He is nine years old Hero worships Harry Bagley JOSHUA Clive’s black servant He has worked for Clive for 8 years He has saved Clive’s life and Clive has saved his He has adopted the Christian religion He lives the life of a white man and denies his connections to his tribe He tells Edward traditional stories in secret He does not respect Betty or Edward His parents are killed in the punishment raids organised by Clive He is given a gun by Clive After you have seen the production, discuss what other C combinations might be possible. How would it change the resonances between the first and second half? h Think about the affect of the gender choices and the appear- ances of characters from Act One in Act Two. a There are practical implications (eg. costume changes.) r

VICTORIA (VICKY) 1879 1979 a Clive and Betty’s daughter

She is two years old c Is looked after by her governess, Ellen

Only sees her parents a few hours a day t Is named after the Queen e Does not speak much She was born in Africa r Doesn’t like her doll s MAUD VICTORIA (VICKY) Betty’s mother Juggles working and being a wife to Has joined Betty and Clive for a visit and has never Martin and Tommy’s mother a gone home Is frustrated with her husband Always giving advice about a woman’s behaviour

Is attracted to Lin n and how to handle the servants Has been offered a high-powered job in Worships her husband’s memory Manchester Believes that men always know best Does not get on well with her mother. d Likes playing with Vicky Knows that she is more intelligent than

Thinks Ellen the governess gets above her station her husband Disapproves of modern women Does not like the heat in Africa d o ELLEN Governess to Edward and Vicky. Is in love with Betty but Betty doesn’t believe her u Likes to join in with the conversations LIN Victoria’s lover, Cathy’s mother Does not like children b Does not want to get married Swears in front of her child Beats Edward when he is naughty Left Cathy play with guns l Is married off to Harry Bagley Left her husband who beat her Teaches Joshua Christmas Carols Believes that if you enjoy something, you i

should do it n MRS SAUNDERS A weathy widow who owns her own property Owns her own horse g Doesn’t like Clive, but does like having sex with him Opposes cruel punishments for the tribes Is not afraid to challenge the men’s opinion Refuses to marry Harry Bagley

HARRY BAGLEY An explorer who spends most of his time on a river MARTIN Has sexual relations with men, women Victoria’s husband, Tommy’s fathe. and children, black or white Tries hard to understand what his wife Is interested in the welfare of the native wants peoples Has relationships with other women Is ashamed of his sexual urges outside of marriage Does magic tricks Feels excluded Is worshipped by Edward and manipulated Is writing a book about women by him Is forced by Clive to marry Ellen

Almeida Projects: Cloud Nine by Caryl Churchill 11 Caryl Churchill 12 ; . . Hotel This is a ; ; Top Girls loud Nine ; C (with David Lan). Light Shining in Blue Heart ; , Antony Sher and Jane Vinegar Tom without that three weeks ; Traps ony Rohr The Skriker ; Drunk Enough to Say I Love You? ; ; Cloud Nine Lives of the Great Poisoners A Mouthful of Birds , Owners Fen ; A Number Mad Forest ; ; was written in 1978 for Joint Stock. ower room. The actors at the workshop were Julie ower room. The actors at the workshop Far Away ; was first performed in London at the Almeida Theatre. aryl Churchill ood. Dave Hill and Jane Wood were unable to be in the play, ood. Dave Hill and Jane Wood ersonal particulars, and the play was eventually ersonal particulars, lay. lay. Buckinghamshire Chair Other plays include: Music theatre includes: Cloud Nine Fen Serious Money in the T Other plays for Joint Stock include: Joint Stock Theatre Group, started by Bill Gaskill and Joint Stock Theatre had developed a way of a few years earlier, Max Stafford-Clark was a workshop period of research, working in which there and talk, in which the group exercises, improvisations know little about and explored some subject they might at first pressure to think what their own relationship to it, without any writer then went off for kind of play might come out of it. The probably which would a few weeks to think of and write a play, of the six weeks still be being rewritten in the first weeks involved the actors and rehearsal. It was a way of working that to a play that has director far more than when they come already been know anything about it, conceived and completed before they in decisions about and the whole company was involved in a way I haven’t budgets, tours and where they were heading, were affected by met since; the performances and productions that involvement and commitment. I wouldn’t have written William Hayman, Dave Hill, Jim Hooper, Carole Covington, Hoyland, Miriam Margolyes, T An introduction from the writer from the An introduction just up the autumn of 1978, and years ago, in the Nearly thirty room at the in a rehearsal the Almeida Theatre, road from a direc- actors, a writer and nine in Canonbury, Theatre Tower result in a they hoped would do some work that tor met to p “sexual politics,” a large and The starting point was of sounding topic, though of course full alarmingly abstract p W so we ended up with seven actors. The director was Max Stafford-Clark, to whom so many of us owe so much. Churchill Caryl Bibliography: Churchil Selected Caryl by C Cloud Nine

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l l y y r r a a C C Photo: Marc Brenner Thea Sharrock 13 oyage alshe aryl Churchill’s Top Girls at aryl Churchill’s Top , they completely believe the ejas Verdes for The Gate where she was ejas Verdes rust’s Young Director of the Year Award 2000. Award Director of the Year rust’s Young ather which transferred from the Donmar Warehouse aryl Churchill by C ou have to have enough of a vision so that, if anyone comes to ou have to have enough of a vision so Battersea Arts Centre as the recipient of the James Menzies- Battersea Arts Centre Kitchin Memorial T to Wyndham's Theatre and Heroes also at Wyndham’s Theatre, as well as Private Lives, Don Juan and Blithe Spirit for Bath Theatre Royal and T Artistic Director. Thea Sharrock previously directed C Round My F Thea Sharrock has most recently directed Peter Shaffer’s Equus at the Gielgud Theatre. Her other theatre credits include A V A word from the director director from the A word Sharrock cites: “A for directing, Thea the skills needed Describing with actors. when you’re dealing sense of diplomacy level headed your ideas. order to stick by and brave, in need to be calm You to under- because you need be a bit of a shrink also got to You’ve to portray trying to get someone the character you’re stand both you’ve in order to get them to portray it. And and also the actors, no wars dollop of ‘It’s only a play’. There are got to have a great that any- It’s alright if it’s not the best thing being won or lost. done our best.” as long as we’ve one’s seen ever, I sit in the around now. turn glamour, “If you’re in it for the of it rooms laughing about the glamour dreariest of rehearsals all.” “The a director needs three things. First: According to Sharrock, have because they are your best possible creative team you can the physical world that allies and the people who will be creating says. your actors are going to be part of,” she artistic director of the Second, a good relationship with the to for both help if you need theatre. “They’re the people you look it’s their building and they it or constructive criticism because as you do.” care as much about the process and result rehearsing actors. “My main responsibility is working and Finally, only knows their lines but with actors on set so that everyone not And that doesn’t happen speaks them as if they were the person. overnight.” “Y the most exciting part is you, you can give them direction. But made and you start when an actor comes with some decisions so that when It’s about making it believable that journey together. people come to see a show performance. If they don’t, it’s as much my responsibility as it is the actors. That’s what I’m there for.” succeed in the industry? “It’s about the right combination of To talent, luck and perseverance,” she says. “If you have that, and want it badly enough, you’ll succeed. If you don’t, you probably won’t.” Extracts from an interview by Barbara W Cloud Nine

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a a e e h h T T Photo: Marc Brenner T Cloud Nine is a controversial play in many ways.

Caryl Churchill gives her characters beliefs and ideas which may be shocking or provocative. a

Have a look at these quotations. How many do you agree with? s Can you work out which character might say each line? Try filling in the right hand column. k

Line: Said by: -

“Women can be treacherous and evil. They are darker and more eg.) A man? Clive?

dangerous than men.” i d “Does everybody hate their mother?” e

“You must never let the boys at school know you like dolls. Never, a Never. No one will talk to you, you won’t be on the cricket team, s you won’t grow up to be a man like your papa.”

“Their people are not my people. I do not visit my people.”

“You have to learn to be patient. I am patient. My mama was very patient.”

“ There has never been a woman composer of genius. They don’t have a sense of humour. They spoil things for themselves with their emotions. I can’t say I do like women very much, no.”

“I don’t want children. I don’t like children.”

“You must do what madam says, just do what she says and don’t answer back. You know your place, Joshua. I don’t have to say any more.”

“You should always respect and love me, Edward, not for myself, I may not deserve it, but as I respected and loved my own father, because he was my father. Through our father we love our Queen and our God.”

“Friendship between men is a fine thing. It is the noblest form of relationship.”

“If I shot you every British man and woman would applaud me.”

“The tribes are constantly at war, if the term is not too grand to grace their squabbles.”

“Children are always wrong about their parents.”

Almeida Projects: Cloud Nine by Caryl Churchill 14 Design 15 . This N N O O I I T T A A T T N N E E S S E E R R P P

, Peter McKintosh’s design allows the audience to X X O O B B e do have an area under the stage (substage) where e do have an area under the stage (substage)

L L E E aryl Churchill D D Cloud Nine O O by C M M At his model presentation to the cast on the first day of rehearsal, Peter explains that he has tried to keep the set simple, and give the design a spirit of ‘play’. It should encourage the actors to be playful, and the audience to take leaps of imagination. The triangular wooden structure represents what a child might draw when thinking about a perfect house. Caryl Churchill points out that the large over-sized windows and doors on the model contribute to this feeling of a child’s perspective on the world. see the brick back wall of the theatre, which has been deliberately echoed in this design, by creating a the same effect round the side walls to create artifical wings. Whilst you watch how the space is used. notice the show, The Almeida is a “found space”, and was not originally built as a The Almeida is a “found space”, and was theatre. ingenuity because there Designing for our theatre requires great (wings), nor is there a fly is no conventional backstage space big pieces of scenery tower to allow us to lower and raise means each designer has to choose whether to reveal the means each designer has to choose whether into a conventional theatre building as it was, or to transform it space. W props are kept and where actors exit to and enter from, where can also cut holes in the quick costume changes take place. We floor for trap doors to raise and lower set items. For Cloud Nine

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H H e e T T The model box is a scaled down 1:25 version of what the set will look like in the theatre. This is created mainly for use by the production team, the setbuilders and painters, and the lighting designer as a reference. It is also useful for the actors and director when thinking about how to stage the production. h h hoto: Lara Platman T T P Design 16 . The cyclorama at the back will show a vast African sky . The cyclorama at the back will show aryl Churchill by C The set should act as a playground for the characters. In the first The set should act as a playground for suggest both inside and half, the wooden disc-shaped floor can a concealed opening out. Entrances are at either side, and through in the floor in Act One, and reflect the changing seasons in Act Two. Director Thea Sharrock adds that creating a ‘sense of the outdoors’ is very important in the design. Although many scenes take place indoors, the African sky is so huge and vast, that it is something you can’t get away from. A sense of great expanse also means that the actors can run right round the back of the set during the game of hide and seek in Act One. The challenge for the design is to create lots of ways for two scenes to take place at the same time. Many scenes in the play overlap, so characters need to be onstage but not in danger of bumping in to characters from a different scene. Cloud Nine

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u u by C h h r r o o o o Y f W Y f W is very different, and they may compromise. A character like Mrs Saunders probably doesn’t wear any knickers. The physicality of putting on a costume is important – as a designer you need to think about the comfort of the person wearing the costume, and how important that is to their performance. As a dresser I’ve learned a lot about how people feel in their clothers. of the also have to be true to the historical context You production. The detail of how a corset or collar makes the actor feel helps with characterisation and overall performance. skirt, then corset, then any kind of slip, then camisole over the top. It’s quite complicated. Most of the Victorians would have worn underwear I’ve come to realise that dressing like designing is a fine art. The two things help each other. From dressing I’ve learnt about dressing From The two things help each other. order things need to come the way you put on clothes, and what in. With the Victorian costumes in Act One, you have to do under Costume (The dresser) Damigos Charlie all the actors are of making sure I am in charge As a dresser, I help them with the right times and right clothes at wearing the costume. any fast changes of all items are preset in their I make sure that Before the show, go round doing checks. places off-stage, and the cast before the show starts) I help At the quarter (20 minutes to general, more men than women tend into their corsets. In question a particular item of costume or complain about wearing in I explain, they then start to get interested the need for it. Once believe people had to wear and say things like “I can’t the history, these things!” a character might have to get dressed onstage – example, For sure they’re not wearing if it’s a period person, I have to make modern underwear. a character has to appear in Then there are quick changes – when that time has passed or if a different costume - usually to show Cloud Nine, Sophie Stanton they are playing a different person. In - Ellen and Mrs Saunders. plays two characters in the first half her character Sometimes we have seconds to change it a dance. Eventually that quick, the routine becomes like becomes a subconscious thing. Cloud Nine

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by C k k k k e e e e e e e e hea Sharrock is a very practical director. From day two of day From director. is a very practical hea Sharrock W W W W ful for thinking about how their characters would behave in this ful for thinking about how their characters while various characters context. Bo as Betty becomes hysterical, take the game extremely seriously warfare. are working on Act One, and focusing on the Picnic scene We which is the most complicated. It is full of entrances and exits, and snap secret moments where the characters confide in each other and then are interrupted. This is tricky to stage. All the characters in the play have key relationships with other characters which affect the way they behave. They may do very different things in public from in private. F Bagley behaves in one way in front of Clive and the whole family different way when he is alone with Edward. There is a very different playing style between Act One and Act have is more subtle in style than Act One. We Act Two Two. should not be a garish recreation of the decided that Act Two 1970s (purple flares and headbands) but should not feel like the are very situation and the politics in Act Two The present day. specific to the late 1970s. ty much all the time. part of rehearsals for Games and warm ups are an important this play chair games, the actors ‘grandmother’s footsteps’ and various their Victorian characters. play a version of ‘stuck in the mud’ in laughter As well as causing a great amount of Cloud Nine Assistant Director Kate Budgen keeps a rehearsal diary to help diary keeps a rehearsal Budgen Kate Director Assistant it. from snapshots are some Here on the process. reflect T Often on their feet, and performing. the actors are up rehearsals, will be spent of the first week process, the whole in a rehearsal This the play before anyone gets up. round a table, discussing a more practical approach. play seems to require script in hand, and then talk run Act Two, On day two the actors a tougher nut to crack – it finding Act Two about it. They are and much closer to home. seems more truthful Scarlett Mackmin, and Director, On day three Movement get the actors dancing and Stephen Warbeck, Musical Director, singing. corsets in rehearsal Thea encourages the cast all to try wearing which the Victorian to get used to the restriction and restraint Act One characters would be used to. in one of her intensive 15 On day five, Scarlett leads the actors all (male and female, minute physical warm ups, before they in Act One) put corsets except Nicola who plays the boy Edward on to look at the start of Act One. Cloud Nine

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a a d d i i e e m m l l A A Almeida Projects 24 or contact or by calling [email protected] www.almeida.co.uk/projects . oundation aryl Churchill exchange between the Almeida and its local community. community partners, promoting innovative creative theatre artists in the UK and brings them together with our Since our launch in 2003, we have worked with over 5,000 Since our launch in 2003, we have worked across Islington people from schools and other organisations on the Almeida’s plays on a diverse range of projects based and operas. also run introductory workshops for students from across We the UK visiting our unique theatre building. please visit the more information about Almeida Projects, For Almeida’s website, us directly by emailing 020 7288 4916 Almeida Projects draws on the expertise of some of the best Almeida Projects is supported by: Europe Principal Supporter: The Lehman Brothers Foundation Foundation Sir John Cass’s Charitable Trust Raymond Cazalet The Goldsmith’s Company of Grocers Company The Worshipful The Paul Hamlyn Foundation The Kreitman F The Mackintosh Foundation Foundation The Wates The Peter Harrison Foundation by C Cloud Nine

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ompiled by Beckie Mills t t rojects photography by Bridget Jones. roduction/R u u Cloud Nine at the C and Rebecca Manson Jones Cloud Nine Brenner and Hugo Glendinning. Almeida Brenner and Hugo Glendinning. P No. 282167. The Almeida Theatre Company Almeida The No. 282167. Almeida Street, London N1 1TA Limited, is authorised in Pack Use of this Projects work at the connection with the Projects Theatre. Almeida Any further use in any form must be approved by the creators. The copyright of all original material remains with the creators. Script extracts from hoto: Bridget Jones Bridget hoto: 8th December 2007. is cor- Pack The information in this Projects All rect at the time of going to Press. Theatre, Almeida rights reserved. © Published The Churchill McKintosh Design images by Peter P O O P