CLOUD
NINE
by
Caryl Churchill
Directed
by Greg Leaming
Florida
State University/Asolo Conservatory
FSU
Center for the Performing ArtsÔ Cook Theatre
5555 N.
Tamiami Tr., Sarsota, 941-351-8000
April 3
to 22, 2012
Reviewed
by Marie J. Kilker
In this inventive, quite
postmodern mixture of genres as well as settings, dates, and sexual identities
of characters, FSU/Asolo Conservatory for Actor Training students reach a
ÒCloud NineÒ---that is, a blissful production. Act I opens on a tableau of a
British aristocratic household against a silhouetted African sky near the end
of the 1890s. Family boss Clive (imposing, stiff-upper-lipped Joseph
McGranaghan) leads a sung tribute to Queen and country. HeÕs been busy managing
natives and having upstarts flogged. Meanwhile his black servant Joshua (played
by sour-faced white Zak Wilson) has been rude to wife Betty (Jesse Dornan,
hilariously huge and cheery-teary dependent), whoÕs attracted to the brave
explorer Harry. HeÕs welcomed as a visitor by Clive, whoÕs yet to know of
HarryÕs sexual advances to Betty and adventures with son Edward (Lindsay
Tornquist, straddling gay with pitiable need to seem straight for daddy). Clive
hypocritically proceeds to pursue sex with Mrs. Saunders (strong Erin Whitney),
a widow seeking protection from the natives. Betty, confused by her attraction
to Harry, is unaware that Ellen, nanny to her daughter Victoria (a rag doll),
is in love with her. (Kelly Campbell is very funny, either harshly proclaiming
Edward likes to play with dolls, or silent through clenched teeth, or
announcing her emotions.) Through it all, Maud looks on and tries to advise as
the traditional grandmother (stable Sarah Brown).
By the end of Act I, CliveÕs
revealed to Betty he knows about her and Harry, made a speech about resisting
lust (despite his own failing), and forced a marriage on Harry. The brideÕs a
surprise. Natives are restless about British troopsÔ latest killings, which
include JoshuaÕs parents. He shows up at the end of a racous wedding party with
a gun. Bang!
Act II begins 100 years later
(or 1980, when the play appeared onstage).The characters are appropriately
dressed for the time. But they are only 25 years older, as they have changed or
matured by just that much. The minimal set is of a park. Action extends through
winter into spring, then early and late summer. The style is naturalistic and
thereÕs but one example of gender-bending: Zak Wilson plays a bratty young girl
named Cathy, daughter of Lin (likeable Sarah Brown), an assured lesbian who
lacks assurance in her mothering. Small wonder, since while sheÕs trying to
make out with Lindsay TorquistÕs growing brash, potty-mouthed Victoria, CathyÕs
off being besieged by a gang. VictoriaÕs son Tommy is unseen, as she seems to
wish husband Martin (Francisco Rodriguez, properly puzzled) would be. Edward
(Joseph McGranaghan) is now a nondescript gardner. Changed, Betty is the most
interesting character (Erin Whitney, calm, collected). Having discovered
satisfying self-sex, sheÕs come to terms with liberating not only herself but
letting her family (which in a way will include LinÕs) do the same. How
successful are they in also adapting to a new Britain, no longer a colonizer
but still fighting abroad? Their previous selves drop in to allow a comparison.
Audience members I talked to
generally agreed (as do I) that the first act comes off better than the second.
I suspect the reasons are that the author is more original and adept in many
dimensions of character, dialogue, and style in the Victorian segment. ItÕs
often hilarious, with many scenes that move quickly. (Director Greg Leaming always
seems to score best with presenting farce, the broader the better, and satire.)
Mainly, I think, ChurchillÕs points about the need for change from previous
political and social, particularly sexual, attitudes and actions have mostly
been met. Since her play first appeared, sexual repression has generally given
way to freedom. Gay identities and sexual alliances have reached majority
acceptance. Colonialism is widely desired to be eschewed, even under the guise
of advisement, as are foreign wars. The nuclear family generally replaces the
Victorian type. Racism still exists but is not condoned. ThereÕs lesser need
for the corrective sting of satire in the behaviors of Act II as of Act I. Yet
the playÔs modern park is not a garden of Eden, populated completely by loving,
creative, attractive people who also feel self-fulfilled. In ChurchillÕs
mirror, we still may see too much of the opposite, as well as how the enemies
hiding or outside are of our own family and possibly even us.
The production is dedicated
to its fine set and lighting designer Rick Cannon, who is retiring. He has
served FSU/Asolo Conservatory for almost the period covered by the play. Doing
superb work alongside him, David Covach designed memorable costumes; Michelle
Hart, hair and wigs; Steven Lemke, sound. Patricia Delorey oversaw speech,
especially accents in Act I, well. Margaret Eginton is responsible for coaching
the correct movement and Benjamin Boucvalt for fight direction. Erin MacDonald
stage managed the 2 hour, 15 minutes of the ConservatoryÕs best show of its
year.