Act II Edward, played by a man, faces perhaps the most complex quest for identity. He slowly grows into his role as a homosexual, but even very near the end of the play, still struggles to find a way to be the kind of homosexual that he wants to be. At one point, he even tells Victoria that he wishes to be a woman. Gerry denies him the chance to play the role of wife in a homosexual …
Analysis. Each production of Cloud 9 has the liberty to choose its own character doublings, which can and does result in drastically different interpretations of the second act. Perhaps the greatest of these decisions is who will play Cathy. Logistically, there are really only two possibilities: either Clive or Joshua can become Cathy.
Scene 3. On a summer night, Victoria, Lin and Edward come to the park drunk. They begin a sort of séance, gleaned from a book of Victoria's, calling on a sex goddess to join them in ceremony. Lin claims to see the goddess and yells "Look out!" in an attempt to frighten Victoria and Edward. Victoria starts calling to the goddess again ...
Edward makes an enemy of the Church by stripping the Bishop of Coventry of his property and power. After the nobles relent and allow Gaveston back from the exile they pushed him into, Edward foolishly ignores the requirements of his rule …
The discussion of family leads to Lin's revelation that she was married to an abusive husband, but is now a lesbian. Victoria relates that her marriage to Martin is "Up and down. You know. Very well." Edward (played by a different actor) enters to tell Victoria that their mother Betty is walking around the park.
When Betty catches him with a doll for the third time, she tells him, "You must never let the boys at school know you like dolls. Never, never" (1.3. 65-66). When Edward refuses to stop playing with the doll, Clive also smacks him in the head (1.4.
Clive. The first act's protagonist, Clive is the model British aristocrat, at least at first glance. He puts his duty to country above all else and expects those that depend on him to behave according to his will.
On a summer night, Victoria, Lin and Edward come to the park drunk. They begin a sort of séance, gleaned from a book of Victoria's, calling on a sex goddess to join them in ceremony. Lin claims to see the goddess and yells "Look out!" in an attempt to frighten Victoria and Edward.
Clive makes passionate advances to Mrs Saunders, his wife Betty fancies Harry, who secretly has sex with Joshua, and later with Clive's son, Edward. The governess Ellen, who reveals herself to be a lesbian, is forced into marriage with Harry after his sexuality is discovered and condemned by Clive.
Churchill never instructs Clive and Betty to embrace, perhaps suggesting the superficiality of their relationship. At the end of the play, the two Bettys embrace, showing that Betty has finally grown to love herself.
Kiersey ClemonsSkye Sailor is the main antagonist of Cloud 9. Skye is seen as a competitive girl with a sweet side. She is portrayed by Kiersey Clemons....Skye SailorEnemiesKayla MorganLikesSnowboarding, FashionProduction InformationPortrayed byKiersey Clemons12 more rows
Will CloudWill Cloud (Kayla's Love Interest/Boyfriend) Both are the ones who interact the most. Will helps Kayla to win but Kayla feels too pressured for him but later helps him. They both trust each other a lot and work at the kennel. Kayla is too high strung for Will but tries to show her the Cloud 9.
Between the acts, the characters have only aged 25 years and have been freed from their sexual repression, as well as from the Empire. In Cloud 9, adults play children; men and women play opposite genders; and a white man plays a black man.
a feeling of well-being or elationDefinition of cloud nine : a feeling of well-being or elation —usually used with on still on cloud nine weeks after winning the championship. Synonyms & Antonyms Example Sentences Learn More About cloud nine.
A snowboarder takes lessons from a former champion, inspiring him to reach for the stars once again. Follows Kayla, a prima donna snowboarder who was just unceremoniously dropped from her team and forced to train with Will, a former snowboarding champion who's struggling after a career-ending wipe-out.
Saunders. Harry, an explorer, visits the family between expeditions. Mrs. Saunders, a widow, arrives exhausted, seeking protection from the natives.
Piers Gaveston. Gaveston is Edward II's companion and (almost certainly) lover. The two men have known each other for some time by the time the play opens, but had recently been separated by Edward's father, the former… read analysis of Piers Gaveston.
Mortimer Junior. Mortimer Junior is a powerful member of the English nobility and, eventually, the lead challenger to Edward II's rule. As Marlowe states outright in the play's full title, Mortimer is extremely “proud,” and he views… read analysis of Mortimer Junior.
Isabella is a daughter of the King of France, Edward II's wife, and mother to his son, Prince Edward . She is also one of the play's most ambiguous characters. The historical Isabella was a… read analysis of Isabella
Kent is Edward II's brother, and thus spends much of the play torn between loyalty to his family and loyalty to England. Kent initially condemns the English nobles for voicing their dissatisfaction with Edward and… read analysis of Edmund, Earl of Kent
Prince Edward/Edward III. The son of Edward II and Isabella. Prince Edward is absent for the first half of the play, which makes sense given his young age: the real Edward III was fourteen at the time… read analysis of Prince Edward/Edward III.
Other than Mortimer Junior, Lancaster is perhaps the most outspoken of the lords who oppose Gaveston's relationship with Edward. He repeatedly warns the king, for instance, that his favoritism places his rule in… read analysis of The Earl of Lancaster.
The Earl of Warwick is one of the nobles who opposes Gaveston's position at court and (ultimately) the rule of Edward himself. Edward describes Warwick as having "silver hairs," and suggests at one point that… read analysis of Guy, Earl of Warwick
On a summer night, Victoria, Lin and Edward come to the park drunk. They begin a sort of séance, gleaned from a book of Victoria's, calling on a sex goddess to join them in ceremony. Lin claims to see the goddess and yells "Look out!" in an attempt to frighten Victoria and Edward.
Back in the park in late summer, Cathy comes on with another poem about "true love." Edward and Martin follow. Martin will be babysitting Cathy and Tommy, so Edward is preparing him. Betty comes in rambling about her new job as a doctor's assistant.
Clive is a British colonial administrator and father to a family of four, whom he takes with him to a British colony in Africa while there for work. His entire identity is centered around Queen Victoria, England, and his work in colonial establishments. Clive represents patriarchal authority coupled with unchecked imperial pursuits – he is overbearing, domineering, and dismissive of women. Additionally, his position in Africa and his racism fosters a perception of himself as ‘father to the natives’ as well. He adheres strongly to traditional female roles and ideals of heterosexuality, disapproving of Edward’s preference for dolls and asking Betty if she’s had any fits of hysteria. He is extremely disgusted when he learns that Harry is a homosexual and immediately starts to ‘fix’ the situation. Though he frequently comments on the importance of his family, Clive is a hypocrite when he becomes upset with Betty for kissing Harry while having an affair with Mrs. Saunders.
Cathy is Lin's daughter, a five-year-old girl who is played by a man and portrayed as a somewhat abnormal child. She knows many inappropriate words and phrases, likely mostly due to Lin’s unrestricted swearing in front of her, and has no qualms about uttering them in front of her mother or other adults. Cathy is difficult, willful, and aggressive, and her outbursts are motivated in part from fear that Lin will leave her. Like Lin, Cathy also has more tender wishes displayed in her wearing a dress after The Dead Hand Gang calls her a boy for wearing jeans.
Betty is married to Clive and mother to Edward and Victoria. Act I Betty is played by a man, representing the male ideal of what femininity and womanhood should look like. Betty thusly spends much of Act I as indecisive and suppressed, completely dependent on Clive to give her direction and purpose in life. However, her desire for a relationship with Harry indicates her desire for and capability to live a life of her own. Yet she remains restricted by her sense of duty to her family and to Clive. Her reliance on men and to the old way of life has persisted into Act II and her old age as she remarks on the quality of men’s company versus women’s, but her newfound independence in her separation from Clive marks the extent of her growth from Act I. She often speaks through lengthy lectures and unwanted commentary, and nervously courts her independence which she finds both exciting and frightening. Where romance initiated Betty’s liberation in Act I, her sexual renewal solidifies it in Act II as masturbation gives her the strength to break away from the hold of Clive and Maud.
Ellen works as the governess to Edward and Victoria in Act I but she does not truly care for them. She is in love with Betty and confesses her feelings multiple times, always to be rewarded with Betty’s indifferent dismissal. Ellen is loyal to Betty alone, not the whole family, and even tells Betty that she hates children and doesn’t want a husband. Similar to Harry, Ellen would not be able to sustain herself unless she fulfilled her societal roles of wife and mother, and therefore marries Harry while remaining unhappy.
Maud is Victoria's mother and serves as the female counterpart to Clive’s traditionalism. She encourages women to behave as she does and warns of the consequences of female independent agency, represented by Mrs. Saunders. Maud holds strongly to the notion that women are meant to serve and support their husbands by looking after the home, not by enjoying themselves or even finding pleasure in domestic life. Maud spends much time often insisting that she knows best whenever characters do not uphold her expectations. She is well-meaning in her roles as mother and grandmother, but her cherished values seem dated and obsolete since no one adheres to her guidance.