CRITICISM

Clum, John M. “‘The Work of Culture’: Cloud Nine and Sex/Gender Theory.” In Caryl Churchill: A Casebook, edited by Phyllis R. Randall, pp. 91–116. New York: Garland Publishing, 1989.

Clum studies the traditional sexual roles and varying sexual revolutions that the characters of Cloud Nine experience.

Cousin, Geraldine. “Possibilities Realized and Denied.” In Churchill: The Playwright, edited by Geraldine Cousin, pp. 82–103, 128–29. London and New York: Methuen, 1989.

Cousin examines the recurring themes of monetary greed, ownership, passage of time, ambition, and gender roles in Churchill's plays.

Diamond, Elin. “(In)Visible Bodies in Churchill's Theater.” In Making a Spectacle: Feminist Essays on Contemporary Women's Theater, edited by Linda Hart, pp. 259–81. Ann Arbor: University of Michigan Press, 1989.

Diamond examines the various emotions and ideals that the human body represents in the plays of Caryl Churchill.

Harding, James M. “Cloud Cover: (Re)Dressing Desire and Comfortable Subversions in Caryl Churchill's Cloud Nine.” Publications of the Modern Language Association 113, no. 2 (March 1998): 258–71.

Harding argues that although Churchill's Cloud Nine appears to celebrate a person's right to practice their sexual preference, the play actually uses homosexuality to fortify heterosexual behaviors.

Heuvel, Michael Vanden. “Performing Gender(s).” Contemporary Literature 35, no. 4 (winter 1994): 804–813.

Heuvel explores the analysis of gender in the plays of Harold Pinter, Eugene O'Neill, Sam Shepard, and Caryl Churchill, as presented in studies by Victor L. Cahn, Ann C. Hall, and Amelia Howe Kritzer.

Kintz, Linda. “Performing Capital in Caryl Churchill's Serious Money.” Theatre Journal 51, no. 3 (October 1999): 251–65.

Kintz examines the gender-based, sexual, cultural, political, and postmodernist aspects of the economic society depicted in Churchill's Serious Money.

Merrill, Lisa. “Monsters and Heroines: Caryl Churchill's Women.” In Caryl Churchill: A Casebook, edited by Phyllis R. Randall, pp. 71–89. New York: Garland Publishing, 1989.

Merrill contemplates Churchill's socialist-feminist ideology in Owners, Vinegar Tom, and Top Girls.

Oliver, Edith. “Clouds Seven and Eight.” New Yorker LXIX, no. 9 (19 April 1993): 118.

Oliver praises Churchill's writing and the performance of cast members in both Traps and Owners.

Quigley, Austin E. “Stereotype and Prototype: Character in the Plays of Caryl Churchill.” In Feminine Focus: The New Women Playwrights, edited by Enoch Brater, pp. 25–52. New York: Oxford University Press, 1989.

Quigley discusses and praises Churchill's tendency to present political, economic, and gender-based issues in her plays without “solving” the problems these issues introduce.

Wilson, Ann. “Hauntings: Ghosts and the Limits of Realism in Cloud Nine and Fen by Caryl Churchill.” In Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage, edited by Nicole Boireau, pp. 152–67. New York: St. Martin's Press, 1997.

Wilson studies Churchill's use of ghosts to give voice to the characters' suppressed ideals and sentiments in Fen and Cloud Nine.

Additional coverage of Churchill's life and career is contained in the following sources published by the Gale Group: British Writers Supplement, Vol. 4; Contemporary Authors, Vol. 102; Contemporary Authors New Revision Series, Vols. 22, 46; Contemporary British Dramatists; Contemporary Women Dramatists; Dictionary of Literary Biography, Vol. 13; Drama Criticism, Vol. 5; Drama for Students, Vol. 12; Feminist Writers; Major 20th-Century Writers, Ed. 1; Literature Resource Center; and Reference Guide to English Literature.