Clive serves as a British colonial administrator in Africa, embodying the quintessential traits of a Victorian figure. He is a caricature of colonial authority, humorously yet painfully illustrating the era's social issues. Clive frequently invokes his duty to God, the British Empire, the queen, and his family to justify his actions. His narrow-mindedness and hypocrisy are evident, particularly in his oblivion to the injustices he inflicts on native Africans. Clive struggles to maintain control over his family and the natives, which reaches a climax at the end of act 1 when his son Edward silently observes Joshua, their native servant, raising a rifle to shoot Clive. Although Clive survives this attempt, he reappears at the end of act 2, lamenting the decline of the British Empire. His rigid Victorian values, which parallel the sexual repression explored in the 1970s setting of act 2, are further highlighted by his condemnation of homosexuality despite his own indiscretions with Mrs. Saunders.

Betty, Clive’s wife, is initially portrayed by a man in act 1 to emphasize her desire to conform to male expectations. She embodies the ideal Victorian wife, patiently awaiting direction from Clive and other men. Her internal life, however, is one of monotony, as she secretly harbors a passion for Harry Bagley, which she is forced to repress upon Clive's insistence. In act 2, Betty, now portrayed by a woman, has left Clive and begins to understand herself better. Working as a receptionist, she explores her own sexuality and learns to live independently of male influence. By the play’s end, Betty from act 1 reappears and embraces the Betty of act 2, symbolizing her journey towards self-realization and indicating a future of personal reconciliation.

Victoria, portrayed by a dummy in act 1 to symbolize her parents' Victorian expectations, evolves significantly by act 2. As a twenty-seven-year-old woman, she navigates the feminist landscape of the 1970s, balancing career, marriage, and new relationships. Her transition from calling her mother "Mummy" to "Betty" marks her growing independence. A mother to Tommy and married to Martin, Victoria is an intellectual, contemplating a teaching role that may distance her from her husband. Her character arc includes asserting independence from Martin and exploring bisexuality through an affair with Lin. Despite initial mother-daughter friction, Victoria's journey towards self-assertion is marked by an embrace of her identity.

Joshua, Clive’s black servant, is portrayed by a white man to highlight his attempt to align with white expectations. He distances himself from his fellow natives and serves as Clive’s informant, reporting household indiscretions. Though he is allowed minor rebellions, such as impertinence to Betty, he must remain subservient to Clive. Joshua’s defining moment occurs at the end of act 1 when he raises a rifle against Clive, symbolizing an emerging native resistance to British rule. Despite internalizing colonizer values, despising his own tribe, and justifying the British killing of his parents, Joshua's underlying resentment is evident through his verbal insults towards Betty.

Edward, Clive’s nine-year-old son, played in act 1 by a woman to highlight Clive’s effort “to impose traditional male behavior on him.” Edward is a lying, sneaking, sniveling child who blames others for his failures and escapes punishment for misbehavior by mouthing all the manly platitudes in which Clive believes. Edward is the product of Victorian colonialism, but his incipient homosexuality indicates that he, too, is about to break out of control. In act 2, Edward, now thirty-four years old, works as a gardener in England. His bisexuality indicates his general uneasiness in the world, but he has grown into a mature appreciation of home, children, and settled relationships.

Harry Bagley, an explorer and Clive’s...

Mrs. Saunders, a widow who has an affair with Clive, is portrayed by the same actress as Ellen to highlight similarities between the characters. She embodies the enigma and allure of Africa to Clive, with her independence and intellectual freedom prefiguring the emancipation of Victorian women. During local unrest, she seeks refuge with Clive, tolerating his advances while exercising her sexual autonomy.

Martin, Victoria’s husband in act 2, views himself as progressive and supportive of his liberated wife. Nonetheless, he occasionally reverts to dominating behaviors. A novelist writing from a woman’s perspective, Martin's frustration with Victoria’s indecisiveness exacerbates her uncertainties. His character reflects the challenges of adapting to evolving gender roles.

Lin, a working-class friend of Victoria, is a lesbian and a divorced mother who appears only in act 2. Her disdain for men contrasts with Victoria’s moderate views. Lin’s attraction to Victoria leads to a shared household with Edward, signifying newfound sexual and social liberation. Her character underscores the evolving perceptions of gender and sexuality.

Cathy, Lin’s four-year-old daughter, experiments with gender roles through her interest in rifles and dresses. Played by a man to counter the gender dynamics of Edward’s portrayal, Cathy’s character embodies the 1970s' gender role confusion. She plays with guns and dresses, navigating social perceptions and teasing at school.

Ellen, Edward’s governess, struggles to mold him as Clive wishes. Secretly in love with Betty, Ellen embodies the Victorian repression of sexual identity. Her marriage to Harry Bagley at the end of act 1 represents the societal pressures to conform, concealing her true lesbian identity for societal acceptance.

Gerry, Edward’s lover, mirrors Clive’s insensitivity towards Betty. Proud of his numerous sexual conquests, Gerry departs from their shared apartment after disputes over their relationship terms. His interactions with Betty later display a more amicable side, as they develop a friendship.

The Soldier, appearing as a ghost, is Lin’s brother, who died serving in Northern Ireland. His presence in act 2 underscores the lasting impacts of colonialism, reflecting the harsh realities faced by those involved in its legacy.

Maud, Clive’s mother-in-law, resides with the family, symbolizing an era when Victorian ideals were unchallenged. She offers Betty traditional counsel on life and relationships, reinforcing patriarchal values.