Exploring Rigid Gender Roles and Identity in "Cloud Nine"

In Caryl Churchill's play Cloud Nine, the exploration of rigid gender roles within Western society takes center stage, examining the profound impacts these roles have on individuals. The narrative begins with the experiences of three children, each portrayed in a manner that subverts traditional gender expectations: young Edward is played by a woman, Cathy by a man, and Victoria is represented by a dummy. This unconventional casting choice illuminates the struggles inherent in conforming to societal norms.

The Struggles of Conforming to Gender Norms

Churchill's portrayal of Edward showcases a poignant struggle against gender conformity. Despite his penchant for dolls and necklaces, Edward is thrust into traditionally masculine roles—where he finds himself at odds, unable to excel in activities such as playing ball or witnessing servants being flogged. His internalization of these roles is evident even in the second act, where, despite his openness about his homosexuality, he aspires to be the "perfect wife" to his lover Gerry, whom he hopes to transform into the "perfect husband." Edward’s journey reaches a turning point when he resides with Victoria and Lin, progressively challenging and stretching the confines of prescribed roles. In an interaction with Gerry, Edward reveals his evolved perspective, stating he no longer thinks in terms of the wifely role.

Modern Dilemmas of Gender Expression

Cathy, presented as a more liberated modern child compared to the Victorian Edward, remains ensnared by societal expectations despite her upbringing. Under the care of her mother, a lesbian who advocates Cathy’s uninhibited self-expression—despite an affinity for guns—peer pressure seeps in. Cathy insists on wearing dresses to school after being mistaken for a boy, highlighting the persistent influence of societal standards.

Adult Challenges with Gender and Identity

For the adult characters, the constraints of gender roles persistently complicate their lives. Betty, the archetypal perfect wife, secretly yearns to escape her family to elope with an adventurous explorer. Her mother, Maud, embodies the societal enforcer, constantly reminding Betty of her duties. However, Betty’s journey towards self-discovery in act 2 allows her to break free from these confines, embarking on a path of sexual exploration. By candidly discussing the joys of masturbation, she repudiates the control of her mother and husband. The play culminates in an embrace between the Betty from act 1 (portrayed by a man) and the more self-aware Betty of act 2, symbolizing her acceptance and reconciliation with her identity.

Homosexuality and Societal Constraints

The theme of homosexuality in the play further complicates the navigation of gender roles. Harry Bagley, a man torn by the perception of his sexuality as sinful, attempts to conform to societal expectations of virility. This internal conflict manifests in his relationships with Edward and Joshua, and his acceptance of marriage to Ellen as a socially acceptable solution. Conversely, Ellen appears more accepting of her homosexuality, yet as a lesbian in the Victorian era, she is rendered invisible and reluctantly marries due to the lack of alternatives.

The Absurdity of Sexual Politics

In the first act, Churchill illustrates the absurdity of sexual politics where individuals limit themselves in relationships and sexual pleasure. Most characters, except Edward, are portrayed as two-dimensional, evoking minimal sympathy. The game of hide-and-seek emerges as a metaphor for the adults’ lives, depicting their attempts to conceal their realities and emotions from one another.

Colonialism and Sexual Oppression

Churchill's decision to set the first act in a colonial context draws inspiration from French playwright Jean Genet, who identified parallels between colonial and sexual oppression. This connection is exemplified in the character of Joshua, who stands alienated from...