Caryl Churchill’s career is marked by a distinctive evolution through various phases, each heralding a new dimension of her work and influence. Her early years, from 1958 to 1972, were characterized by the creation of radio dramas, where she began to hone her craft. Transitioning into her second phase (1972-1977), Churchill concentrated on crafting plays for the London stage, establishing herself as a formidable voice in drama without the aid of collaborative efforts. However, it was during her third phase that she embarked on a journey that would elevate her to international acclaim.

In 1978, Churchill began collaborating with innovative theater collectives, most notably with Max Stafford-Clark and Joint Stock. This partnership significantly impacted her writing style and thematic explorations. It was during this time that Cloud Nine was born out of a three-week workshop focusing on sexual politics. Here, Churchill, alongside her fellow collaborators, delved into the exploration of stereotypes and role reversals, engaging in discussions, readings, and improvisational exercises. This process informed the play’s narrative, which draws parallels between colonialism and sexual repression, echoing Jean Genet’s concept of the "colonial or feminine mentality of interiorized repression."

Churchill’s oeuvre has consistently melded feminism with socialist ideologies. Her initial radio play, The Ants (1962), used insects as metaphors for individuals suppressed within capitalistic society. As her career progressed, plays like Owners (1972) and Vinegar Tom (1976) further highlighted the intersections of sexism and economic injustice. She frequently employed historical contexts to reveal the persistent roots of contemporary issues, a thematic device evident in later works such as Mad Forest (1990) and Striker (1993). These plays illustrate the historical depth underpinning modern societal inequities, while Blue Heart (1997) and Far Away (2000) incorporate tension and absurdism to amplify her messages.

Cloud Nine, first staged in England in 1979, was pivotal in cementing Churchill’s status as a leading playwright. The play's reception, however, was mixed among critics. Robert Cushman in the Observer lauded the play’s second act as a highlight of the theatrical year, while John Barber of the Daily Telegraph praised its ability to weave complex human instincts into societal norms. In contrast, J. C. Trewin of the Birmingham Post critiqued the play for being "superfluous," dismissing its satirical view of the British Empire as clichéd and describing the second act as a "muddled fantasy." Peter Jenkins echoed this critique, suggesting the play risked devolving into disjointed performances or "cabaret turns."

When Cloud Nine crossed the Atlantic to New York in 1981, it was met with resounding praise. Rex Reed of the New York Times celebrated it as "the most rewarding surprise of the theatrical season," while Clive Barnes of the New York Post extolled its exploration of themes such as kindness and love. The play's enduring impact is evident as it continues to be a focal point of scholarly analysis, securing its place in the annals of British theater history.