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Shakespeare on the Cape
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They say the sun never sets on the British Empire. Just as long lasting are the effects of its Victorian sexual mores, and this can pose quite a problem. These oppositions and difficulties are the crux of Shakespeare on the Cape’s production of Cloud 9 by Caryl Churchill, playing now at The Bottling House Theater.
The play is split temporally in two halves. The first half is set in a British colony in Africa in 1880, while the latter half is set in 1980 London, although the characters have aged only 25 years. This results in some excellent double casting that allows a mother to play her own son, a son to play his own mother and a doll cast as a child to grow into womanhood. Got that? And there’s sex, too.
Clive is the philandering patriarch of the family in Africa (played by Katie Melby, who then takes a wild and hilarious turn as the hyperactive child Cathy in the second half). The structure he attempts to impose upon his family includes the expectations of a diligent wife in Betty and a masculine child in son Edward. Katy Carolina Collins tackles Edward in Africa, torn between loves, the desire to please a father, the childs’ secrets and burgeoning effeminate qualities. When we meet Edward again he is played by Ben Griessmeyer, who played the just as torn but subservient Betty in Africa. Collins returns as Betty, now trying to find her own way, and the dynamic between the two of them is a sensitive treatment of confusion, searching and love.
Amanda C. Fuller plays the grandmother Maud and the doll/child-grown-up, Victoria, who channels the imprints of colonial society as both its strictest adherent and the unwitting template in an impressive feat of duality. Coupled with Valeri Mudek, who pulls triple duty with grace and aplomb, and Elliot Eustis who lets out amoral charm as the adventurer Harry Bagley and stunted rage as the latter-day Martin, there are relationships flying in all directions, a juggling act that is totally engrossing.
There are pointed moments of satirical brilliance in the text, moments that Adam Berry delivers in both halves with scathing touch. As Joshua, the African servant to the family, he at one point sings a Christmas carol, a squeamish moment of domineering colonialism. As Gerry, his vivid descriptions of gay cruising (that were just coming to light in the hysteria of the ‘80s) have a touching and timeless quality in their lost, impersonal desire.
Under the direction of Eric Holm, the entire cast sparkles, outshining the unfortunate staging. The choices made to drape black plastic to create entrances and exits and the extraneous canvas on the playing area come across as makeshift, unaided by the lighting scheme. But as the adult Victoria exclaims during an orgy, “You can’t separate fucking from economics!” The economics of making theatre can’t stand in the way when you have this many talented actors involved in the act of creation.
Cloud 9 is running in repertory with Shakespeare on the Cape’s School for Wives, by Moliere, the two shows share many of the same cast members.
Cloud 9: Feb. 23rd, 25th, March 1st, 8th and 10th, 8pm, $18, $15 students and artists.School for Wives: Feb. 24, March 2nd and 9th, 8pm, $18, $15 students and artists.
The Bottling House Theatre is at 79 13th Ave NE (just north of Broadway and Marshall) and is host to Lamb Lays with Lion presents ExerciseEXORCISE, Friday nights through March 7th and a benefit for A Comedian’s Tragedy March 3rd.
Location Info:
The Bottling House Theatre
Artist Info: Shakespeare on the Cape
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