CLOUD 9 by Caryl ChurchillCopyright © 197, 1980, 1083 by Caryl Charl ‘AU Rights Baveroed Aurion: Profnonale and amatoure are bereby warned that CLOUD 9 is beet oa royal. is fly protected under the copy right laws of tho Ulted States of Amaviog, end ofall counties covered ‘bythe Intoratonal Copyright Union einding the Dominion of Can- ss apd the rst of tho Bllch Commonweal) and fall countries Covered by the Pan-American Copyright Cnvention and the Univer ‘31 Copyeeht Convention, and of ll counts with which the Unie Stats as reciprocal copyright relations Al rights, inching profs Sonal, miter, moti potze, rection, lelurng, publi roxing, ‘dio bronatingtlovon, and he rights of raat nto fore languages are ely reserved. Partolar exnpas fai upon the ‘question of readings, pernison for which must be vecured fom the author agent in wetting Al inquires cancerning rights (other than amateur rights) shouldbe svirosod to Margaret Rarsuy Li, 4A Goodwins Cour, St. Martins [Lane Landon WC, England Lyrics Come Gather Sons of Bngland copyright Antbony Wikin 10a ‘A Boy's Best Pond copyright Josh D. Skelly 1897 (loud Nine copyright Caryl Churchill Andy Roberts 1970 int publed ie gland hy Plato Prost Limited, The Woks, 105A ‘Torsano Ave, London, England NWS 2AX and Joint Stock Theatre Croup, 6133 Teteaham Court Road, London, gland SEIS. Manufactured inthe Ute Stator of Amores Design by Lasrene Femister Muller Cloud 9 was first performed at Dartington College of Arts ‘on February 14, 1979 by the Joint Stock Theatre Group. ‘The revised edition was first porformed at the Royal Court Theatre, August 30, 1980, ina co-production with Joint Stock ACT I JOINT STOCK ROYAL COURT tive Anthony Shor Graeme Garden Betty im Hooper on Cook Jochen Tony Rar “Anthony ODonnel! award alte Coeington_—_Haret Wttor Mand “Miriam Margolis Anna Nigh BllewMes 8 CoroleHapmon Maze Steed Harry Bagley Willom Hoyland Hugh Braser ACT IL Betty alle Conington Mogae Steud Edward Jim Hooper Graome Garden Vietoda —‘Miiom Margoles Hornet Wltor Marin” ‘Willzm Hoyland Hugh Fraer Lin Grote Hayman Anne Nigh Cathy Anthony Sher” “Anthony O-Donnelt Cony Tony Rabe Fon Cook Director Mas Staford-Clak Ausistant Dietor and Godiecor Lae Waters ‘Designer Peter Hartll Masteal Director Andy Roberts Lighting Deaigner: Robin Myercongh WelkerCloud 9 opened in New York on May 18, 1981 at the Lucille Lortel Theatre, produced by Michel Stuart and Harvey J. Klaris in association with Michel Kleinman Pro- ductions. The cast was as follows: ACT I tive fray Jone Batty ZoltoFeanek Joshua Don Amendolls Edward Concetta Tomes Maud Voonice Cateng alew/Mi. 8. Katherine Kerr Hany Bagley Nicolae Suro ACT I Betty 2. Katherine Kerr ward Jeffry Jones Victoria, Concetta Tome Martin Meaae Suroey Lin Weronioe Catone Cathy Don Amendola Gerry Ze Ianak Director: Tommy Tone Ste Lawrence Miller CCotumas Michal Stuart end Gove London Mors Madeira Tie Song amd Incidental Musi Mowry Yoton ‘Sounds Wren Hogan (Cloud Nine was writton for Joint Stock Theatre Group in 1979.1 had worked with thom before (LIGHT SHINING IN BUCK. INGHAMSHIRE 1976 directed by Max Stafford-Clork) and Ihave since (FEN 1989 directed by Les Waters) Joint Stock was foundod in 1074 by Max Stafford-Clark, Williaa Gaskell, David Hare and David Aukin. Tho actors are not a permarient company, though many of tho samo people have Appeared in several productions. Occasionally the company has Drodiuced a play that was already written (6. VICTORY by Howard Barker 1988) or devisod a play without a writer (YES- ‘TERDAY'S NEWS 1976, AN OPTIMISTIC THRUST 1981); bat the most usual method of work is for writer, director end ators 1 spend three or four weeks on a workshop, researching the subjeot often taken from « book, eg Davi Hare's FAN SHEN 1975, Stephen Lowe's RAGGED ‘TROUSERED PHILAN- ‘THROPISTS 1678) and for the writer then to go off for about ten weeks to waite the play. Thor s then a sx woek rehearsal, ‘which gives time forthe writer to revise the rerip, often ia ‘consultation with the company, and the shove then'plays for twelve weeks—four on tour, for in London, fou on tour again. As tho starting point for the CLOUD NINE workshop I sug: ‘gested to Max Staflord-Clark simply “sexual polis” rather than any book, an unnervingly general subject which soon be- ‘ame speci. We formed a company considering their sel ‘well as acting experience. With LIGHT SHINING the work: ‘hop was concerned with researching ahistorical period remote from us and then finding how we related to it, whereas with CLOUD NINE we started from ourselves, moving out from that toe moro goneral context. Thon I went away and wrote the