Stormy Weather at the Climate Talks: Theatre’s Representation of Environmental Negotiations

The article explores the lack of theatrical representations of climate change negotiations and discusses the Royal Shakespeare Company’s play “Kyoto,” which dramatizes the complexities of international climate talks. It emphasizes character dynamics and the ongoing relevance of lobbying in climate policy, ultimately reflecting the need for global collaboration in addressing environmental challenges.

The article discusses the underrepresentation of climate change themes in theatre, noting that productions often cater to an audience already committed to ecological activism. A notable disconnect arose after past failures like the National Theatre’s “Greenland” in 2011, deterring ambitious narratives. Consequently, representations of international climate summits, such as the UN World Climate Conference since 1995, remain largely unexplored by playwrights, despite their potential for dramatic storytelling.

An example of a narrative that captures the essence of such summits is the Royal Shakespeare Company’s (RSC) play “Kyoto,” depicting the historical meeting set in Japan. This production features key figures like former UK Deputy Prime Minister John Prescott and Germany’s Angela Merkel, portraying the complex interplay of politics and environmental responsibility. The characters’ motivations often reflect a struggle between national interests and the health of the planet.

Writers Joe Murphy and Joe Robertson echo themes from previous works by J.T. Rogers and David Hare, focusing on the negotiation processes behind significant international events. The production is directed by Stephen Daldry and Justin Martin, hosted in the Soho Place theatre, which serves as a neutral ground for intense dialogues. The narrative thrives on conflict, particularly through the character of Don Pearlman, a lobbyist known for obstructing climate agreements.

Portrayed by Stephen Kunken, Pearlman epitomizes the obstructive forces in climate policy discussions, immersed in the battle between competing interests. His dynamic interactions with characters like Argentine negotiator Raúl Estrada-Oyuela highlight the complexities of climate negotiations. As the play unfolds, emotions intertwine with political maneuvering, revealing how personal and national stakes shape the discourse.

The plot advances to the delegates’ meeting in Rio, where Herzog’s influence symbolizes a turning tide in climate activism. The story illustrates the clash between Pearlman’s obstructive tactics and the aspirations of those seeking meaningful agreements, all while addressing the challenges of multilateral negotiation dynamics.

The latter part of the play hints at a shift in lobbying tactics, with Pearlman acknowledging the changing climate of discourse in the U.S. His character symbolizes the ongoing tension, suggesting that despite the passage of time, the battle for effective climate policy continues. The narrative compels the audience to reflect on the evolution of environmental advocacy amidst changing political landscapes, stressing the importance of finding common ground among nations as the quest for sustainable solutions endures.

In conclusion, this article highlights the critical intersection of theatre and climate discourse, examining the reluctance to dramatize international climate summits. The RSC’s production of “Kyoto” exemplifies the potential for engaging storytelling that reflects the complexities of climate negotiations, engaging both historical and contemporary issues in environmental policy. Ultimately, the pursuit of collaboration among nations remains vital in addressing the climate crisis, as dramatized through the tensions depicted in the play.

Original Source: thecritic.co.uk