This article discusses the limited representation of climate change negotiations in theatre, highlighting the Royal Shakespeare Company’s production ‘Kyoto’. It explores the complexities of political interests among delegates and emphasizes the ongoing challenges faced by climate advocacy efforts, as depicted through dynamic characters and intriguing plot elements.
The recent engagement with climate change discourse in theatre has been limited, particularly with productions highlighting international climate summits. Many prior attempts, such as the National Theatre’s ‘Greenland’ in 2011, failed to capture commercial interest, leading to a noticeable absence of new explorations into this critical subject matter. Consequently, significant climate negotiations, initiated with the UN World Climate Conference in Geneva in 1995, remain largely unrepresented in contemporary playwrights’ works.
Books and plays that delve into the political intricacies of significant events can be quite riveting. For example, the Royal Shakespeare Company (RSC) produced ‘Kyoto’, focusing on a notable climate agreement meeting. This production features various personalities, including the then Deputy Prime Minister John Prescott and Germany’s Angela Merkel, portraying the complexities present within negotiations on climate change and industry interests.
The play mirrors the works of authors such as J.T. Rogers and David Hare, focusing on intricate negotiation processes behind significant political events. The RSC, previously lacking a permanent venue in London, has now found a suitable space within the Soho Place theatre to showcase such impactful content. The production aims to cut through governmental conflict and highlight opposing interests through the character of Don Pearlman, a real-life lobbyist committed to undermining climate agreements.
Portrayed by Stephen Kunken, Pearlman embodies the cynical and obstructive forces within climate negotiations, engaging in a dynamic rivalry with the ardent negotiator Raúl Estrada-Oyuela. The narrative weaves complex dialogues among delegates, showcasing the conflicting dynamics of electoral politics and global responsibilities, ultimately encouraging a deeper examination of climate issues.
As characters like Werner Herzog bring emotional depth to the dialogue, the plot underscores critical moments of political tension. Estrada-Oyuela’s authority culminates in a tense moment where delegates, starved of communication and sustenance, are compelled to confront their differences, leading to unexpected breakthroughs. The epilogue hints at Pearlman’s decline amidst changing lobbying dynamics and a shifting political landscape.
Ultimately, while Pearlman’s ideologies became unfashionable, the story suggests that negotiating climate action remains as contentious as ever. The play encapsulates the challenges of aligning nation-states towards shared environmental goals, with leaders grappling for minimal consensus in a world that often seems painfully divided across political lines. The gavel may have passed to new hands, yet the urgent quest for climate consensus continues to unfold.
In conclusion, the portrayal of climate negotiations in theatre is currently underexplored, as past productions have largely failed to attract broad interest. The Royal Shakespeare Company’s ‘Kyoto’ offers an engaging narrative that examines the intricacies of diplomacy amid climate change discussions, emphasizing the pivotal roles of political interests and personal ambition within this vital sphere. Despite the evolving dynamics of climate advocacy, the challenge to achieve consensus persists.
Original Source: thecritic.co.uk
