The article illustrates the lack of theatrical representation of climate change events and negotiations, notably since the UN World Climate Conference began. Productions like the RSC’s *Kyoto* provide insights into complex political dynamics, showcasing characters like the oil lobbyist Don Pearlman whose actions impact climate agreements. The ongoing climate debate continues to evolve, revealing persistent challenges and the need for renewed engagement.
In a world increasingly concerned about climate change, there exists a notable absence of serious theatrical exploration of climate discussions and negotiations, particularly in light of the Greta Thunberg movement. The National Theatre’s 2011 production, Greenland, serves as a cautionary tale, illustrating the challenges faced by theatre companies in addressing climate themes. Consequently, the international diplomatic efforts against global warming remain largely unrepresented on stage.
The article discusses various climate conferences since the UN World Climate Conference’s inception in 1995, highlighted by peculiar instances such as the COP summit in Baku. Here, significant political figures engaged in diplomatic dialogues that could inspire compelling narratives. Productions like the Royal Shakespeare Company’s Kyoto dramatize the intense negotiations involving pivotal characters such as the UK’s former Deputy Prime Minister and Germany’s Angela Merkel, bringing these political realms to life.
Writers Joe Murphy and Joe Robertson attempt to capture the complexities of climate negotiations, similar to acclaimed works such as J.T. Rogers’s Oslo. Their recent production reveals the intricate interplay of politics, specifically depicting a U.S. delegate under Bill Clinton who strategically modifies measurements to favor domestic industry. This highlights the self-serving tendencies that can overshadow environmental concerns.
Performing at Soho Place, the RSC’s latest production cleverly utilizes CGI and an engaging narrative to scrutinize government disputes surrounding climate policy. A compelling antagonist emerges in the character of Don Pearlman, a real-life oil industry lobbyist who obstructed climate agreements. His role, portrayed by Stephen Kunken, adds tension to the narrative as he contends against the ambitious Argentinian diplomat, Raúl Estrada-Oyuela.
The drama unfolds through various summits, including a poignant moment where Herzog leads delegates through the Amazon, encapsulating the emotional stakes involved in climate activism. The central conflict revolves around U.S.-China relations and the political mechanics that hinder effective climate agreements. Estrada-Oyuela exemplifies leadership during tumultuous negotiations, showcasing the pressures faced by delegates in high-stress environments.
As the narrative progresses, Pearlman’s eventual decline reflects shifting political landscapes in the realm of environmental lobbying. His acknowledgment of a new climate agenda hints at transformations in societal and political attitudes toward climate change. However, the resurgence of aggressive wildlife policies under new administrations suggests that the struggle for effective climate action remains ongoing. Current discussions in environmental politics mirror the persistent divide over climate policies and their implications for future negotiations.
The article highlights the theatrical community’s struggle to engage with climate change narratives, emphasizing the importance of documenting significant diplomatic efforts through stage productions. Notable characters, such as the antagonist Don Pearlman, reflect the complexities and resistance within climate negotiations. As political dynamics shift, the quest for actionable climate agreements continues to reveal stark divisions and challenges, underlining the necessity for renewed commitment and innovative approaches to address environmental crises.
Original Source: thecritic.co.uk
