Steve Waters' Contingency Plan and the Rubik's Cube of climate change

November 12, 2009 by William Shaw · 4 Comments
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Resilience, one of the two plays that form The Contingency Plan by Steve Waters

Given that theatre presents itself as a form that is profoundly engaged in the politics of the present, that we’re a country that produced David Hare, David Edgar, Howard Brenton and Harold Pinter, why has there been so little theatre about the most central political issue of the time?

Last night I was at one of the events put on by the Cultures of Climate Change group at the University of  Cambridge; Time To Act: The Theatre of Climate Change. The blogger/journalist Robert Butler was interviewing playwright Steve Waters about his play The Contingency Plan. The Contingency Plan at The Bush Theatre earlier this year was the first time someone has pulled off a really intelligent piece of theatre about climate change. Even the critics agreed. Set in the very near future, it involves events – personal and political – leading up at a major storm surge that appears to be about to flood a significant section of the East Anglian coast. (Rob mentioned a great moment at the press night for the play when the Daily Telegraph’s reviewer turned to him at the interval and said, aghast, “Robert, tell me all this isn’t true?” Robert had to break the news to him).

Waters made the point that he was initially taken aback that no one else had written a play that dealt directly and successfully with the subject. He also became very conscious at the time of writing that the British theatre establishment wasn’t really looking a play on the topic.

Partly this is because theatre acknowleges something we all understand. The complex, slowly unfolding narrative of climate change is one that’s incredibly inconvenient for artists. It is not, we tend to assume, particularly dramatic in itself. Robert Butler discussed this in a review of The Contingency Plan in Intelligent Life magazine earlier this year:

Climate change is a difficult subject for dramatists. Three years ago Caryl Churchill, a playwright, introduced a talk by two leading environmental scientists by stressing that their work raises an essential dramatic problem: one of distance.To transport science to the stage, a playwright must not only clarify complicated ideas for laypeople, but also evoke the tension of cause and effect. The problem with climate change is that what happens in one place often ends up affecting people in an entirely different place, and at a remote time. The two worlds can seem unrelated. Where’s the catalyst for drama?

As Butler went on to say, Waters succeeds in closing that gap by a having two plays within the single work – and as Peter Gingold of Tippingpoint mentioned on the way out, by being very clever indeed. Having written it though, Waters is also aware that the UK theatre establishment was probably only looking for one play on climate change.

In response to that thought Butler mentioned a discussion he’d heard on Radio 4’s The World Tonight the night before, in which Mike Hulme, Professor of Climate Change at the University of East Anglia, said we have made life difficult for ourselves by the way we’ve approached the issue of climate change:

One of the arguments I make about Copenhagen, says Hulme, is that we’ve stitched together so many concerns – quite serious and real concerns – under one umbrella [namely, the reduction of greenhouse gasses in the atmosphere]. It’s a bit like the Rubik’s Cube that came out some years ago. There are so many different combinations that I could never solve it. And this is what we’ve created with Climate Change. A Rubik’s Cube that we can’t solve. Whereas if we begin to tease out the various elements of the problem – the problems of development, the problems of adaptation, the problems of short-lived greenhouse gasses like methane or black soot, separate those out from the problems of long-lived CO2, we could find a much easier set of pathways.

It was a great discussion; Butler did a brilliant job of throwing new thoughts into the ring for Waters to bat back. I’m still trying to work out whether I agree with what Hume says as a political way to approach climate change, but artistically that makes a lot of sense. Even if , hypothetically speaking,  Steve Waters has written THE play about climate change, there is huge scope still to pull the Rubik’s Cube apart to allow us to make profounder sense of climate change.

Thanks to Benjamin Morris and Bradon Smith for the event.

Steve mentioned that the The Contingency Plan will be aired by the BBC on Dec 13 to coincide with COP15. I’ll keep you posted with the details.

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Ed Miliband's summer reading

June 29, 2009 by William Shaw · Leave a Comment
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Ed Miliband’s summer reading from RSA Arts & Ecology on Vimeo.

It was Robert Butler of the Ashden Directory who spotted what Ed Miliband had tucked under his arm as he came to announce the winners of the first TippingPoint Commision awards…

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Can art lead on carbon reductions?

February 18, 2009 by Michaela Crimmin · Leave a Comment
Filed under: Michaela Crimmin 

Matthew Taylor in his blog on Monday sent out a mobilising call for ideas and active engagement by individuals and communities in addressing the absolute imperative of decreasing our carbon emissions by 80% by 2050. At the moment, as Peter Head said recently in this Arts & Ecology interview, despite the talk there’s little sign from central and local government that we’re any closer to moving towards that target.

The arts have to be more involved than we are in responding to this.

Heaven knows, there’s abundant creativity in the arts sector, which is what is massively needed. I believe there’s also the will amongst an increasing number of individuals and organisations. We have some brilliant initiatives afoot that demonstrate this – galleries and theatres from TATE to Arcola are activating energy reducing strategies. Tipping Point, Cape Farewell and Julie’s Bicycle are doing their damnest to get everyone to wake up. Julie’s Bicycle is launching the Green Music Guide next month – an action plan that aims to reduce the London Music Industry’s greenhouse gas emissions by 60% by 2025. Many artists are incredibly carbon light already, Gustav Metzger being a prime example of someone who addresses the underlying issues in his work, someone who has refused to fly for decades and who nobody could accuse of materialism.

But somehow the impetus for fundamental change is still lagging somewhere in the inactive bracket of our collective arts sector behaviour and image. The message isn’t going out that we are fundamentally bothered. What the public sees are the financial successes, Damien Hirst’s auction being a sublime example, that are splashed across the media.

How do we encourage and reveal, far more publicly, the altruism and ideas that are currently under the radar? We are planning an Arts & Ecology month in June which celebrates and encourages altruism and treading lightly on the planet. Please get in touch if you are involved in initiatives that we don’t know about.

Here’s to getting more visibility for positive action!

Image:  Still from Whole Earth by Christopher Keller 2006/7. Currently on show as part of the exhibition Moral Imagination: Current Positions Contemporary Art in the Face of Global Warming

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