CLimited narratives often paint a picture of despair, suggesting a bleak and tragic future. But some theatremakers are carving their own paths, encouraging positive, constructive actions through love, music, puppet shows, and folklore. “Those who benefit from the idea that we’re doomed are the ones harming our planet,” remarks playwright Flora Wilson Brown. “If we believe there’s nothing to be done, we become inactive. There’s still time for us to take action.”
In her play, A Beautiful Future Is Coming, staged at the Bristol Old Vic, Wilson Brown challenges this fatalistic narrative. The play examines the climate crisis from the perspectives of three couples, weaving through timelines set in 1856, 2027, and 2100. Future scenes include a visit to the Svalbard Seed Vault, a repository for humanity’s hopes for life elsewhere. “The goal is to create emotional impact, not just present statistics,” Wilson Brown explains.
In the timeline closest to us, “A Beautiful Future” reflects back at us, highlighting that there are still options for action. Nancy Medina, director of Bristol Old Vic, admits, “I’m overwhelmed; I don’t know what I can do,” looking away with a hint of nervousness. “Really, caring is the minimum,” she notes. “In many parts of the world, those most affected by climate change are just trying to survive; they don’t have the luxury of despair.” With this perspective, hope emerges as a conscious, proactive choice—how do we fight for a future worth living?
This narrative aims to unveil the possibilities for a brighter future. In another project, I’ll Bring the Outside In, playwright Kitmiles collaborated with local youth from Southampton and the New Forest, focusing on the folk tales of Yernagate the Giant. Yernagate, the guardian of the forest, helps a woman fend off a tree cutter. “The young people we engaged with expressed feeling powerless due to a fate mentality,” Kitmiles shares, recalling his upbringing near the New Forest. “We used the Yernagate story to illustrate that action is still possible.”
This initiative, a joint effort by Theatre for Life and the New Forest National Park Service, fosters intimacy through local engagement. Actor Imani Okoh emphasizes, “We witnessed the impacts of climate change in our communities.” Conversations with climate scientists and local rangers informed the project. Supported by the YouCan scheme, this performance was crafted around the inputs and concerns of young participants. “They were particularly troubled by the unseen aspects of climate change, like air pollution,” Kitmiles mentions, referencing the tragic fate of 9-year-old Ella Kissi Debra, who succumbed to an asthma attack. “This isn’t just about our grandchildren’s futures; it’s about our lives now.”
In the narrative, Yernagate assists a teenager grappling with asthma, reflecting real experiences of climate anxiety. Community garden ideas empower a younger audience, connecting them to a character inspired by Ella’s mother, Rosamund. When the performance was shown to young people in social housing in Southampton, the response was enthusiastic; they felt the portrayal resonated with their own lives. “They said it spoke to them and their environment,” Okoh explains. Localizing stories makes the climate emergency more relatable and ignites a call to action.
The topic is serious, but with elements of humor woven in, “A Beautiful Future” also critiques the absurdities of sustainable marketing practices. Jack Godfrey and Ellie Cootte, working together in Birmingham Hippodrome’s new musical theatre division, are exploring similar themes. “We aimed to create something entertaining that also addresses these heavy issues,” Godfrey says. “I don’t see why they can’t coexist.”
Their new show, a romantic comedy, plays with the idea of selling Earth and humanity as if they were partners in a troubled relationship. Hot Mess will premiere at the Edinburgh Fringe this year, born from their own breakup experiences. “I was writing songs about that angsty breakup,” he jokes.
Delving into the cyclical nature of relationships against Earth’s tumultuous history, they explore darker moments with relevance. “Like any relationship, there are challenging times,” Koot acknowledges. But rather than instill fear, they hope to use humor to connect. “We aimed to disarm our audience with familiar narratives,” she notes. As with the Bristol and Southampton teams, they sensed the urgency of speaking about the climate crisis without letting it slip away unnoticed. “We wanted to harness the unique power of musical theatre,” Godfrey adds.
These theatrical explorations aim to illuminate the invisible realities we often overlook. On a broader scale, the international project featuring a life-sized doll of a young Syrian girl called Little Amal has undertaken a significant journey to raise awareness of refugee crises. This summer, the same team is embarking on a 20,000km journey, bringing lifelike puppet animals from the Congo Basin to the Arctic Circle. “Those who depend on forests are acutely aware of the climate crisis,” shares David Ran from Young Vic. “As the Earth heats up, animals are already shifting away from their traditional habitats. We wanted to dramatize this reality.”
This project seeks to confront the reluctance to acknowledge the climate emergency, making it visible in public spaces. “The climate scientists we consulted have provided us with compelling, meaningful data,” Lan explains. Little Amal will be part of the 2021 UN Climate Summit in Glasgow, as the group aims to broaden the scope of their effort—hoping to grow from about 30 puppet animals in Kinshasa to over 100 by the time they reach the Arctic Circle. Ran asserts, “I truly believe animals can make an impact.” The project’s scale, which includes stops in London and Manchester this summer, is part of its allure. “We want this to create profound connections,” he says. “By working together, great changes can happen.” Like Bristol Old Vic and Theatre for Life, this initiative thrives on collaboration, prompting organizations to partner in ways they never anticipated. “Engagement drives involvement,” Ran states. “Find where your efforts can be most impactful.”
By shifting the narrative from doom to hope, these theatre innovators strive to foster dialogue, motivation, and collaboration. “We can achieve this together,” Ran encourages, emphasizing the need for emotional engagement. “Guided information alone can’t change minds. It has to resonate.” Their various narratives all believe in harnessing the communal power that can unite audiences. “Hope is built on community,” Kitmiles reflects. “And theatre is a vital tool for that.”
A Beautiful Future Is Coming at Bristol Old Vic, May 15 to June 7; Hot Mess at Pleasance 2, Edinburgh, July 30 to August 25; and I’ll Bring the Outside In at Mayflower, Southampton, July 15, touring in 2026. Flock will visit London, June 27 to 29, and Manchester, July 3 to 5.
