'Kyoto' review — this dynamic dramatisation of the vital 1997 climate conference is urgent, emotional theatre

Read our review of real-life thriller Kyoto, directed by Stephen Daldry and Justin Martin, now in performances at @sohoplace to 3 May.

What’s in a comma? Everything, for the delegates attending COP3, who could spend hours discussing the punctuation and adjectives in a single paragraph of text. Gruelling conversations about the wording of documentation could run through the night as each party battled, bartered and even begged for the best outcome for their nation.

These nitty-gritty negotiations, which eventually saw 1997’s Kyoto conference announce the first legally binding climate treaty, are the basis for Joe Murphy and Joe Robertson of Good Chance theatre’s new play, which reunites them with directing duo Stephen Daldry and Justin Martin. For a show that barely leaves the boardroom, it’s impressively dynamic. As compromises are made, and the room edges closer to reaching decisions, it’s also emotional – even though we know, 30 years on, how much still needs to change.

It’s a script-heavy play, which makes a change for Murphy and Robertson, known for their site-specific, Calais-set production The Jungle, and promenade, giant puppet-led The Walk – both awareness-raisers about the plight of refugees. They master it, never alienating their audience with overly scientific or political jargon, and finding humour in the pedantic reasoning over words; one delegate tries to argue that “urgent” is right, because she feels “urged” to act.

For a story about the eventual coming together of nations, it’s told somewhat unexpectedly from the point of view of climate-sceptic, oil lobbyist and lawyer Don Pearlman (Stephen Kunken). He narrates the proceedings, taking us from the origins of these particular climate talks in 1989, through to 1997, and despite his meddling hand attempting to thwart any progress, Kunken’s Pearlman manages, if not to be likeable, then at least not unlikeable. He’s not given climate-denier rants, and engages playfully in verbal games of tennis with pro-climate attendees.

There are familiar faces in this boardroom, including an Angela Merkel (Kristin Atherton) silencing applause like the conductor of an orchestra, and a growling John Prescott (Ferdy Roberts), who shares a touching moment of mutual respect with his German counterpart. Others around the table are less familiar, and some nationals are linked a little crudely to their country, like the Kiribati delegate whose hair is pinned back with a tropical flower.

Still, Miriam Buether’s round-table set fills the in-the-round auditorium perfectly, with the seated delegates appearing like the front row of the audience. We’re given lanyards to wear, which furthers this pretence, and told to return to the conference at the end of the interval.

In one scene, the translators quit their work at midnight, and their vital role in the international bargaining is thrust into focus as the delegates argue their cases in their own languages without interpretation.

Akhila Krishnan’s video projections supersize the chunks of text being written and rewritten, with words glaring red as they become sticking points. Recorded footage from the real COP3 is also incorporated: a neat reminder that this watershed moment in climate chronology is history brought to life.

The Kyoto Protocol was an important chapter in a story still unfolding. This dramatisation of it feels “urgent” – and, go on then, I “urge” you to see it.

Kyoto is at @sohoplace to 3 May. Book Kyoto tickets on LondonTheatre.co.uk

Photo credit: Kyoto (Photos by Manuel Harlan)