KYOTO - @sohoplace (03/03/25)

Politics in various guises have featured in live theatre for centuries, even millennia, with the ancient Greeks, such as Sophocles and Euripides, incorporating governmental conflict into various plays, as well as Shakespearean properties such as Coriolanus. The newest exponent of Joe Murphy and Joe Robertson, "Kyoto" is the latest major work that takes a deep dive into significant political contention, specifically surrounding the landmark COP3 climate conference in Japan's ancient capital during 1997, and the events preceding it starting 8 years prior.

The immersive nature of this play is evident from before you enter the auditorium, as each audience member is handed a lanyard to wear during the show, making everyone feel like they are part of the conferences, taking the roles of delegates, media, or non-government representatives. Additionally there are a handful of seats at the round table in the centre, alongside the performers, afforded to a select few audience members, making for a truly unique, fully immersive piece of theatre.

The company of Kyoto (credit: Manuel Harlan)

There is always the danger with theatre surrounding politics that it can fall into the trap of being slow paced, coming off as stuffy or bland. Thankfully there is no such worry with Kyoto, because even setting aside the immersive elements, this is a refined, sophisticated piece with a hugely dense script, that does a remarkable job in both telling the full story and making it completely engaging for the audience, standing up in and of itself.

In spite of this though, it is brilliantly enhanced by a stunning array of visuals, with some truly inspired set design by Miriam Buether, highlighting the scale of the whole thing to perfection, whilst lighting and video designers Aideen Malone and Akhila Krishnan are also particularly noteworthy for being able to successfully, through the use of multiple monitors encircling the performance space, make sure nobody was left out in the unique in-the-round auditorium. They managed to convey plenty of information, whilst we as an audience never felt like we were being overwhelmed with data, as it was always proportionate to the requirements of the scene in question.

The company of Kyoto (credit: Manuel Harlan)

What really sold this production though was its brilliant cast, many of them playing real life delegates from UN member states, with particular plaudits afforded for Ferdy Roberts, pulling double time as both the UK's primary delegate, as well as giving a pretty spotless take on former deputy prime minister John Prescott. This was a true ensemble performance though, with everybody pitching in marvellously, Nancy Crane deliciously gutsy in her portrayal of the condescending, sanctimonious USA delegate, and Andrea Gatchalian's bow as plucky underdog Kiribati had everyone on her side.

The show is tied together masterfully by Stephen Kunken as master manipulator Don Pearlman, an oil lobbyist who relishes in sowing the seeds of doubt, and watching the chaos unfurl. Directly addressing the audience, he takes us back in time to the late 1980s, through the conferences, and the choppy, uncertain seas we had to traverse in order to finally reach the agreement we did in Kyoto. This play is a reminder that, in spite of the progress that has been made, there will always be those in power with ulterior agendas making these decisions, and their motivations don't always match up with what is best for this world; its relevance even today is devastatingly profound.

★★★★★

"Kyoto" plays at @sohoplace until the 3rd of May.