Heresy at the Royal Court Theatre

Remarkable developments are in train at London’s Royal Court Theatre, in the form of a play that is about climate science, but is not Watermelon propaganda. In a guest posting at Bishop Hill, Mr and Mrs Josh (Mr Josh also does the cartoons at Bishop Hill) provide a fascinating and enticing review of The Heretic, a new play by Richard Bean:

Book your tickets now, this play is a must-see comedy.

It has everything – more accurate climate science than a BBC documentary (ok, that’s not exactly hard), brilliantly funny and wonderfully staged.

The drama centres on university climate scientist, Dr Diane Cassell, played superbly by Juliet Stevenson, whose research on sea levels in the Maldives shows no rising trend in sea levels.

This puts her at odds with Professor Kevin Maloney, Head of Dept Earth Sciences, played by James Fleet (sinisterly morphed from Hugo, in the Vicar of Dibley) whose main aim is to attract more funding to the department by toeing the consensus line on Climate Change.

When she publishes her research and expresses her skeptical views, notably on Newsnight to Jeremy Paxman, she becomes the focus of some very direct persecution.

Add in Phoebe, her daughter, and Ben, her carbon-obsessed first-year student, plus an ex-marine security guard and the stage is set. Pure comedy ensues as Ben follows the logic of his beliefs, refusing to keep warm, travel in any petroleum-based transport, and considering suicide since his vegetarian diet causes excessive methane production. Phoebe is ahead of him; severely anorexic she is at real risk of not making it. Both characters are played with worrying fragility that conveys lives overshadowed by fear, battling to understand the issues or find a set of rules to live by. Their plight is all too similar to that of Diane, struggling to work out if the death threats from environmentalists should be taken seriously.

In a feat of Montfordian proportions nearly all the major recent climate change stories are woven into the play: the lack of sea level rise, the politicisation of science by the IPCC, Glaciergate, the logarithmic effect of CO2 (in a way you will never forget), the misanthropy of some environmentalist groups, the ‘one-tree’ hockey stick, and, of course, Climategate. But the issues are put on the table, without arm twisting, encouraging the audience to go out and do their own research.

Maybe I am reading far too much into this, but this sounds like it could be something of a cultural turning point in Britain. For decades now, there has been a self-reinforcing feedback loop shutting out anything but left wing friendly dramas from the live theatre in Britain, or so it has seemed and felt to one of those who has felt shut out. No anti-lefty dramas – e.g. praising Thatcher or heroic entrepreneurs or working class vigilantes, or denouncing bossy social workers or manipulative communists or ridiculous civil servants or psychotic and tyrannical Islamists, or pointing at the state itself as the prime mover in the banking crisis – have made sense to the theatres, because the audience for such things hasn’t been there, and because writers have been disinclined even to bother writing such things. What’s the point? And because there is no non-lefty drama, the audience for such things never comes. It stays at home surfing the net or watching its preferred telly shows and movies. If it is like me, it blogs.

Crucial to the willingness of another audience to show up to see this play is that it can be urged to do so on the internet, despite the major official organs of British theatre publicity, notable the BBC and the Guardian, apparently trying, just as they have tried with Climategate itself, to be very sniffy and dismissive. If a new audience does show up in strength at the Royal Court to see The Heretic, then that could result in Britain’s theatres saying: hey, I wonder if there are other non-lefty-friendly “issues” out there that we haven’t done before, because the BBC and the Guardian haven’t allowed us to?

Never forget that theatre folk love a big row, provided only that the row isn’t too big, as it would be if they took at serious whack at Islam. They love to push the boundaries, not too far, but just that little bit beyond what is entirely safe. They love to make mischief, to get everyone shouting at each other. They love to take the piss out of whoever happens at any particular moment to be the pompous and hypocritical elite, because, potentially, maybe, that will sell tickets, contrive bums on seats. Okay, most British thesps are lefties themselves, but many of those lefties are theatricals first, lefties second, and in quite a few other cases, on the quiet, so I surmise, not actually proper lefties at all, really, even though they dress like lefties and talk like lefties.

A earlier key moment in British theatrical history happened in the late nineteen fifties. British live theatre was then the Conservative Party at play, watching third-rate Noel Coward imitations consisting of brittle, well-dressed upper middle class chat in implausibly opulent living rooms with big floor-to-ceiling French windows at the back, centre stage. That is a caricature but not that much of one. But suddenly, or so it felt, all that was smashed to pieces by John Osborne’s Look Back in Anger, and all that followed from it. Look Back in Anger was also, by the way, first presented at the Royal Court. Perhaps my view of all that is a bit myopic, because the nearest theatre to my home when I was a kid was the Windsor Rep, which, I seem to recall, showed third-rate Noel Coward imitations just about all the time. But I suspect I have it about right, even if those closer to theatrical happenings then had felt in their water that the Angry Young Man upheaval had been coming for some time and thus remember it as a somewhat more gradual thing. I’m not saying that The Heretic is in the same class, as a play or as a culturally explosive event, as Look Back in Anger. I haven’t seen The Heretic yet. But this new play may perhaps, with hindsight, come be seen as one of the bigger paving stones that paved the way for something that is more like Look Back in Anger.

Goodness knows, Britain certainly contains plenty of anger just now.

Conveniently for me, the Royal Court Theatre is in Sloane Square, which is only a longish walk or a short bus or tube ride from where I live. I’m giving a talk on Monday. As soon as that’s out of the way, I will pop around to the Royal Court and fix to see The Heretic for myself.