Saving the Earth is a filthy business.
Welcome to the Kyoto Conference Centre, December 11, 1997. The nations of the world are in deadlock. Time is running out and a climate change agreement feels a world away. The greatest obstacle: American oil lobbyist and master strategist, Don Pearlman…
Fresh off critically acclaimed, sold-out productions in Stratford-upon-Avon and London’s West End, the Royal Shakespeare Company and Good Chance production of KYOTO makes its U.S. debut with an eerily prescient message.
KYOTO asks who gets to decide what’s worth saving when the entire planet is at risk—and what we’re willing to give up so we can move forward, together.
These works allow some self-congratulation, both for the play’s hammering on of a hard nut, and for your ticket purchase and bearing witness to an important work, but there’s so much showmanship involved that it dilutes the effect. The handsome British issue drama doesn’t trust you to be interested in a subject on its own terms, so like a good governess, it’ll provide more and more sugar to make the medicine go down. At a certain point, there’s so much sucrose in the recipe, you wonder if the health benefits are gone.
As urgent and vital as it is, an investigation into international angles on climate change doesn’t sound remotely theatrical, let alone a race-to-the finish thriller. But that is precisely what directors Stephen Daldry and Justin Martin achieve with Joe Murphy and Joe Robertson’s strikingly smart “Kyoto.”
| 2025 | West End |
West End |
| 2025 | Off-Broadway |
Off-Broadway |
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