The play is made up of roughly fifteen characters – a teenager being radicalised by her reading and experiences, a junior DECC minister and her relationship with a climate scientist, an Arctic-visiting bird lover, a young geography student etc etc. The story moves around quickly, though I’d see it more as an issue-exploration play, rather than a gripping narrative.

Visually, the production is stunning. The production uses the space inventively, and there were moments when the dialogue and the visual elements come together beautifully and pack an emotional punch.

At times, the piece veers into ‘public education’ – you know the drill; a scientist explaining the dangers of climate change, a UN official explaining the role of the UN Secretariat, the lead Malian negotiator informing you of the capital city of his country. I was very tempted to shout ‘Bamako‘ really loudly, but thought this might ruin the dramatic effect…

Most striking though, is the fact that what is being represented on stage is very close to my own experience. As a climate activist, I felt as if my story – and the stories of so many of my friends – was being told by these actors on the stage. The idealistic young activists, the bureaucracy and politics of Copenhagen, characters feeling the ‘fear’ for the first time – each of these are things I know well.

Anna Collins often talks about the need for us to change culture in order to be able to change politics, or at least for one to reflect the other, and I’m inclined to agree. This production is one step towards achieving that, and the National ought to be commended for taking the risk and going for it! They’ve also got a good series of ‘in conversation with‘ events around this production (*Bjørn Lomberg alert*), so do have a look – it’ll surprise you how much you enjoy it.

Many thanks to Becky at the National Theatre and Kirsty Schneeberger for the ticket.

And if you want to see how you bring narrative and emotions into climate stories – this is how you do that.