A sparse illuminated stage and actors as set pieces set In the Wake apart.
Shooting sulphur into the stratosphere to counteract the effects of global warming may seem like the stuff of science fiction. However, it’s actually one of the possibilities scientists in the field of geo-engineering are discussing to combat climate change. Geo-engineering and eco-terrorism are also themes the Downstage Creation Ensemble explores in its latest work, In the Wake.
Living in Alberta, the word eco-terrorist brings to mind Wiebo Ludwig and the province’s environmental cause célèbre — the tarsands. Downstage, however, chose to look a little further afield to explore the pros and cons of using science to engineer environmental solutions, and the lengths some people will go to bring about change.
In the Wake is set off of the coast of Vancouver Island, where an oxygen-deprived, oceanic dead zone threatens the livelihood of fisherman Jack Travail. Scientist Charlotte Wallace thinks she has found a solution to restore life to the water through her research on barnacles. Their frustrations mount as both face bureaucratic delays and ineffectual leadership from the so-called decision makers. As such, they begin to contemplate radical actions.
“With the general trend toward apathy in our society, it pushes certain people toward radicalism, because when you’re in a situation where other people seem simply not to care, it’s very easy to get frustrated with due process quite quickly,” says one of the show’s creators and performers, Ellen Close.
While the show’s creative team examined Wiebo Ludwig’s open letter to the EnCana Corp. pipeline bomber for inspiration, Close says it’s easier to explore contentious issues when they’re not set quite so close to home. “I think it was quite deliberate (setting the play outside of Alberta) in terms of being able to better have this discussion here, when we’re not immediately confronting people that this is a story about your community,” says Close.
Director Simon Mallett says the play’s focus on ocean health is both eye-opening from an educational perspective and is also an important national issue. “Given the scope of the fishery industry in this country, this is a very relevant national problem which, ultimately, has the potential to affect us here in Calgary in a very real way,” he says.
Close and Mallett admit they do take some creative licence in the story. For example, while there is an oceanic dead zone off of the coast of Oregon, there isn’t one (yet) off of Vancouver Island. And, while there is some basis of truth to the barnacle research described in the play, unfortunately it won’t really serve as a fix for the ocean’s wounds.
“If we could come up with a great solution to solve oceanic dead zones, then we should be working on that and not on making plays,” says Close with laughter.
Instead, In the Wake serves to stimulate thought and discussion about an issue that University of Calgary environmental scientist David Keith, who Close and Mallett also consulted for inspiration, says will be a major issue in the years to come.
“We should move this (geo-engineering) out of the shadows and talk about it seriously because, sooner or later, we’ll be confronted with decisions about this, and it’s better if we think hard about it now, even if we want to think hard about reasons why we should never do it,” says Keith in an online lecture.
Close says another problem with geo-engineering is the question: who would make decisions on behalf of the global community? “If aliens came down with a box that could set the temperature of the Earth, there would be disagreement about what temperature is best,” says Close.
“And who would control the box? Who gets to decide?” adds Mallett.
Having a backup plan could mean people will no longer bother to address the root of the climate-change problem. “If we know we have these measures that can be put into effect, how is that going to change the way in which we’re actually interacting with trying to reduce carbon emissions and cut to what is the root cause of these problems in the first place?” says Mallett.
Downstage examines these issues in what Mallett describes as a “cinematic” and “highly theatrical” form. Four actors share a small two-metre by one-metre illuminated platform and portray a wide variety of characters across dozens of locations. Without props or a set, the actors also serve as the production’s scenic elements. (Look for Close playing the handlebars of a Vespa in one scene.)
“There’s a really nice tension between the often dark subject matter and the playful way that it’s told. You might have a very naturalistic scene with two characters arguing, but they are sitting on chairs made of people,” says Close.
Ethan Cole’s score, which Mallett describes as the show’s “fifth actor,” helps tell the story and provides some clarity to the fast-moving script.
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