In 2009 I saw Steve Water’s pioneering pair of plays about climate change, Contingency Plan, at Bush Theatre. At that time, it seemed that the causes were still being debated and that the consequences were far in the future. Now the climate crisis has become a reality for everyone, in a much shorter time than the majority of us could have predicted. 

One of the driving forces of theatre has always been to lead the way, to attempt to make positive changes for the future.  The Theatre Trust’s conference on Making Theatre Sustainable contained vital debates about the challenges the industry is facing.  It introduced THEATRE GREEN BOOK which aims to set standards so that theatre is a beacon of best practice. My report focuses on the debates which are relevant to small scale theatres and companies and to freelance theatre-makers. 

NOTE ON DIGITAL CARBON FOOTPRINT: This article outlines how to reduce your digital carbon footprint: https://www.safetydetectives.com/blog/how-to-reduce-digital-carbon-footprint/

The check list includes looking for: Energy loss through the fabric of the building; system inefficiencies, old plant, poor controls and non-detailed metering. There is a three-point plan to address the problems.

1.   Improving the fabric of the building, (for example insulating windows and doors).

2.   Lower energy outputs (such as heating, lighting and controls)

3.   Renewables (such as solar panels and heat pumps)

There are some simple changes such as replacing lighting with LED (Note: Some lighting designers are reluctant to change stage lights to LED because of they do not allow a smooth change from one lighting state to another.)

Some theatres present pointed out that they do not have any money for this as all their funds go into making theatre.  However, The Green Book aims to have a tool kit in which they gather all the available resources. The aim is to foster a network for theatre professionals, and to get feedback on what the theatres need.

There was further discussion on having a business plan which was not just about design. Some changes should allow a saving in maintenance and operations (and not just in reducing heat loss etc.)  Theatres should also look at the use of the theatre space for audiences and the local community. Maximising the use of the theatre space by welcoming the local community to use the space for their activities (targeting markets for whom we want to create theatre).

Sara Edmonds put up a slide of Kinder Egg to show how each piece of the child’s treat is manufactured. (Note: Maybe the small plastic parts are made in China or other countries, but Britain is a very high consumer of such products). “How much carbon is embodied in the things we make and use?” asks Edmonds. 

“We need a change of aesthetic” she suggests, “in the way the buildings are used and managed.” Buildings such as churches or pub rooms are often sitting empty. It is about looking at who can use the space and developing audience contact. 

One of the delegates suggested a move towards virtual reality sets. The response was to consider a mixture of the two because sets can benefit from texture and form. The panel pointed out that there is a skill set out there (such as set builders and other craftspeople) and livelihoods cannot be changed overnight. (Note: We might not want to lose skills).   Digital also has a footprint, the tech industry has a carbon print as well.  Theatre websites should be looked at to reduce wastefulness. 

It was claimed that theatres are a finite resource as “people are gobbling up space”. It is “whether or not building is future proofed for future audiences.” Theatres should be as flexible as possible, to ward off developers who want to buy our theatres.

Feimatta Conteh suggested we need to “rethink our front and back house to manage waste sustainably, to travel sustainably, as well as manage and maintain the building sustainably”. She also suggested that we should set standards for third parties. Setting sustainability standards for third parties or services, might include contracts which contain sustainability clauses.  

She reiterated the point about digital marketing, that our websites have carbon too. Theatres need to look at their data storage, the size of the images and videos. There is a website carbon calculator  where a URL can be keyed in to  find out the websites carbon rating.  The website also offers advice on how to make improvements.

Cycling to the venue, car clubs and public transport were all mentioned. So too, were cleaning products that can be environmentally harmful.  The Arcola theatre already has a sustainability manager, who plotted safe cycling routes, but asked “where do you put the bikes?” Anecdotally, he explained that “there were a load of bike thefts in the area”.  It might also be beneficial to let audiences know that you are working towards zero emissions and suggest offsetting their journey to the theatre by planting trees. This could be part of the ticket buying process.  There was also mention that there is sustainability in retaining our work force.  We should help to ensure a work/life balance, for example by protecting the team from longer shifts.

The conference was an inspiration to implement better practices. At London Pub Theatres Magazine, we aim to look at how we can lower our carbon footprint on our website. We will continue to champion making theatres sustainable and welcome further advances.

STATISTICS for theatre buildings

More than £1bn needed to make the UK’s theatre buildings sustainable

New research by leading consultancies AECOM, Avison Young, Bristow Consulting and Buro Happold for Theatres Trust has revealed the extent of the work needed to make the UK’s theatre buildings sustainable. Matching the current state of theatres against the costs of recent refurbishment projects, the research group has revealed that making a typical 600-seat theatre fully sustainable and accessible will cost £11m. Analysis of 100 representative UK theatres estimates that £1.1bn is needed to make them sustainable and suitable for modern audiences.

 However, the research, presented at the Theatres Trust Conference 21 Making Theatre Sustainable, shows that this level of investment in 100 theatres would bring huge benefits, saving 6,500 tonnes of CO2 per year – the equivalent of 9,700 return economy flights to New York 2 – as well as £3.3m annual revenue savings for the UK’s theatres / an average of £33,000 per theatre.

Finance is the major obstacle to theatres improving their building’s carbon footprint. In a separate survey 86% of theatres responding said it was a major challenge, with this figure rising to 92% in historic theatres. As a result 24% of theatres have not made any green improvements to their buildings in the past 15 years and, of the 70% who had, only 20% had energy savings as the primary reason for refurbishment.

To help theatre buildings become more sustainable, Theatres Trust has spearheaded the Theatre Green Book project, along with the Association of British Theatre Technicians and Buro Happold, and it has been co-ordinated by architect and Theatres Trust Interim Chair Paddy Dillon. The initiative has the backing of all the leading UK theatre sector and sustainability bodies, including SOLT/UK Theatre, Julie’s Bicycle, Federation of Scottish Theatre, Creu Cymru and Theatre and Dance NI.

The Sustainable Buildings volume is published today and will be accompanied by a toolkit to guide theatre operators towards prioritising the most effective works to carry out on their individual buildings.

Paddy Dillon, Interim Chair of Theatres Trust, and co-ordinator of the Theatre Green Book, says, This shows the scale of the task we face in equipping our theatres for the climate emergency. These are some of our best-known and best-loved public buildings. Our world-leading theatre sector depends on making them fit for purpose. It’s essential we work together to find solutions to this urgent challenge.

Theatres Trust Director Jon Morgan comments, The theatre sector recognises there is a climate emergency and there is the will for change, as has been shown by how positively the Theatre Green Book project has been embraced across the sector. Funding this vital work is the major hurdle, a problem that has been made even more challenging by the pandemic, but the Sustainable Buildings volume of the Theatre Green Book will help theatres focus their resources on the most impactful works.