Reviews

Imogen Wilde’s assertive and thought-provoking debut play is set in the very near future to take an enterprising look at the climate crisis and the tussle between those who take action to protect the planet’s future and those whose self-interest drives the fight against a widespread rejection of fossil fuels.

Activist Millie is in need of escape from her public profile and arrives at a unique retreat in the remote Highlands of Scotland. It is a gated paradise of eco-responsibility maintained and nurtured by its residents—now burnt-out former climate scientists and campaigners.

Amongst these like-minded individuals, the climate crisis is talked about knowledgeably, without histrionics or sermonising and most importantly without getting bogged down in minutiae. There are no discussions about recycling bins or solar panels but there are about the inequity between the responsibilities of developing and developed countries, and scientists who, constrained by their own conventions, failed to reach the masses with the import of their findings.

In a few satirical vignettes that don’t sit entirely comfortably amid the other more subtle, cleverly formed scenes, the baddies are portrayed as fiddling British apparatchiks, whilst bullying John Wayne-striding, Stetson-wearing Texans see to it that Rome burns.

It is a minor blemish in writing that is enriched by efficiency and clear-sightedness. Particularly strong is the portrayal of the relationships between the characters, quickly and convincingly established and developed as foundations upon which to grow the tension of this eco-thriller.

With Millie, Imogen Wilde has written herself a great part that she plays confidently. It shows off her versatility, particularly the variance of Millie sounding younger than her years, which gives her character additional depth.

Outstanding in a batch of strong performances is Rebecca Crankshaw, magnetically intelligent and convincing as no-nonsense scientist Ruth.

Jilly Bond as the gentle-hearted hippyish Sylvie long estranged from her family for her beliefs, Sushant Shekhar as Ramesh sent from India where his campaigning for justice was unwelcome and Millie’s love interest Jay who fought against pollution, played engagingly by Andre Bullock, don’t put a foot wrong between them under Oliver Stephens’s direction.

His careful pacing discreetly creates a creepy tension, but the point of focus is always guided back to the climate emergency, the wrecking of the planet and the unequal resources of the opposing sides. It makes it very hard to leave this play without a sense of incitement, be it to act or shoulder a smouldering anger at the way the world has been sold out by successive leaders who should be securing its future.

Reviewer: Sandra Giorgetti

Bones in Motion’s production of Imogen Wilde’s debut play is a thought-provoking and funny take on the information wars that fuel public action or apathy about climate change.

Activist Millie (Imogen Wilde) hears of a remote community in Scotland populated by like-minded scientists and campaigners – the “knowers” who realise how badly humanity are damaging the planet – and, feeling vulnerable after making a very public mistake, she decides to join them for a month’s retreat.

On arrival, although thrilled with the recycling, low-carbon and self-sufficient lifestyle, a few things puzzle her. Why does she need to surrender her phone? Why do the rules include no internet, no news broadcasts from the outside world, and why does everybody need to wear a tracker? Despite clashing at first with Jay (Andre Bullock) as he needles her about middleclass white privilege and how much easier it is to make a change if you have money, the two become inseparable, and Millie even wins over spiky longstanding resident Ruth (Rebecca Crankshaw) whose first impression of Millie is the delightfully phrased “a cocktail of entitlement and delusion”. Jilly Bond is Sylvie – drinking her days away, and Sushant Shekhar is Ramesh – the only resident with limited contact with the outside world.

The cast have wonderful chemistry and a believable passion as they gaze out at imaginary Scottish landscapes and stars. Wilde and Bullock bounce off each other brilliantly with a lightness that is charming and convincing under Oliver Stephens’ direction.

The community’s knowledge of climate disaster and their choice to withdraw themselves seems to both beguile and disgust Millie, and she begins to question what exactly is going on. Cartoonishly evil lobbyists and puppet politicians shed light on the mystery as their shady discussions about following the American model of misinformation and doubt to drown out the studies of scientists lead to a genius plan to shut down the voices they deem most dangerous.

Wilde’s skilful writing keeps the audience wondering about certain characters’ motivations and loyalties right until the final payoff, and this is a very impressive debut.

Extracts from genuine studies and reports are projected and read out, and Jay’s helplessness at not being to ensure the children of Lewisham get to breathe less toxic air ground the humour and you will probably leave the theatre feeling angry and inspired by this timely and smart production.

Reviewer: Claire Roderick

 Writer and protagonist Imogen Wilde didn’t take the liberty of assuming she was catering for an entirely likeminded audience. Whilst this eco-thriller makes no apologies for its right-bashing commentary on the disturbing state of our natural environment, the multiracial and multigenerational cast laid the foundations for a more nuanced conversation on the social politics of the climate crisis.  

When Millie arrives at the sustainable commune in the Scottish Highlands, she is met with contempt by some of the residents. Jay, weary and frustrated at the prospect of another self-congratulatory white, middle class eco-activist, he initiates her with a series of charged discussions, before she wins his acceptance. It is through Millie’s conversations with each of her fellow residents, that some of the play’s most pertinent themes are explored.  

As Millie shares the grievances of her fraught relationship with her ‘denier’ parents, she speaks to the mutual frustration felt between Gen Z and their Gen X and boomer relatives. Careful not to alienate this audience, Wilde uses middle-aged, upper middle-class resident, Sylvie, as their mouthpiece. Warm, eccentric and frightfully well spoken, Sylvie is a smartly crafted conduit for the fears and anxieties that fuel some of the older generations’ resistance to change.  

But it’s the discourse between Millie, Jay and Ramesh that the more complex tensions are addressed. Before their friendships are fully formed, Millie is confronted with her race and class privilege, forced to consider the role it has played in affording her the time and resources necessary to dedicate her life to climate activism. And whilst the urgent need for drastic action is never questioned, these conversations remind us of the hypocrisy of attaching too much moral value to a cause that can only be a priority for some.   

Despite grappling with a number of contentious issues, The Knowing is refreshingly light-hearted, while maintaining its self-awareness throughout. 

Reviewer: Caitlin Odell