This Post was originally posted to Mike Lawler’s ecoTheaer blog on May 8, 2007. We are reposting it here to share this ecoTheater classic with new readers while MIke continues to regain his health. You can read his blog about his ongoing battle with cancer, The “C” Word, by clicking here.

Everyday I think about this subject more, and everyday I try to talk to someone who might help me see it a little more clearly. Most recently, I had lunch with Natalie George and Michael Massey, a theater professor at St. Edward’s University in Austin. He is not an expert on this subject by any means, but just having the opportunity to speak with folks and get an idea of what they think is enormously helpful. Nowadays I even dream about green theater–and the question that keeps rolling around in my brain, persistent, nagging, is whether or not it’s even possible. And, if it is, do those in power (the artistic directors, the business managers, the board members) care enough to make it happen? Or, maybe that’s the wrong way of looking at it–the question really is: do they believe the issue is critical enough to influence the decisions they make about their mission, and their funding? I’m not sure. But I have come up with a rough list of the elements that are at the center of the dilemma, the things that must be scrutinized and addressed if any of us are to help curb the world’s destructive path toward catastrophic environmental and human health dead ends.

1) The building —
    The buildings that house the performing arts may be the most detrimental to the environment of all. According to the U.S. Green Building Council(USGBC), commercial buildings are responsible for 70% of the electricity load in the United States. Furthermore, the USGBC estimates that “if half of new commercial buildings were built to use 50% less energy, it would save over 6 million metric tons of CO2 annually for the life of the buildings—the equivalent of taking more than 1 million cars off the road every year.” Those numbers are staggering. What’s worse, there is only one performing arts facility in the entire country that has taken the steps necessary to reduce its impact on the environment (see ecoLogue, April 26, 2007). This is not for lack of newly constructed or renovated facilities–consider the Guthrie’s new spaces, for which they spent nearly $200,000 on “utilities” in 2005! If theater facilities did their part in reducing the negative role that buildings play in our lives, we would make enormous strides.

2) Theatrical lighting systems —
    Chris Coleman of Portland Center Stage (PCS) told me last month that the necessary lighting equipment for the new Gerding Theater made it difficult to meet the USGBC LEED Platinum rating. Other areas of efficiency were ramped up significantly on the project in order to offset the amount of energy required by the desired system. While theatrical lighting companies, such as Electronic Theatre Controls, Inc. (ETC), have made moves toward efficiency (witness ETC’s ever popular line of Source Four equipment), they have a long, long way to go. 

3) Material waste —
    This is a subject that has come up time and again in ecoLogue–even in its short life. The fact is, theatrical production revolves around a process of creation and subsequent destruction. So much effort is devoted to imagining, designing, and building theatrical scenery–and yet, very little (or so it would seem) goes into what happens to all of it once the final curtain has fallen on a production. And even those who do consider the demise of scenery, allowing it at times to weigh heavily on their minds (see May 3, “Is Waste Inherent in Theater Production?”), can only do so much. Remember, reuse and recycle come after the all important reduce. This must become the central word in theatrical production. The problem, of course, is our fear of limiting the artistic process. No artistic director in the world wants to tell his or her creative teams to limit themselves in order that they may reduce the waste generated by their productions. But, is there a time that artists must step forward and play a role in change, rather than merely using what they may to comment on it? Reducing the use of non recyclable materials alone would go a long way in reducing a theater’s waste. Conceiving of a way to reuse and store (safely–perhaps off site) scenery would be another.

4) Toxic materials —
    Just have a look at the ecoLogue entry from April 27 up there (“Monona Rossol and the toxic, unsafe theater we create”), and you may begin to understand the often toxic stuff that we theater artists work with on a regular basis. Actually, that entry doesn’t really go into detail, but suffice it to consider these fields: scenic carpentry (welding, working with foam of all sorts, adhesives, stains, finishes, et cetera), props (ditto), and costumes (including wigs, makeup, millinery, crafts and dye–all using a myriad of toxic chemicals). Of course, there are laws and regulations in place that dictate the safe use of these materials, as well as their proper disposal, but guess what? According to Monona Rossol of Arts, Crafts & Theater Safety (ACTS), most theaters don’t abide the law. As has been written here before, simply acting in accordance with OSHA and EPA regulations would help reduce harm to both the environment and theater artists themselves.

There are, to be sure, other areas that will affect the environment and human health in theatrical production, but I think the four listed above are the worst offenders.