Suffolk Reporter

The intersection of science and art was highlighted at the Science on Stage: Climate Edition event, which took place at the Staller Center for the Arts on October 28. This was the third occurrence of the event, featuring three one-act plays inspired by climate change research conducted by Stony Brook University scientists. The plays were written by professional playwrights and performed by actors.

The plays included "Counterfactual," based on Kevin Reed's research, who is the chief climate scientist for The New York Climate Exchange and an associate provost at Stony Brook. "Resplendence" drew from Christine Gilbert's work as an assistant professor of climate communication, while "Ghost Forest" was inspired by Elizabeth Watson's research in ecology and evolution.

Ken Weitzman, an associate professor in the Department of English and creator of the event, noted its growth over time. "Science on Stage has grown over the last few years," he said. He described how they initially had to go online due to the pandemic but have since seen increased interest, with this year's 390-seat venue fully booked.

This year marked a thematic focus for all three plays. Weitzman explained, “In the first two interactions, we sought a variety of research. This year was a significant next step, centering all three plays on a theme." Feedback suggested that having a unified theme allowed for deeper engagement with climate issues.

"Counterfactual," written by Mat Smart, used comedy to address challenges faced by climate scientists in today's political environment. Reed commented on misinformation surrounding recent hurricanes and expressed his personal struggles with discussing climate change publicly.

"Resplendence," featuring a family across generations dealing with environmental changes, was praised by Gilbert for its portrayal of scientific communication challenges. Playwright Kareem Fahmy emphasized how different generations emotionally process climate change impacts.

In "Ghost Forest," playwright Gab Reisman explored feelings of dread related to climate discussions. Watson appreciated seeing her research brought to life through performance and noted personal connections within the play's narrative.

Additionally, Margaret Schedel premiered a composition inspired by Saint-Saëns’ Carnival of the Animals (1886), using AI to map endangered species' calls onto acoustic instruments. She aimed to raise awareness about rarely heard creatures through innovative musical techniques.