Helsinki City Theatre Pilots More Sustainable Productions

Helsinki City Theatre is piloting the practices of the Theatre Green Book in its productions Uusi Eden and Sinun Margot. Sustainability is becoming an essential part of art and its production.

Uusi Eden, a co-production between Helsinki City Theatre and Q-teatteri, served as a practical experiment in how ecological sustainability can be integrated into artistic work and production processes. The production was one of two pilot projects in spring 2025 that applied Theatre Green Book guidelines from the very beginning. These pilots are part of the theatre’s environmental management project, aiming to integrate the guide’s practices into daily operations and reach carbon neutrality by 2030.

The set and costumes for Uusi Eden made extensive use of theatre’s stored and recycled materials. For example, an old velvet curtain from the main stage dating back to 1967 was reused, and a set piece representing a concrete ceiling was made from processed cardboard waste. Costumes were created from offcut fabric scraps and old garments, redesigned to reflect a post-apocalyptic aesthetic. The goal was to meet at least the Theatre Green Book’s baseline: 50% recycled materials and 65% of materials being reusable in future productions. The recycling rate was calculated for the first time using the guide’s material calculator—and the goal was confirmed as met.

The pilot productions Uusi Eden and Sinun Margot are part of a strategic shift where sustainability is seen as a core aspect of art and production. Helsinki City Theatre’s strategy includes becoming a pioneer in delivering responsible experiences. The environmental management project, coordinated by project manager Sari Kangas-Ikkala, seeks to enable all theatre professionals to incorporate sustainability into creative processes and operations. Another aim is to make recycling rates in productions transparent.

“Many areas of our work have long considered environmental concerns, but we haven’t had a way to make that visible. In the future, transparency will support collective learning,” says Kangas-Ikkala.

In a large and busy theatre, it’s crucial to set shared priorities and concrete goals for ecological efforts. There’s also a need for a person or body—such as a project manager or operational steering group—to lead, monitor, and remind the team about testing, coordinating, and embedding new practices. It’s equally important to regularly evaluate lessons learned and plan the next steps. Based on experiences from the pilot productions, the theatre has improved its recycling rate calculator to better fit its needs.

Promoting ecological sustainability isn’t about isolated decisions but about changing the mindset of the multidisciplinary production team and the entire organization, along with developing the necessary skills and capacities.

“We need to offer our artistic designers even better tools to create sustainably without compromising creativity. For instance, inventory management and modular set design must continuously evolve so we can offer a functional and inspiring foundation for sustainable ideas right from the planning stage,” Kangas-Ikkala explains.

The change is visible not only in productions but also in the theatre’s daily operations. Solar panels have been installed on the roof, covering about 5% of the theatre’s annual electricity needs. Lighting has been upgraded to energy-efficient LED technology, and stage technology now emphasizes maintenance and upkeep practices. The first full-theatre emissions inventory will be completed in spring 2025. Moving forward, annual carbon accounting will be a key tool for advancing sustainability. The data will help refine environmental management goals and actions in collaboration with partners.

“Born from the UK theatre community, the Theatre Green Book encourages theatres to start environmental work immediately and offers practical models for different types of theatres. Its key benefits include a shared approach and an international network for rapid collective learning. This is about the whole theatre community—its ability to change and evolve alongside its audiences. We are on the brink of an empowering new wave of transformation,” Kangas-Ikkala reflects.