Anthropocene @ King's Theatre, Edinburgh

Few of us can agree on which invention or period was humanity's greatest. For many, the term 'greatest' isn’t even the correct term. Scottish Opera's Anthropocene focuses on our species' significant impact on the world, whether this is industry, ecology or the destruction of our planet.

The ship Anthropocene sets ground in the Arctic tundra. Here, a selection of (less than) colourful characters struggles to survive as they conduct research. Unearthing a woman trapped in a block of ice, they give her the name Ice, and humanity's history of sacrifice and brutality begin to emerge from her ‘sophisticated’ facade.

We had promised not to include ice-related puns in this review, but the narrative structure of Anthropocene makes for an utterly glacial first half. Bidding to ramp up an atmosphere, so much characterisation is lost that by Act Two we don’t care for most of these characters. What doesn’t help the frigid feeling is the tempo of Stuart MacRae’s score – there's talent in how it draws out tension, but maybe draws it out too much?

Sludging us through the tedium is Jennifer France, who, in no shock to those familiar with her work, is sublime, though why a human being frozen for centuries can perform in perfect English is puzzling. This notion is especially weak given the preceding scene where Jeni Bern’s Professor Prentice educates Ice about speech. A wonderful opportunity lost.

Boastfully strutting their 21st century patriarchal pride are Mark Le Brocq alongside Stephen Gadd and Benedict Nelson, all of whom strive for self-gratification. Their discovery of Ice, an impossible being, is overshadowed by thoughts of how they can capitalise this discovery.

Louise Welsh’s text has immense merit to it; there’s an underlying current of everything of our time. It contains the full smorgasbord of 21st century humanity: climate change and ecology, mythos transfused with technology. As Act Two closes, though, she captures the idea that regardless of our art, science and cash, we still have the capacity to revert to archaic savagery.

Opera doesn't get a free pass for its ‘high culture’. Scottish Opera’s Anthropocene speaks to us about the here and now, the epoch of our time and our impact on the planet. It tries to deliver the grandeur of this message, but fails. The show's splendour shines at the briefest of moments of what could be a magnificent piece, though it is let down by poor pacing and even poorer chemistry.

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Anthropocene @ King's Theatre, Edinburgh, run ended; touring to Hackney Empire, London, 7-9 Feb