At the theatre, suspending disbelief and immersing oneself in the world of a production is an engrossing experience. When in it, audiences aren't likely to be thinking about much else, especially not the climate crisis.

For Michael Walton, though, being in it—neck deep in production—is precisely why he is giving environment issues so much thought. As the Head of Design at the Stratford Festival, Walton is always evolving the Festival's commitment to sustainable theatre production. A pillar of his work, sustainability or the "green approach" for Walton isn't prompted by keeping to regulations around conserving the environment; it's an authentic passion driven by an understanding of how a setting—like our environment—is instrumental to the characters who inhabit it—in this case, our current and next generations.

This year, Walton's focus is on the Studio Theatre's carbon footprint. Walton is among Canada's theatre innovators, part of a wider movement in green theatre gaining worldwide industry traction with a goal of "finding methods that are more climate conscious."

Of the Festival's own efforts, Walton says, "We want to limit, or eliminate entirely, any newly purchased items to build shows." But each show is unique, with sets, props and costumes devised to be single use by nature, from the hospice room setting in Casey and Diana to Women of the Fur Trade's historic Red River locale. Post-season, materials can wind up left unused.

Walton has tasked himself with cutting the waste but keeping the magic. "We're asking set designers to visit our warehouse to see what materials are available," he explains. "Not to use scenery from past shows, but to make sure they don't forget about resources we already have." A certain fabric or type of steel might spark inspiration and prevent the purchase of new supplies. Prop and wardrobe departments are also reusing and upcycling. Pants from one character's costume could be matched with shoes from another (and laundry is washed with biodegradable detergent). Post season, sets will be disassembled and the raw materials used for another show or rented out, extending the lifecycle of materials.

There is no shortage of pre-loved inventory. Stratford's Costume and Props Warehouse is one of the largest in the world and has played a role in the reuse of costumes and props for decades. Replicas of Victorian-era bustles, battle armour and vintage furniture are arranged in neat rows along massive aisles, like a big-box thrift store. It's a treasure trove for designers to match show specifications, ideally with no new materials. This, Walton points out, also limits deliveries and buying trips, reducing carbon emissions from transportation.

Walton has faith that the push for green theatre won't break the fourth wall. As he sees it, buying less stuff saves time and money that can be spent on creative labour. "We're hoping to put it all into the shows' conceptions rather than purchased items. We don't think [sustainability] will have any impact on what the audience sees, because of the creativity of the designers."

Festival attendees will still be captivated by the Studio Theatre's lineup, starting this season with the world première of Casey and Diana in June. Set in 1991 at the Toronto AIDS hospice Casey House, the story unfolds as staff prepare to welcome Princess Diana. Following Casey and Diana is the satirical Women of the Fur Trade, opening in July, a play cleverly subverting the typically male gaze of the furrier from the perspective of three very different women. Finally, the Studio Theatre will end its first limited-run season with Shakespeare's Love's Labour's Lost, a romantic comedy about abstinence, diplomacy and love's imperfect timing.

The Studio Theatre is "a starting point" for Walton, who hopes to implement more green practices in future seasons. "The Stratford Festival is in a good place to be able to experiment and to help lead the way when it comes to learning how we can do better."

Katie Hewitt is a journalist based in Vancouver. She has interviewed thought leaders and celebrities including Nobel Peace Prize laureates Malala Yousafzai, former Soviet leader Mikhail Gorbachev and Selena Gomez. Her writing has been featured in The Globe and Mail, The National Post, Reader's Digest, Chatelaine and Flare.