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The Guardian’s review highlights how Marlène Myrtil’s new work Océan Brun transforms the cathedral’s stone arches into a stage for a stark environmental lament, foregrounding the sargassum crisis that chokes Caribbean coasts.A Lament for Caribbean Islands Takes the StageSet against the towering arches of Leicester Cathedral, the duet of Deborah Lary and Francis Saint‑Albin interprets testimonies from Guadeloupe and Martinique, where floating mats of toxic brown seaweed threaten biodiversity and health.Sargassum’s Threat Becomes a Choreographic NarrativeThe performance weaves abstracted voices—“headache”, “burn”, “medicine”—into movement, using breath‑laden gestures and qigong‑inspired stillness to convey urgency. A projected film of the seaweed‑strangled ocean provides a visual backdrop, though its daylight visibility is limited.Source of inspiration: interviews with Caribbean islandersCompany: Compagnie Kaméléonite (based in Martinique)Festival: Let’s Dance International Frontiers (runs until 9 May)No Quantitative Data, but Environmental Stakes Remain HighWhile the review offers no specific figures, the underlying crisis involves months‑long sargassum blooms that release harmful gases, causing headaches and respiratory issues for coastal communities.Cultural Resonance and Environmental AwarenessBy placing a Caribbean ecological disaster within a historic English cathedral, the piece bridges geographic and cultural divides, prompting audiences to confront climate impacts beyond their immediate surroundings.Future of Eco‑Theatre in Global FestivalsThe positive reception suggests a growing appetite for works that merge art with activism, potentially encouraging more festivals to program environmentally‑focused performances.