'Oceans and Earth and Ancient Gods': Remote islands and emerging geo-social class on British stages.

This article analyzes how contemporary British theatre stages the emergence of a "geo-social class," a concept developed by Bruno Latour and Nikolaj Schultz to describe solidarities formed around ecological vulnerability and territorial conditions rather than traditional economic class structures. Through close readings of Zinnie Harris's *Further than the Furthest Thing*, Kae Tempest's *Paradise*, and Stef Smith's adaptation of Amy Liptrot's *The Outrun*, the article explores how remote island settings articulate new class identities shaped by climate crisis, colonial legacies, extractivism, and shared precarity. These plays reframe class by emphasizing connections to land, multispecies kinship, and ecological survival, highlighting intersections with gender, race, migration, and resistance. Ultimately, the dramaturgies offer performative models for solidarities rooted in place and habitability, challenging dominant social and environmental systems.