This surprisingly lively Tom Stoppard play is given a delightful revival by Carrie Cracknell.
Featuring mathematics, science, literature and questions surround truth, it would be easy to expect Tom Stoppard’s play to be very heavy going yet in Carrie Cracknell’s gorgeouly thought out production really enhances the comedy in the script.
Spanning across two very different eras the 1800’s and 1990’s, Arcadia is set in the same room of a country estate. In the 1800’s 13 year old Thomasina Coverley makes astounding leaps in molecular makeup and gradual cooling of the universe under the watchful eye of her tutor Septimus Hodge. Interspersed with this, in the 1990’s academic Hannah is researching the same estate’s transformation of the gardens from a classical to a romantic landscape whereupon she discovers Thomasina’s writings.
In addition to this, Byron scholar Bernard Nightingale, who wrote a scathing review of Hannah’s book on Byron’s lover Lady Caroline Lamb arrives on the estate with a theory that Byron killed minor poet Ezra Chater in a duel at Sidley Park after slating his work. What emerges is a thoughtful and detailed look at truth, sexual politics, the state of the universe and a lot more besides.
It is of course intelligently put together by Tom Stoppard, with his intelligence and wit shining through consistently (most deliciously between Bernard and Hannah) – the comedy is constantly delightful thanks to the sharp witted performances that Carrie Cracknell has drawn out of her cast. Perhaps some audience members will be slightly lost in some of the more scientific nature of the conversations (I certainly was), but the script is filled with plenty of interesting conversations that captivate. It is the way in which the opposites of ideas and time are presented that keep the show flowing effortlessly – to say any more about what the characters in both eras go through would spoil what becomes increasingly fascinating to witness.
Throughout it all, Carrie Cracknell handles the subject matter and the comedy with equal balance that keeps the audience thoroughly invested in the story that unfolds. The fact that it is staged in the rounds really emphasises that stories never really die – they might take years to be discovered but they always come back.
The set design by Alex Eales is simplistic but effective in the way in which the simplest of props and surroundings can be adapted to two very different eras in an effortless but effective way. This is enhanced by Ira Mandela Siobhan’s beautiful fluid movement direction that makes the scene changes between different times elegant, while Guy Hoare’s atmospheric lighting helps to give the show its warmth, while leaning into the scientific nature of the story.
As mentioned earlier, Cracknell really brings out the best out of her cast. Isis Hainsworth is a wonderfully sprightly and charming Thomasina, captivating to watch as she shares the character’s astonishing theories. Matthew Steer is wonderfully comical as the somewhat hapless Ezra – particularly when he attempts to confront Seamius Dillane’s Septimus about his interactions (shall we say) with his wife. Oliver Chris is wonderful to watch as the overly confident (and yes arrogant in many ways) Bernard – his delivery of many of the character’s sharper witted lines is perfectly timed. Nikki Amuka-Bird as Hannah is his match, proving to be a quieter but equally compelling character to watch.
Overall, Arcadia is an intelligent and surprisingly funny play to watch unfold and is really worthy of its two hour and 50 minute run time.
Arcadia continues to play at the Duke of York’s Theatre until the 12th September. To book tickets click here.
Rating: ❤️❤️❤️❤️❤️