Review: Arcadia (The Old Vic)

Review by Daz Gale

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The Old Vic has history when it comes to staging plays by the late Sir Tom Stoppard, having premiered his first play, Rosencrantz and Guildenstern Are Dead in 1967, and more recently staged a revival of The Real Thing, so it feels fitting that it is now the home for another of his plays, mere months after his sad passing, as the prestigious theatre stages Arcadia for the first time. Would this production bring order and harmony, or would it descend into chaos, reminding us that some things are best left in the past?

Arcadia had its world premiere in London in 1993, transferring to Broadway two years later, where it won the Tony Award for Best Play, with revivals on both sides of the Atlantic along the way. Set in an English country house, Arcadia flirts between two centuries: in the 19th century, a teenage prodigy discovers the mathematics of the universe, while in the modern-day, scholars chase the ghosts of the same household, trying to uncover the truths they seek. As the pieces of the puzzle slowly come together, the play reminds us we can’t always make sense of the past, and searching for order where there is none often leads to chaos.

There is no denying the genius of Tom Stoppard, with Arcadia often described as his masterpiece, weaving its complex themes as the past and present collide, signifying the ideas of entropy and chaos theory, all with his signature use of language that thrills at every opportunity. However, something about this production doesn’t quite add up, leading to an uneven take that is utterly compelling at times, but somehow lags in others. Almost feeling like two separate plays coming together, the intertwining aspects of both timelines aren’t as smooth as you would hope, with one much more captivating than the other.

The scenes set in the 19th century prove the strongest, by far, with a heavy and healthy dose of humour, varying interactions and a much stronger dynamic. The present day scenes pale in comparison, often killing the momentum and leaving me longing for the action to return to the past. Given the fact these present day characters are theorising on what might have occurred from those we meet in the 19th century, it should come as no surprise that these ghosts from the past are the most well-rounded and multi-dimensional characters. However, this does mean that the collection of people in the present day feel that much more one-dimensional by comparison. Their relationships and dynamics didn’t quite thrill in the same way, making Arcadia feel more confusing than it ought to be.

Arcadia is clearly a very smart show, with no qualms about the complex themes and theories prevalent throughout. I can’t be certain I was always following every twist and turn or making sense of every connection, but the wit and wisdom on display was undeniably impressive. It’s fairly tricky to pinpoint why not every aspect did truly land with me, as this is the first production of Arcadia I had seen, so can’t be sure if my issue is with aspects of the writing overall (with no disrespect to Tom Stoppard’s undoubted genius) or, simply, aspects of this production.

That question becomes the more perplexing given how taken I was with many of director Carrie Cracknell’s choices. For Matthew Warchus’ final season as Artistic Director at the Old Vic, the space has been reconfigured to create a 360 degree space allowing for the most intimate theatre experience you’re likely to have. This worked incredibly well for their recent productions of Mary Page Marlowe and A Christmas Carol, allowing for greater connection to the piece, and in some ways it works just as remarkably in Arcadia. A revolving stage is littered with books and mementos from the country house, many of which are from the 19th century as the present day characters look into them and try to make sense of it all. Where the chaotic themes of Stoppard’s play are heightened are when modern-day elements are introduced into the set, and remain in view in the past (think the infamous plastic water bottle from Game of Thrones but deliberately so this time). Cracknell embraces the themes of Arcadia with her choices, making full use of this intimate setting and attempting to immerse the Old Vic audience into Stoppard’s world.

Alex Eales’ set makes a great use of this intimate and even claustrophobic stage, but the real focus point is in the installation hanging above the stage full of circles and “baubles”, beautifully designed and intriguing to discover. It is certainly open to interpretation but it seems to represent various orbits and systems, somehow combining mathematical models and Newtonian physics, with the use of apples prominent in the play. It’s a clever way to reference the sometimes complex themes of Arcadia and present a visual manifestation of the chaos and order that are so prominent throughout the story.

For such an intimate space, a cast of 12 fill it with the strength of their performances in a consistent ensemble, weighted with talent. In the 19th century, Isis Hainsworth delights as Thomasina Coverly in a performance that feels playful and eager as the teenage prodigy is full of intrigue, asking questions that provide some of the more interesting dialogue of the play. As Septimus Hodge, Seamus Dillane delivers one of the standout performances, answering these questions in such a dry manner that always provides the more comic moments of Arcadia. While his chemistry with Hainsworth is undeniable, Dillane’s brief dalliances with Matthew Steer as Ezra Chater provide the most laugh-out-loud moments, with a mixture of banter, misunderstandings and pure insults leaving me longing for more.

Back in the present day, the strongest performance belongs to Prasanna Puwanarajah as Bernard Nightingale. His character may not be the most loveable, in fact he is quite loathsome at times, but his cutting remarks, however inappropriate they may be, are brilliantly handled, in what is one of the more memorable characterisations of the play. Leila Farzad delivers an understated but powerful turn as Hannah Jarvis with a stage presence that amplifies every subtle and nuanced move she makes. The contrast between these two is one of the more interesting dynamics of Arcadia, though the other modern-day characters sadly prove far less interesting and much less fleshed out by comparison.

There is no doubting the genius involved with Arcadia both in Tom Stoppard’s legendary writing, and Carrie Cracknell’s inspired direction. While it certainly gave my brain a workout trying to piece everything together, I can’t say with all honesty that every element worked for me. It feels fitting in a show so determined to make order out of chaos, that certain bits proved a bit too chaotic for me. Though I’m sure it was the intention, it led to a production I found jarring at times, lessening the desired impact and never coming together. This is most felt when the two timelines intersect at the climax in an ending that left me with more questions than answers. Again, while I am not doubting the intent of the show, I can’t say this is my favourite of the Stoppard plays I have seen, and though Arcadia offers moments of beauty and insight, complete harmony remains just out of reach.

Arcadia plays at the Old Vic until 21st March. Tickets from https://allthatdazzles.londontheatredirect.com/play/arcadia-tickets 

Photos by Manuel Harlan