Arcadia is set in the round, the stage a nucleus. The characters circle like electrons around a table, which forms the nucleus of the atom. Alex Eales’ set design is clever, extremely so; the circle of lighting above their heads with balls of light which rise and lower as the story unfolds, dim and brighten, swirl and turn to echo the two worlds weaving and seamlessly interchanging the stories between the past and the present.
This visual whets the appetite and treats us to an all-sensory experience.
Performances are stunning, faultless. Some of the strongest parallels, Thomasina (Isis Hainsworth) and Hannah (Nikki Amuka-Bird) show exceptional intelligence with delivery of insight and wit. Thomasina, a highly intelligent individual full of curiosity and seeking to solve questions way before her time but being dismissed and not being taken seriously. And although we move to the present where we would hope for a better outlook, Hannah (Amuka-Bird) is scarcely treated differently and once again dismissed by the loud, opinionated male. Septimus (Seamus Dillane) and Valentine (Angus Cooper), the scholars who represent the tension between order and chaos. And Chater (Matthew Steer) coupled with Nightingale (Oliver Chris), the overly confident but flawed scholars who insist that their version of evidence must be the correct and only way. The comedic playing from both Steer and Chris is outstanding, played with understated precision and comedic genius.
Carrie Cracknell’s direction is beautifully crafted. The movement choreography between past and present when the worlds collide as the actors weave between each other and as the similarities between the characters begin to build from past to present, we are truly taken on a journey and are reminded that times and settings may change or become altered but matters of conflict flicker between reason and emotion.
The late Tom Stoppard‘s intellectual plot does everything to stimulate ideas that seek to find truth. But, the flawed human and their unpredictable emotions interrupt flow that can hinder truth and fact.
Arcadia has transferred from its sold-out run at The Old Vic and opens at the Duke of York in the round, soon to be aptly renamed the Tom Stoppard Theatre. Theatre in the round is a unique experience and Arcadia is made for this setting. The characters enter and exit from four aisles, the stage itself turns and the past with present move seamlessly from one time to the next…the simple movement of Ira Mandela Siobhan and music composition of Stuart Earl create atmospheric beauty and all these elements combine to bring subtle alignment in keeping with the themes.
Arcadia will not be for everyone. It might feel slow moving, complex in its message and somewhat dated despite its shift to “present day”. Stoppard‘s one liners, “We’ll have you married by 17, any more education than that and you’ll be ineligible” are great and the humour works well in a story of intellectual ideas and are very much needed to cure us from what could become a fear of feeling unintelligent.
It’s very possible to feel paralysed in trying to grasp concepts rather than forgetting to immerse ourselves in the human emotion, in the realisation that the exploration of emotion versus intellect, classical versus romantic world views are all really themes of stimulation but actually we can simplify our thoughts and feelings by immersing ourselves into the very moving story that underlies it all.
The set is fantastically intelligent; the ensemble is strong in performance, actually the acting is fine-tuned to perfection. The music and lighting is magic. The direction is impeccable. This is a definite go-see, but be ready to be stretched in intellect and concept but freed by the simple beauty and sadness of human curiosity.
Arcadia plays at the Duke of York’s Theatre until 12 Sep 2026.
