Review of ‘Arcadia’: “Revival of Stoppard classic is a theatrical locus amoenus”

This might not be the most gripping plot you’ll ever find. But that doesn’t make the writing any less exquisite. For some, that’s what defines a Tom Stoppard play. And that may be part of his genius. Stories that do not necessarily brim with excitement but whose introspective power makes up for anything else you might miss. Perhaps, not entirely, but with sufficient prowess for the piece to make an enduring impression — and a positive one, too.

The much-anticipated revival of Arcadia is currently enjoying a second lifetime in the West End, following its critically acclaimed inaugural run at the Old Vic. The hype hasn’t been in vain. Not only does the work shine in several dramaturgical aspects, but the production also honours them with similar brilliance. And despite the material’s density, the performance makes the overall ride smooth and enjoyable without sacrificing its thought-provoking qualities.

Two different timelines intertwine throughout the play. The show opens with a bright young woman from the 1800s, named Thomasina, who’s being lectured by her charismatic tutor on the different acceptations of carnal embrace. Her curiosity about semantics and intimate relationships- something her teacher has earned a sizable reputation for across the whole family estate -is, however, not as great as her passion for scientific knowledge, which will later result in two major breakthroughs for which she will never get the recognition she deserves.

Two hundred years later, their descendants are visited by a literary professor, who’s conducting research to determine if, as he suspects, Lord Byron was responsible for the death of a family friend. Other discoveries unfold. Some are more interesting than others. Yet, all equally valuable regarding one of the narrative’s key themes — the subject of speculation and how prone we are to accept it as factual information.

The script keeps a fair balance between quick-witted remarks and insightful observations, neither of which comes across as excessive or underwhelming. Stoppard’s mastery materialises in his magnificent execution of dialogue, whose superb conversational flow is enhanced by the excellence of its inner workings. As such, no line comes out of place. And most of them- if not all -teem with subtext and astuteness.

Although its existential exploration is where most of the play’s significance lies, that’s also what, in some way, contributes to its only weakness. Despite the strength of its dramatic elements, the tension doesn’t strike as hard as it should. At some moments, the action is rather stagnant.

As viewers, we are not so much compelled by what’s happening. Instead, we are enticed by how the characters process it. One might argue that’s precisely the intention. And they might have a point. But I can’t help but feel that such focus also compromises the pathos and overall engagement.

That might not be a tiny flaw, but the company makes it look as such. At least, to some extent. On the whole, the acting is extraordinarily good, as most portrayals flaunt absolute command of their roles, which display presence, rapport, and flair. Among them, Angus Cooper and Seamus Dillane earn the highest praise as Angus Cooper and Septimus Hodge, both of whom are magnetic in their own way — the former through his poise and nuance, the latter through his natural charm.

It’s always a daunting task to sit through a 3-hour play. And although some sections could benefit from better pacing, Arcadia is still a worthy watch for anyone looking for profundity and perceptiveness. The intimacy of its in-the-round staging- somewhat preserved at the proscenium-based Duke of York’s -and the sweeping faultlessness of its delivery make this production a tour de force in almost every sense of the word. And although it’s true that, from a storytelling perspective, it creates a few expectations that are never met, that’s actually a clear reflection of the life we live and the world we inhabit.

All pictures credit to Manuel Harlan.

Arcadia plays at London’s Duke of York’s Theatre until 12 September. Tickets are available on the following link.

By Guillermo Nazara