Arcadia

To the outsider, science and passion don’t often co-exist in one’s mind. Sterile white lab coats and petri dishes do not align themselves with burning desires and fervent longings. But onstage at the Ethel Barrymore Theater in the revival of Tom Stoppard’s Arcadia the two are perfectly in synch.Long considered Stoppard’s finest play, Arcadia, directed by David Leveaux, simultaneously presents two stories that intersect as the show progresses. In the 1800s, 13-year old Thomasina Coverly (Bel Powley) is tutored by Septimus Hodge (Tom Riley), while her mother, Lady Croom (Margaret Colin) prepares to redesign the estate’s landscaping to change its look from classical to Gothic. A mathematical genius, Thomasina discovers and attempts to solve complicated formulas such as algorithms and the second law of thermodynamics while Septimus involves himself in various romantic and sexual escapades with the residents of the manor.Flash forward to the 1900s, where Bernard Nightingale (Billy Crudup) is investigating the life of poet Lord Byron, who was a frequent guest at the Coverly estate. He enlists the help of Hannah Jarvis, an author researching a book on “the nervous breakdown of the Romantic imagination.” Also in residence at the Coverly estate are Oxford graduate student Valentine Coverly (in a scene-stealing performance by Raul Esparza), and his sister Chloe (Grace Gummer) and younger brother Gus (Noah Robbins). As Bernard and Hannah continue their research into the history of the manor, scenes from the past are performed, revealing the inaccuracies in their research.Arcadia is loaded with weighty scientific and mathematical jargon, and at times the script is difficult to follow due to its heavily academic dialogue. But the passion and intensity of the characters’ determination transcend the challenges of the script and draw the audience into this academic journey, even if they don’t completely understand it.The two time periods are performed on the same set, an off-white, cavernous room designed by Hildegard Bechtler. While the lack of color does suggest timelessness and proves to be a lovely background to Gregory Gale's costumes, at times it feels a bit bland. But the performances are anything but bland, and the passion burning in these characters – both academic and sexual – is tangible.As Septimus, Riley is dashing and self-assured, and making his numerous sexual escapades believable. His biting wit and sarcasm are amusing, but his honest emotion is touching as well. Unfortunately, Powley’s performance as Thomasina is not as satisfying. The pitch of her voice is much too high and distracts from her dialogue. But her forthright manner and innocent curiosity are well-acted, giving the audience insight into this intelligent and often overlooked girl.Colin plays Thomasina’s mother, projecting the appropriate intelligence and stature but she does not provide the  necessary undertone of quiet comedy to many of her lines. As Ezra Chatter, the unfortunate victim of one of Septimus’ many schemes, David Turner is extremely amusing.In the 20th century ensemble, Lia Williams plays Hannah Jarvis in a pitch-perfect performance. She gives Hannah the brisk efficiency of a determined academic, while also providing insight into Hannah’s carefully hidden vulnerability. Valentine and Hannah’s friendship contains an undertone of romance and Williams and Esparza smolder when the script permits them to. Esparza is truly excellent as Valentine, delivering his quietly sarcastic barbs with impeccable comedic timing. Billy Crudup also shines as Nightingale, thriving in the abrasive and obnoxious man whose ego is his ultimate downfall. As Chloe, Gummer appears over the top and flighty, but Robbins gives a convincing performance as the mute Gus.At times, the actors’ accents are difficult to understand, and it is crucial to pay attention during Arcadia. Watching the modern-day characters make incorrect assumptions about the past, and then watching the same events unfold is enthralling, and the idea of cause and effect, especially regarding the estate’s hermit, is chilling. The final scene, which reveals one of the script’s lingering mysteries, is both lovely and heartbreaking. Any barriers that were formed by the difficult scientific language are shattered and the pure emotion of Stoppard’s script shines through.

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