Arcadia

Duke of York's Theatre

Playing until 12th September 2026

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Photo credit Manuel Harlan

{PR Gifted ticket}

Set in a Derbyshire estate, the play tells two interlinked stories across different time periods. In the early 1800s, a young Thomasina (Isis Hainsworth), under the tutorage of Septimus (Seamus Dillane), is fascinated by the concepts of mathematics and physics. Their relationship is that of teacher and student, but evolves over time, a main driver of Septimus’s conviction to resolve a theory conceptualised by Thomasina. During their time, they leave behind the drawing of a hermit.

In the modern day, Hannah (Nikki Amuka-Bird) visits the estate to conduct research into the hermit depicted in the drawings. She is joined by Bernard (Oliver Chris), Chloe (Holly Godliman) and Chloe’s brother, Valentine (Angus Cooper), who are there to uncover past events that led to the death of one of the guests that resided in the estate. Challenged by their initial differences, Hannah and Bernard debate over the identity of the hermit in the drawing as they uncover long lost truths of the people that lived on the estate.

Taking place on a simple and aptly designed set by Alex Eales, the planetarium lights encircled by a couple of large rings of LED lights covering much of the stage that resemble asteroid belts convey a message and sparks interest in its own right. All this cumulates to the finale with Thomasina reaching out to one of shining lights as she edges closer to the value of her scientific and romantic spark.

The script penned by Tom Stoppard prominently highlights the interwoven timelines of the stories. Although the characters chase after very different goals across the two time periods, they are fundamentally grounded by their pursuit for knowledge and passion. This is one of the clever aspects of Stoppard’s script. Even if the audience is unable to connect with the reasonings behind the scientific or historical knowledge that are being created, it is still human nature to gravitate towards those who are passionate about their goals.

However, this is not to say that the material is not conceptually dense. Even though Stoppard’s script is immensely well crafted, it is also fast paced and heavily information loaded. This combination can make it challenging for the audience to grasp and absorb the material straight away, and a single moment of disconnection can quickly spiral into confusion. Instead of a piece that may resonate straight away with the audience, I find Arcadia to be a piece that one can savour following its conclusion, becoming a richer experience the more it is thought about.

While it is conceptually difficult to navigate for audiences and performers alike, it is also one of the key strengths of the production, almost as if it is challenging the audiences like it challenged the characters. Under the direction of Carrie Cracknell, the actors navigate the narratives with finesse. Cracknell has done a marvellous job maintaining the balance between the two distinct stories, even though the Regency period piece serves as the anchor for both periods. The story of Thomasina and Septimus in particular pulls the entire narrative together, played out by a talented cast and followed up with gradual revelations by the modern ensemble of characters.  

Hainsworth is a highlight performer of this show, and has managed to grasp the fundamental foundations of Thomasina’s character, her development and evolution from an innocent girl who initially lacked confidence but fascinated by science to that of a young woman enamoured by love. Dillane complements Hainsworth well, more aloof and understands the intricacy of his situation, he tiptoes the line between his role as a tutor and his relationships with various members and guests in the estate. Among the modern cast, Chris’s Bernard is exaggerated, hot head and immensely arrogant, the main driver of disputes among the modern cast of participants. His chemistry with constant bickering with Amuka-Bird's Hannah an absolute delight to watch.

A fast paced and complex story where art, science and detective works collide. There is no fear in Stoppard’s piece, it does not pull any punches in the exploration of the scientific principles described, in fact, the narrative very much indulges in them. Arcadia relishes the moments of genius and when investigations come to fruition, a true pursuit for passion.

Creatives

Writer: Tom Stoppard

Director: Carrie Cracknell

Set Designer: Alex Eales

Costume Designer: Suzanne Cave

Lighting Designer: Guy Hoare

Sound Designer: Donato Wharton

Movement Director: Ira Mandela Siobhan

Composer: Stuart Earl