In the time that I spent in New York last month, the second half of my trip meant I was staying a stone’s throw from the West End Theatre — 263 W 86th St (between Broadway and West End). I was really grateful to be invited to review a stalwart of British Theatre’s works over in the Great White Way.
Arcadia is a play in which Tom Stoppard (which did in fact win him a Best Play at the 1993 Olivier Awards) navigates the interaction between two academics (set in the modern age) and the residents of a Derbyshire country house in the early 19th century. These included aristocrats, tutors and the fleeting presence, unseen on stage, of Lord Byron. The themes of the play include: literature, philosophy and the English style of garden design.
I tried my best to engage with this three hour play (!), and despite this, I found the action on stage to be all kinds of chaotic and monotonous. For a start, the way Bedlam – the company staging this – seem to have positioned this is to have the blackboard with the location ‘ENGLAND’ written and then actors speaking in American accents. I found this to jar hugely with my own interpretation, and made me feel disconnected not only as a Brit, but as an audience member. Perhaps it was due to the appeal and location being in the US, that the directorial choices were used that again reinforced how this was far too long and not at all memorable. Though, having said that, there were some lovely performances from the actors – whose fault it wasn’t regarding a weak script – and for so much happens, all at once. Its exploration of chaos theory, and complex ideas need not be something the audience is au fait with but it could perhaps help to be interested in science. The character of Thomasina (played by Caroline Grogan) was played well and in a believable manner, opposite Shaun Taylor-Corbett as Septimus Hodge. I enjoyed the scenes where they were present, despite the entirety of the show being convoluted and not-quite-finessed.
All in all, it was my first (Tom) Stoppard play but I definitely felt the writing could have been cut (a 90-minute one act abridged show, would be a great suggestion of mine personally) in order to make it a succinct play that engages. It did feel on numerous occasion as being muddled, confusing and also slightly contrived. The actors also used small props that enhanced the story somewhat, and the backdrop was painted in lovely lush colours bringing a suitably stunning set.
Despite the many flaws, I am glad to have seen a Stoppard play. Let’s just hope the next one provide the company producing it with more of a springboard to leap from as this missed the mark on few occasions when it could have been an innovative way to tell the story.
Until 23 December:
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