ARCADIA

Old Vic

★★★★★

“extremely intelligent, stimulating, challenging and fun”

It is rare in the theatre when the question about why jam cannot be ‘unstirred’ from a bowl of rice pudding sets our thoughts on a mind-boggling tangent about the universe. But it epitomises the skill and the beauty of the writing in Tom Stoppard’s “Arcadia”. It is the ‘ordinary-sized stuff which is in our lives, the things people write about – clouds, daffodils, waterfalls, what happens in a cup of coffee when the cream goes in – these things are full of mystery’. Carrie Cracknell’s revival of the 1993 stage play is, indeed, full of mystery. Like a detective story with an abundance of clues that, once in the hands of the protagonists, don’t really lead to the solution they are looking for. Mainly because there is always a counter argument.

The age-old conflicts between science and art, intellect and romance, certainty and poetry, truth and fiction, are explored with beautiful eloquence. Stoppard picks away at our own beliefs, and by setting the play in two parallel eras (the early nineteenth and the late twentieth centuries) he picks away at the fabric of time itself. Many of the issues soar way over our heads as dollops of theories are added to the metaphoric rice pudding. Postulations of quantum mechanics, entropy, chaos theory and Newtonianism, for example, rub shoulders with bawdy humour and ‘carnal embraces’ (aka sex). The subject matter collides like tiny atoms, but far from being chaotic the result is a glorious three hours of theatrical bliss. And a gorgeous tribute to the playwright who died barely ten weeks ago.

The outstanding cast goes a long way in ensuring the watchability of the drama. The play opens in 1809 with the precocious and privileged Thomasina Coverly (Isis Hainsworth) in a light-hearted but deep conversation with her tutor Septimus Hodge (Seamus Dillane). The quality of the performances is established from the outset – both playful and serious at the same time. The dynamics are flirtatious, a touch dubious but somehow chaste. Dillane wears a guilty conscience like a made-to-measure second skin while Hainsworth faultlessly displays a mix of playful childishness, genius and sassiness. In storms the bumbling, wannabe poet Ezra Chater (Matthew Steer on brilliant form) challenging Septimius to a duel in the belief that he is carrying on with his wife (he is). He is also ‘carrying on’ with Thomasina’s mother – we are led to believe. Oh, what a tangled web we weave… Fiona Button wonderfully displays coquettishness and playful attraction despite ruling the manor – and her daughter – with an iron fist.

Cut to 1993 and we are in the same location. The ghosts of the historical characters are hanging in the air as academic Hannah Jarvis (Leila Farzad) is locked in debate with Bernard Nightingale (Prasanna Puwanarajah) over what happened nearly two centuries ago in the very same room. Puwanarajah has some of the best monologues of the play as he charismatically extrapolates his theories; often proved wrong by Farzad’s cool Hannah. Links to the past are provided by the present-day Chloë Coverly (Holly Godliman) and her brother Valentine (Angus Cooper) who seems to be wrestling with the scientific predictions of his forebear Thomasina, but with considerably less ease.

Alex Eales’ design places the action in the round on a slowly moving revolve which mirrors the passage of time – perceptible but simultaneously unnoticed. In this way, the connections between the two time periods are highlighted, aided by Cracknell’s slick, overlapping transitions from one to the other which eventually fuse into a searingly poignant final act as the two merge together in a dreamy waltz. What is revealed ultimately is that, despite the breakthroughs of science, and despite the changing philosophies and beliefs over time; human connection never alters. There is much talk of loss in the dialogue. The loss of belief, of meaning and also of the material artefacts that define us – the books and the architecture of life. What do we look for then?

Yes, “Arcadia” is like a detective story with an abundance of clues that, once in the hands of the protagonists, don’t really lead to the solution they are looking for. Perhaps because what they are really looking for is love. Stoppard dresses it all up in a very wordy but extremely intelligent, stimulating, challenging and fun play. His spirit lives on and, with productions of his work like this one, we can be sure of its longevity.

ARCADIA

Old Vic

Reviewed on 6th February 2026

by Jonathan Evans

Photography by Manuel Harlan

ARCADIA

★★★★

“Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too”

‘The Life and Death of King Richard II’, later shortened to “Richard II” is categorised as one of Shakespeare’s History Plays. Even though another early title reads ‘The Tragedie of King Richard the Second’. Tragedy or history, though, it bursts onto the stage as a modern-day thriller with Nicholas Hytner’s stirring interpretation. The story of a man whose symbol of power is of more concern to him than his duties has a chilling resonance today. Jonathan Bailey’s unpredictable ruler, however, is an eccentric soul, with a degree of vulnerability that draws our sympathy (so any comparisons to a contemporary world leader that might spring to mind are soon quashed).

Probably best known for his role in ‘Bridgerton’, Bailey returns to his theatrical roots, stepping into the role that follows some pretty impressive footsteps; John Gielgud, Paul Schofield, Ian McKellen, Timothy West, Derek Jacobi, Fiona Shaw, Eddie Redmayne, Mark Rylance, Ben Wishaw, Simon Russel Beale, David Tennant… Many a fine pair of shoes to fill, but Bailey slips into the role with ease.

Chronicling the monarch’s downfall, and the intrigues of his nobles – most notably Henry Bullingbrook (later King Henry IV) – the play spans the last two years of Richard’s life. The set is sparse, stark and by default unsettling and menacing – with the unpredictable air of a disused warehouse. We seem to be in a Netflix gangster land. Grant Olding’s sweeping music score sets the scenes, aided by Bruno Poet’s atmospheric lighting. Chandeliers dangle while minimal set pieces rise from the depths, around which men in black lead the dance with a swagger that ultimately trips and falls into tragedy, mourning and a kind of forgiveness.

Hytner’s direction moves the action at a pace yet there is still time for reflection, and moments of humour too. An overuse of dry ice hammers home the film-noir flavour, but otherwise everything is perfectly balanced. Violence gives way to psychological intrigue while the battlefields migrate into the courtroom. Bailey’s performance is undoubtedly the shining light, yet he casts no shadow over the supporting cast who all command the stage in their own way. Royce Pierreson’s Bullingbrook is a tour de force as he struggles to reconcile his need to usurp the throne with his reluctant empathy for a failing king. The first act ends with the two pitching against each other, Bullingbrook armed with a massive cannon while Richard watches from the gallery, dressed in white. The second act ends incredibly poignantly as Bullingbrook gains little comfort from his victory while Richard’s body lies on a hospital gurney, now in black.

In a play where ally can become traitor, and vice versa, at the drop of a hat, the entire cast showers clarity onto Shakespeare’s verse, coupled with powerful emotion. Martin Carroll, who has stepped into the role, gives a wonderful poignancy to John of Gaunt who is desperate for his dying words not to be spoken in vain. But in true Shakespearian fashion, little can be done to halt the wheels of tragedy’s course. And the beauty of the staging leads to us, the audience, being made to feel somehow complicit in the action. Almost traitorous ourselves. It is an enthralling production that closes with an emotional power. A quiet, yet poignant punch, that leaves us quite breathless.

Tag Archives: Seamus Dillane

ARCADIA

★★★★★

Old Vic

ARCADIA

Old Vic

★★★★★

“extremely intelligent, stimulating, challenging and fun”