Drama Theatre, Sydney Opera House, February 12
Ryan Corr gives a standout, charismatic performance in Tom Stoppard’s brilliantly clever 1993 play Arcadia but the production itself wasn’t quite firing on all cylinders on opening night.
Set in a stately English country estate called Sidley Park, Arcadia unfolds across two time frames, with alternating scenes set in the early 1800s and the 1990s (which eventually begin to overlap and share the stage).
Beginning in 1809, teenage genius Thomasina Coverly (Georgia Flood) is discovering chaos theory and the Second Law of Thermodynamics a century before anyone else under the admiring eye of her dashing, witty tutor Septimus Hodge (Corr). Meanwhile, the garden is being transformed from a classical idyll to a Gothic wilderness.
In the same room 200 years later, Bernard Nightingale, a smug, ambitious Byron scholar (Josh McConville) desperate to prove that Byron fled England after killing a minor poet in a duel at Sidley Park, and Hannah Jarvis (Andrea Demetriades) a historian and author researching the mysterious hermit who lived in the garden’s faux hermitage, try to piece together the past from notes, drawings and other bits and pieces, which we have seen being created.
With illicit affairs, love, iterated algorithms, discussions about determinism and free will as well as Romanticism and Classicism in the mix, it’s heady stuff.
Richard Cottrell directs a sound, lucid, well-staged production on a handsome classical set by Michael Scott-Mitchell with stylish costumes by Julie Lynch.However, in striving to make Stoppard’s dazzling wordplay and complex ideas understandable to an audience, some characters feel underdeveloped and a little of the play’s sparkle and magic was lost on opening night.
At the moment, the historical scenes have a better rhythm than the contemporary ones where not all the humour lands, and there are times when the play feels pretty dense without enough of a leavening human dimension.
Corr has a wonderful, natural ease and charm as Septimus. He handles the zippy dialogue beautifully and his scenes with Flood have depth, heart and a lovely energy, though a stronger chemistry between them as the play progresses would make the ending more moving.
Demetriades gives a strong performance as the wryly sceptical, somewhat stand-offish Hannah though one senses that there is more to find her character (a loneliness is hinted at in the play) and in her relationship with McConville’s Bernard, which we gather is underpinned by a sexual attraction, though there is little chemistry here.
McConville looks a little ill at ease as Bernard, though his zinging barbs are often very funny. Michael Sheasby gives a lively portrayal of Valentine, a gifted mathematician like his ancestor Thomasina before him, and Glenn Hazeldine is a hoot as Ezra Chater, a poet with precious little poetry in his soul whose wife has been discovered in “a carnal embrace” with Septimus. But not all the other performances feel entirely believable.
Given the brilliance of Stoppard’s writing and the top-notch production values, there is already much to enjoy but once the production settles, the cast will hopefully convey more of the play’s humanity and passion, and then it will really soar.
Arcadia plays at the Drama Theatre, Sydney Opera House until April 2. Bookings: www.sydneytheatre.com.au or 02 9250 1777
A version of this review ran in the Sunday Telegraph on February 14