Tom Stoppard’s “Arcadia” is Artistic Director Sean Murray’s “Good Things Come in Threes”
I missed you, Cygnet!
Per usual, dear reader, as I have mentioned before on my theatrical bingo card. I did not know what Arcadia was about. I had a sense of some time travel, but that was it, and it was far from what I had imagined. I was expecting more of a Sliding Doors dynamic. I’ve also mentioned on here that beauty lies in perception, and this was a total rabbit-hole play for me in all the good ways. I mean, my brain also works like that…
Written by Czech-born, Great Britain-raised Tom Stoppard, Arcadia starts in an English country house called Sidley Park in 1809, then jumps back and forth to what the kids today call “the 1900’s”, here 1993. Lady Thomasina Coverly (Harper Hayden) is a very smart 13-year-old who studies with her tutor, Septimus Hodge (Corydon Melgoza), who not only is in charge of the children’s education but also lives in the house and is heavily involved in the extracurriculars. When the guest Ezra Chater (Fred Harlow) learns about these activities with his wife, he confronts Septimus. Like all manors, practically everything is going on with everybody. Thomasina is vocal about her learnings, and the parentals, Lady Croom (Melanie Lora) and Captain Brice (Paul Morgavo), do not seem too pleased. Also, they are busy with the garden remodel by Richard Noakes (Manny Fernandez), the landscape architect. In 1993, the descendants of the Coverly family are living in Sidley Park. Valentine (Tanner Vydos), the eldest son, is studying mathematical biology. Chloë (Emily Nightingale) is sweet and energetic, and the youngest sibling, Gus (Luca Hansen), is 15 and has been mute for years, but he is also highly perceptive. There are two guests in the house: Hannah Jarvis (Marti Gobel), an author and historian researching both the history of the gardens and the identity of the hermit. Her academic (or should I say research) nemesis, Bernard Nightingale (Richard Baird), is also conducting research regarding a theory involving Lord Byron.
There is history between Sean Murray and this play, as it is his third time directing it, and as they say, “do one thing you love three times”… Murray’s well-rounded talent as an artist is undeniable, and his clear perspective on the play, as well as his staging vision, was palpable. There are some “Pasodoble” type blockages to illustrate both time periods that were just right and on the mark. The play is long, ok? I was told it was 2 hours and 30 minutes, and, well, with the intermission, it goes to 3 hours. But there is so, SO much happening that it is enthralling. Murray explains in the program not to try and figure it all out and gives the audience the basics. Still, you want to figure it out. Especially because there are things happening to this day, mentioned in the play, that are yet to be figured out entirely. I will only mention thermodynamics and chaos theory because I do not want to spoil it and because it would be exhausting to get into. Ah, and of course, sex! There can be no 1800’s work without it.
Baird, Fernandez, and Harlow are returning to the play after its 1999 debut at North Coast REP, directed by Murray. My esteemed and awesome colleague David Coddon wrote a pretty cool article/preview piece on these happenings.
Continuing with my previous mentions, I have been saying that taking risks and mixing up castings is where it’s at. I said it for Diversionary’s RENT. Cygnet’s current production of Arcadia brought together a combination of virtuosos, debuts, and solid acting that made this piece an absolute gem. And for people like me who are learning about it and seeing it for the first time, even more. I could imagine those who have seen it the previous one or two times, and comparing them all would also be fun.
Marti Gobel and Richard Baird’s scenes are a delight. Fiery, strong, and thick! They bring different layers, focused, and intense. A tour de force. The Cygnet debuts are not far either. Harper Hayden’s portrayal of Thomasina is outstanding, truly conveying the young, smart, but curious girl. Corydon Melgoza is poised, charming, and, along with Harper, gave a beautiful rendition of the Waltz. I love the last name “Nightengale.” I am about to finish “This Book Made me Think of You,” where the main character is Tilly Nightingale, and it just fills up my heart. Welcome to my ADD, dear reader! Always coming along for the ride… Emily Nightingale is a joy. Sassy, funny, and gifting little nuggets of fantastic comedic timing.
Luca Hansen plays the roles of Gus and Augustus (Thomasina’s brother). He is tender in his performance of Gus with the right mannerisms and looks. He knows his Rubik’s Cube for sure and also did a great job playing Augustus, showing the audience these extremes within the characters.
I liked seeing Tanner Vydos in a straight play, as my experience with his work has been more in musical theatre. Another well-rounded talent. Captivating as Valentine, clearly communicating the dedication in his theories and studies as well as the relationship with his siblings and the playful dynamic with Hannah.
Byron Ladue, Fred Harlow, Melanie Lora, Paul Morgavo, and Manny Fernandez have brief but enchanting participations. Ladue is sweet as the butler Jellaby, Harlow as the published poet Ezra, and Melgoza give great scenes. Melania Lora delivered hilarious and saucy lines as Lady Croom, along with her on-stage husband, Paul Morgavo, who captured the 1800’s head of the family essence just right.
Heather Larsen’s design was practical for the smaller stage-in-the-round setting, with a long table at the center and the actors sitting, moving around or next to it. One of the definite stars here are Bonnie Durben’s props. As I watched the performance, I thought, “What beautiful props.” The attention to detail was present from the melted wax to the matches, the paper, the tortoise, all of it, truly completing the scenes. George Yé’s sound: breathtaking. There is music in the piece that has this air of nostalgia that was very enjoyable. Chris Rynne’s lighting guided the audience as the actors came in and out from practically all corners of the space.
You know I love me a good period piece, and Eliza Benzoni, as always, delivered with the wardrobe. The jackets for the men in 1809 mixed different colors and materials, making all the chaps look amazing, and the same with the women: the taffeta dresses and the coquettish shoes, along with Peter Herman’s wigs with fine tendrils. Perfection. The modern-times gear also worked, but Richard Baird’s ensembles, again, with the mixing of colors, patterns, and materials, were one of my favorites as well as Nightingale’s.
There were British audience members in the row in front of us, and I was curious to learn what they thought about the British accents… I enjoyed them, and I consider Vanessa Dinning did a great job with the coaching. And if Bonnie Johnson was in charge of the Waltz, well beautiful!
Joining in on the theories dynamic, there are times, especially getting closer to the fall, where theatres have pieces with topics in common. Onstage’s latest production, Isaac’s Eye, Issac Newton wants to get into the Royal Society at Trinity College, something mentioned in this play as well.
It is also fun to learn history through theatre.
Arcadia is currently playing until August 16. If you are going to a matinee, good, because you can have a nice dinner after the show. If you are going to an evening performance, have a good-hefty dinner before the show so you do not come out hangry.
The Stage manager for this production is Marsi Lorens.
