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Arcadia

Arcadia by Tom Stoppard
Presented by Heidelberg Theatre Company
Directed by Joan Moriarty
Reviewed (May 21,1999) by K.E. Weber

Cast: Elizabeth Cox, Ian Fenwick, Laurie Jezard, Brian Cooney, Glenn Hunt, Rhonda Chung, Matthew B. Kiely, Paula McDonald, Bianca Brizzi, Chris McLean, Paul Dineen, Timothy Huf.

Tom Stoppard is a master playwright whose works are noted for their imaginative blend of philosophical themes, brilliant dialogue and structural dexterity. Threading through much of his work is the premiss that man is but a minor player in the greater scheme of things and, as far as this goes, Arcadia is no different as it explores this theme in a thoroughly ingenious and satisfying way. Briefly, the action of the play takes place in a room of a manor house in Derbyshire and moves between 1809 and the present day. The present occupants, along with a couple of literary sleuths, are involved in the business of unraveling the past. As the machination of 1809 is played out before us, we become aware not only of the inextricable link between the past and the present, but the incomprehensible forces that control them.

Heidelberg's set was spacious, elegant and beautiful. It was bereft of clutter in both decor choices and design. The doors left and right made for clean entrances and exits as did the attractive archways up left and up right. French doors upstage and windows looking out to a lovely garden backdrop completed the basic design. Furnishings were apt with a large wooden table resplendent with thick tomes being the focal piece. An eye for detail was apparent, with colour choices complementing things nicely.

Costumes, wigs and hairstyles were also thoughtfully presented. Congratulations to Heidelberg's wardrobe for creating the garb of the early nineteenth century English nobleman and woman with such care. Actors seemed wonderfully at ease in their finery, with modern day casuals a striking contrast.

Acting standards were high. Elizabeth Cox gave a lovely and engaging performance as the young Thomasina, who, it is discovered, was responsible for the creation of Chaos Theory in 1809. Elizabeth did a wonderful job in firstly portraying Thomasina's innocence at age 13 and 10 months then finding a slight shift in movement and voice to capture her growing maturity at age 16 and 11 months. Ian Fenwick was wonderful as the charming and somewhat glib tutor, Septimus. A good stage presence was coupled with a fine technique, with a good part of Septimus' success being due to Ian Fenwick's clear understanding of the play's language. Rhonda Chung was just right as Lady Croom. A successfull blending of elegance and strength of character, good vocal qualities and a clear understanding of her character's journey served her well. Good support was given by Laurie Jezard (Jellaby, the superior manservant) whose subtle comedy was highly amusing. Brian Cooney was a good choice for the slightly ineffectual author, Chater. Glenn Hunt (Noakes) was reactive and present in his support and Matthew B. Kiely (Captain Brice) looked good although his dialogue was a little forced at times.

Paula McDonald (the modern day author, Hannah) was strong and thoroughly committed to her task, blending traits like cynicism, intelligence and vulnerability well. Chris McLean ( the historian and critic, Bernard) was a joy to watch. His energy, animation and facial mobility were great, in short, a fearless performance - congratulations! Paul Dineen (Valentine) displayed a sound technique and gave a natural performance. Bianca Brizzi (Chloe) was nicely unassuming and Timothy Huf offered strong support in his dual role of the modern day Gus and Augustus of 1809.

Joan Moriarty cast well and directed well. Good use was made of the acting space, accents were strong and consistent throughout, characterizations were good with a real sense of the actor's journey being present, and the intertwining of the two time periods was beautifully handled. An experienced hand was evident beneath this polished presentation of a very challenging piece of work.