I went to see the Roan Theatre Company's production of Tom Stoppard's Arcadia on Thursday 2nd December 2021 at the Bob Hope Theatre with my sister. The production was brilliantly acted and thematically, it is a dense and at times, seemingly impenetrable play. I have not seen the play before, although I have seen a handful of Stoppard's other plays.
Interestingly, the play lingered in my mind all day yesterday and I realised that it is not necessary to completely understand the philosophical and mathematical theories that underlie its construction. In fact, once I stopped trying to overanalyse the play, it opened up for me. My interpretation of the play resting more solidly on the idea that the play is ostensibly about the act of creation and the simple truth that each of the characters in the play have their own goals and agendas just like you or I. We are all attempting to ascribe some degree of meaning on our lives and efforts.
The plot focuses on the same country house, Sidley Park and its occupants in 1809 and in 1993 (I believe). Reducing the play to its essential elements, those key plot devices that held me captivated throughout, the play explores Lord Byron's stay at the country house and his possible role in the death of another figure (this may or may not have happened and as I have later contemplated, it doesn't matter either way. The idea is the important aspect of the mystery, not the resolution) and the changing design of the gardens of the country house with the addition of the hermitage and mysterious hermit following its creation. The paintings of the before and after of the design of the gardens are on stage throughout the production and there is a meaningful moment when the young Lady Thomasina Coverly draws a figure in front of the hermitage (Act One, Scene One).
All of the characters in the play have their own objectives, both the residents of 1809 and those in 1993. Lady Thomasina Coverly is a student who wants to learn the things that interest her and that may help her to achieve an appropriate standing in her life. Her tutor, Septimus Hodge is happy to facilitate her learning. The other characters too all have their own goals to achieve. The academic characters in 1993 are possibly even more driven. They want to be remembered for their theories. Bernard Nightingale determined to build his career on the strength of his belief that Lord Byron may have been responsible for the death of a character. His character being driven and self-centred effectively gets his comeuppance at the end. He is almost a bizarre future reiteration of Lord Byron as we have been lead to imagine him, sharing his obsession with himself and his work.
Possibly, the most interesting insight for me concerning this play was how in many respects, it gives an overview of the act of creation, particularly in relation to artistic forms. For example, by creating a group of academic characters, Stoppard is able to explore how as a writer (or any other creator of artistic works), it is necessary to invent and/or deconstruct details. This process is effectively an attempt to impose meaning on events, which either aids the reader/audience etc towards some kind of understand or at least, something to engage upon to stimulate thought or an emotional reaction. This probably ties in with the playwright's thematic preoccupations with chaos theory and mathematical theories. Both of which are attempts to provide structure or meaning to seemingly indescribable phenomena. Things do not always make sense yet there is a very human need to control even those things. Also I was intrigued by the creation of two characters in the play that are largely unseen, Gus Coverley who is a character in the 90s distinguishable by his dislike of noise and arguments and a mysterious figure that plays music in another room in 1809. To me, they represent the minor characters in a piece of work that could be developed yet won't be. They tantalise through unfulfilled potential. They are characters like Rosencrantz and Guildenstern in William Shakespeare's Hamlet. Tom Stoppard clearly has an interest in such characters explaining why he filled in the back stories of the aforementioned Rosencrantz and Guildenstern. It is the responsibility of the creator to decide on the respective importance of the characters that are created but ultimately, the creator cannot control the audience and how they react to the characters.
Having absorbed the production and play, I was left with the satisfying sense that each time we go to see a play, we are actively recreating the work in our own minds. Reforming the elements to satisfy our own needs. If we cannot follow the plot, we may focus on the characters that we can relate to most or the set or any other factor. We ascribe our own meanings on the work based on our own experiences. Each interpretation is as valid as anyone elses.
In my head, I know the identity of the hermit in the hermitage. In my heart, you could be that hermit, as could I. Your truth is as relevant as mine.
Barry Watt - 4th December 2021.
Afterword.
This blog is based on the excellent production of Arcadia that I saw at the Bob Hope Theatre, produced by the Roan Theatre Company. It finishes tonight. Please see the link below for more information on the company:
https://www.theroantheatrecompany.com/
Also the Bob Hope Theatre in Eltham stages a truly eclectic range of productions. Please see the below website:
Arcadia was written by Tom Stoppard and all references to his play and characters are copyright to him and his publishers. I occasionally referenced the 1993 revision of the playtext by Faber and Faber.
Rosencrantz and Guildenstern Are Dead was also written by Tom Stoppard and is again copyright to him and his publishers. Although, the characters Rosencrantz and Guildenstern are actually the creations of William Shakespeare (a fairly well known playwright and poet).
Hamlet is not one of William Shakespeare's comedies, although lessons can be learnt on the dangers of procrastination from the play. Definitely a play to see on the stage. Shakespeare's tragedies are still my favourite of his plays.
BW.
