Whirlwind of concepts in Stoppard’s ‘Arcadia’

“Arcadia” is a conglomeration, a gallimaufry, a salmagundi of thoughts and ideas, stirred together like jam in rice pudding - to borrow from the play itself.|

“Arcadia” is a conglomeration, a gallimaufry, a salmagundi of thoughts and ideas, stirred together like jam in rice pudding - to borrow from the play itself.

Author Tom Stoppard has combined such disparate subjects as fractals, chaos theory, waltzing, Lord Byron, dahlias, the first and second Laws of Thermodynamics, dueling, changes in British landscape gardening and rabbit pie for the comedy-mystery-love story first produced in 1993 and now playing at Cinnabar Theater.

This is the play the New Yorker termed “a masterpiece … the finest play written in my lifetime.”

“Arcadia” moves back and forth between a room in the British estate Sidley Park in the early 1800s and the same room two centuries later. The interconnected plots explore the relationship between past and present, order and disorder, certainty and uncertainty – the premise that nothing in the universe is created or destroyed, merely rearranged or rediscovered.

As Director Sheri Lee Miller writes in her thoughts about the play, Stoppard “underscores the concept of cosmic recycling with repeated motifs throughout the play. In both eras we see the same discoveries made through different means, the same human interactions, the same arguments, and often even the same words spoken. Part of the fun of the play is catching these parallels as the story unfolds.”

This is a play that, like Beethoven’s Fifth, has no intention of allowing its audience to drift off, perhaps composing a mental to-do list rather than paying close attention to the dialogue. Stoppard’s intellectual playfulness, his precise choice of words to define character, and the huge range of concepts make sure of that.

The ensemble cast is a strong one. I was pleased by all, especially Patrick Edwards’s Bernard Nightingale and Sam Coughlin’s Septimus Hodge.

One indication, to me, of a good director is subtlety. Miller has faith in her cast and script and allows them to shine.

I’ve long been amused by reviews that comment, “I came away humming the set,” but in this case, I did. I am so in love with Scenic Designer David Lear’s periwinkle and grape walls, punctuated with elaborate white molding that I plan to steal it for my home. Unfortunately, I can’t as easily duplicate the magnificent table that dominates the set.

Equal praise is offered to Pat Fitzgerald, costume designer, who deftly blends the fashions of 1810 and 2015.

Do yourself a favor. Experience this smart, funny, well-acted play. I think you’ll be glad you did.

“Arcadia” plays at 8 p.m. Fridays and Saturdays, and 2 p.m. Sundays, through April 19, at Cinnabar Theater, 3333 Petaluma Blvd. North.

Tickets are $!5-$25. Opening weekend was sold out, so reservations are advised.

Call 763-8920 or visit cin nabartheater.org for tickets.

(Contact Katie Watts at argus@arguscourier.com)

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