Arcadia

UPDATE NOTES FOR THE CURRENT PRODUCTION

(seen at the afternoon performance on 15th July 2026)
Simply it fits even better onto this smaller stage. The action feels more intense, the performances so riveting that two actors chasing each other down the side aisle caused the monkey to almost jump out of its seat - it had forgotten everything except on-stage world being created at the moment.

A chance for it to catch Holly Godliman's performance as Chloe (she was absent on its last visit), and it is a glory of Upper Class teendom.

Yolanda Kettle has a real edge as Lady Croom, acknowledging her own desires in a time when that did not happen.

The rest still battle numbers and relationships, and this time more of the audience can see the action happen. Catch this revival while you can.

FROM THE OLD VIC THEATRE PRODUCTION. (Some actors have now left the cast).

(seen at the afternoon performance on 18th February 2026)

For some inexplicable reason, the monkey had never seen this play before. Turns out it has been missing prime theatrical steak all these years.

Deliberately obscure, this is the mathematics of passion, a formula woven on a loom of time. Two different centuries within one household, both wrestling with Chaos Theory and Determinism.

All events are determined by existing factors, so we must study the unpredictable behaviour which comes from it. Use an iterated algorithm to apply the same instructions repeatedly until the desired outcome occurs.

Stoppard then adds human attraction, ambition and jealousy as the points to study. Taking time as X, and the other variables as Y, three graphs are plotted as the play’s story arc.

If that sounds dull, it truly isn’t. Director Carrie Cracknell squeezes every drop of dramatic tension from Stoppard, sizzling one-liners searing smoke trails into the mixture.

Isis Hainsworth fascinates as intellectually gifted Thomasina Coverly. Curious and forthright, mature way beyond her years.

Tutor Septimus Hodge (Seamus Dillane) is outthought on every level, a caddishly lively amusement.

Ezra Chater (Matthew Steer) is his nemesis, the pair an 1809 Punch and Judy with actorly gravitas.

Tim Frances as Jellaby has a gleam in his eye as messenger bearing prospects of dalliance and rice pudding.

We wonder what he knows of Lady Croom (Fiona Button), gardener Richard Noakes (Gabriel Akluwudike) and Captain Brice (Colin Mace). A trio of excellence.

In the modern day, historians Hannah Jarvis and Bernard Nightingale (Leila Farad and Prasanna Puwanarajah) re-create Hodge and Chater as they grope towards the shared history of the duo. A slap is deserved, delivery immaculate.

Angus Cooper is a studied Valentine Coverly. Bringing the mathematical theorems into modern times, he contrast neatly with sister Chloe (Keziah Hayes, in for absent Holly Godliman), who champions love as the reason.

Hayes is rightly applauded for her performance, given at short notice. An update on how descendants of Thomasina’s line turn out.

Note too for William Lawlor as Gus / Augustus, quietly expressive.

All bring difficult concepts to life, commanding our attention and never losing us across time and twists of emotional loyalty.

Irritatingly, despite Alex Earle’s clever Sidley Park House revolving benches, the “in the round” staging appears a mistake. Crucial facial emotions are missed by half the audience, no compensation for the opportunities of multiple entrance points to the stage, reflecting a grand manor.

The cold as the actors used street doors didn’t help those sitting in seats near it either (H9, stalls, wear a second layer).

Still, Suzanne Cave’s wonderful period outfits and Guy Hoare’s lighting cues assisting time shifts. Donato Wharton’ sound design and Nia Lynn’s voice work ensures every corner catch every line.

Ira Mandela Siobhan takes a special bow for one sublime movement sequence, to Stuart Earl’s appropriate musical compositions.

Only two other things slightly bothered the monkey. First, that new plays seldom now reach this level of complexity.

Second, that in a school holiday week the audience was (with almost no exceptions), white and elderly. In the monkey’s teen days, when this play was first staged, it would almost certainly have been a far broader mixture.

A mystery worth investigating. Perhaps if it applies an algorithm...

Immaculate writing. Meaty, fierce, enjoyable, slightly and deliberately incomprehensible.

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Venue Box Office & Current Prices

Ticketpipe

• Arcadia -
• Arcadia and Browns– only £85.00 per person! -

LoveTheatre.com

Lovetheatre.com. Charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

See Tickets

See Tickets. Charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.

Ticketmaster

Ticketmaster.co.uk. Charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

TodayTix

TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

London Theatre Direct

Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.