Arcadia: Tom Stoppard’s ‘masterpiece’ makes a ‘triumphant’ return

Tom Stoppard’s “teemingly intelligent” and “breezily witty” 1993 play “Arcadia” is often seen as his finest, said Nick Curtis in The London Standard. Unfolding in two separate timelines – 1809 and the 1990s – in the same room in a stately home in Derbyshire, it’s a “meditation on love, death and mathematics” that also encompasses poetry, landscape design, sex and more. Indeed, “Arcadia” “packs in more challenging matter than most writers would attempt in a lifetime” – but has the “seeming effortlessness of pure entertainment”.

What a shame Stoppard, who died in November aged 88, didn’t live to see its “triumphant return”, said Dominic Cavendish in The Telegraph. Carrie Cracknell’s production is presented in the round, beneath two elliptical lighting rigs that suggest planets in orbit. This creates a sense of “magnified scrutiny” that “grips like a thriller”. It’s a “must-see” production of a “masterpiece”.

Isis Hainsworth gives a “gorgeous” performance as Thomasina, the precocious teenager who, in 1809, is “buzzing with life, passion and intellectual brilliance”, said Sarah Hemming in the Financial Times. And she is “beautifully matched” by Seamus Dillane as the tutor who slowly realises she has a mind and spirit to cherish. In the present day, said Sarah Crompton on WhatsOnStage, the attraction between Prasanna Puwanarajah’s “odiously self-satisfied” academic Bernard and Leila Farzad’s gentler Hannah “registers less strongly. They seem a little self-consciously smart; the lines between them don’t always flex and fly.”

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I enjoyed this revival, but only up to a point, said Robert Gore-Langton in The Mail on Sunday. Some of the cast seemed a bit “daunted” by the in-the-round staging, and while the “play’s long, spooling speeches on science and physics” should feel “tantalisingly just beyond our reach, here [they] seem like downright hard work. Pay attention at the back!” “Arcadia” is so clever, it “can make your head hurt”, agreed Arifa Akbar in The Guardian. But this production has an “inbuilt exuberance and is invigoratingly realised. It’s like a complicated piece of algebra, exquisite in its difficulties, unsolvable to the end.”

The Old Vic, London SE1. Until 21 March