“Arcadia,” Stoppard’s prize-winning play, brings summer fare to Sierra Madre Playhouse
By Terry Miller
Published: Thursday, June 24th, 2010
By Fran Syverson
It’s not often that a drama traverses two centuries, yet is played out within the very same room with people of both eras concerning themselves with the same scientific and philosophical theories. Yet this is just what happens in Tom Stoppard’s “Arcadia,” now showing at the Sierra Madre Playhouse.
Sidley Park is the Coverlys’ large country house in England where lives cross paths in both centuries. The story is complex, and involves landscaping plans, trysts at the garden gazebo, challenges to duels, a precocious young woman’s scientific hypotheses, a hermit, research into long-lost personal letters…and much more. With such intertwinings of themes, and with a cast of 13, happily the casting is excellent, and the acting is right on.
Thomasina, the Coverlys’ willful teenage daughter, persists in demanding answers from her tutor, Septimus Hodge. Alexandra Goodman, in her Playhouse debut, beautifully portrays Thomasina’s wide-ranging moods, from impetuous to wheedling to scholarly. The topic of “carnal embrace” comes up, despite its not being in her curriculum. Septimus (T.J. Marchbank) tries unsuccessfully to duck the question. Odd, as he himself readily admits to certain amorous adventures. In fact, he finds himself challenged to a duel by Ezra Chater, who wants to defend his wife’s dubious honor. As Mr. Chater, Phil Apoian, in his confrontation with Septimus, vacillates convincingly between jealous bravado and succumbing to flattery when Septimus seems to admire his poetry.
Lady Croom (Kendra Chell) plans the re-do of her gardens with landscaper Richard Noakes, portrayed by Aaron Michael Jackson as a young man who is rather bumbling in her presence. She is the dominatrix of Sidley Park, carrying herself statuesquely, and attired in elegant period gowns. Indeed, the gorgeous, colorful, satin-and-velvet costumes on both women and men are worth making the visit to “Arcadia.” Lace, high collars, boots, and décolleté abound.
The seven scenes in “Arcadia” alternate between the 1800s and 2000s. Present-day researchers arrive to try to authenticate slim pieces of information they have about the earlier Sidley Park residents and possible scandals. Gigi Bermingham is intense when she (as Hannah Jarvis) studies hermits, one of whom she thinks she spots, seemingly incongruously, in the landscaping plans. She and Bernard Nightingale, both scholars, differ widely on their views of the relative relevance of science and literature. Their differences culminate when Nightingale tries to do a rehearsal of a lecture and Hannah scorns his flaws in reasoning. Benjamin Burdick plays Nightingale with gusto throughout “Arcadia.” His booming voice echoing his ego is the most easily understood in the cast, in part because of its volume.
That lecture rehearsal is a high point in “Arcadia’s” comedy. Nightingale blusters on while his assistant Chloe Coverly (yes, a descendant of the earlier Coverlys) stands at an easel turning pages of his presentation. As Chloe, Felicia Tabrizi is virtually a caricature of glowing smiles of approval and (when Hannah interrupts) disapproving scowls.
Valentine Coverly (Paul Romero) relies on his computer to try to analyze Thomasina’s findings of two centuries previous. John Combs as Jellaby the butler officiously carries out his duties, of which passing notes and love-letters to some of the guests is a part. Capt. Brice, portly in his gold-buttoned jacket, is personified by Mark A. Cross. Shy, youthful Liam Swan, while playing primarily non-speaking roles as both Gus Coverly and Augustus Coverly, serves to connect the two centuries of the story.
Director Barbara Schofield and Don Bergmann designed the country estate setting. Estelle Campbell is stage manager, assisted by Laura Stahl. Jason Mullin is lighting designer. Barry Schwam is sound designer, and Rick Taylor sound tech. Light tech is Megan Laughlin. Bergmann headed the set construction. Bob Buechting is scenic artist; he is also on the construction crew with Justin Larsen, Rick Taylor and Brad Comeau.
Anne Marie Atwan and Ruth Thompson are in charge of properties, and Alicen Lewis is property mistress. Alvin Ceballos handles dramaturgy. Valentino’s Costumes is credited with costume design, with Julie Bull as costume mistress.
Producers are Christine Soldate and Estelle Campbell. John Johnson and Ward Calaway designed the program and layout. Donald Songster and Johnson did the production photography, and Kate VanDevender created the poster art. Philip Sokoloff is publicist.
Those who would like to become acquainted ahead of time with the characters in this many-faceted story might research “Arcadia” on the web. For those who would rather relax and bask in an evening of intellectual wit and repartee, as well as enjoy the setting that spans 200 years and the costumes that range from the elegant to the contemporary, “Arcadia” will continue at the Sierra Madre Playhouse weekends through July 31. Curtain time is 8 p.m. Fridays and Saturdays, and 2:30 p.m. for Sunday matinees. Admission is $20 general, $17 for seniors (65+) and students (13-17), and $12 for children 12 and under.
The Sierra Madre Playhouse is located at 87 W. Sierra Madre Blvd., Sierra Madre. City lots offer free parking. Pre- or post-theater dining at local restaurants on Baldwin Avenue and Sierra Madre Boulevard can enhance your theater-going experience. For ticket reservations or more information, phone (626) 355-4318, or visit the website, www.sierramadreplayhouse.org, for online ticketing.
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