Review: The Unforeseen Known that is Potomac Theatre Project's ARCADIA

There is only so much of life that can be planned and structured, discovered or figured out before human beings simply give up and accept what is - that which was given before we ever had a chance to make a mark on the virgin world. Yet, many people never get to the latter stage of simple complaisance, to accept what is without a proper fight for the truth. They desire to view the world as some sort of scientific formula, basking in numerical equations, compelling all things to be explicable and manipulated by the brain so as to be subtly understood and not at which to beautifully marvel.

What is and what can be, or perhaps what is and what can be understood by it, becomes the epitome of the "art versus science" discussion. In Arcadia, a show with the dramatics of a show and the philosophical inquiries of a Ph.D. thesis, everything that can be analyzed is thus given its proper chance to be, no matter the form or era. From the French geometric gardens to their more picturesque English counterparts, to a young girl who is naturally wise beyond her years when ignorance is in better fashion, to finally the quest to discover the missing links in the life of Lord Byron - people, like articles of matter, are brought together to both portray and discover a picture that is our world. This is a world in need of discovering, demonstrating how far desire reaches to find that which was once lost.

Written by Tom Stoppard, directed by Cheryl Faraone and presented by the Potomac Theatre Project as a start to its wondrous 31st season, Arcadia truly tests the limits of what constitutes a good show by not only compelling the audience to listen and understand, but also to feel and experience: a mix that makes for one spectacular theatrical experience. The research conducted, the knowledge of the world that permeates the air combined with that which has yet to be discovered makes for an entrancing and intellectual plot, not to mention one that hardly lacks for humor or more relatable human emotion. I would not be the first to say that I fully understood all the mathematical theorems and philosophical discussions which take up the time of most characters on stage; indeed, following this alone if a feat.

Yet, something about the audience understanding and not understanding at the same time ties in well with what the people on stage experience: from the nineteenth century to the twentieth, people are forever at a deficit in explaining everything that makes the world the way it is today; but that's where theater comes in. How to make that dramatic, the advancement, the setbacks, the discovery, the confusion - all of it which makes our world partially unknown is now put on stage in one of the most impressive displays of art I have ever seen.

From sheer memorization to transforming what could have been scientific rhetoric into something the audience feels compelled to see through to the very end, Arcadia really is something unique. It is a lengthy show jam packed with explanations and theories that, imaginably, left many of us shaking our heads in confusion; although, it was oddly enthralling all the while. During intermission, I was definitely anticipating what the second act had in store. I believe it is because of the wonderful mix of intelligence, drama and sensuality this play can easily boast of - a splendid trip into the mind of a man who is clearly quite the genius in the scientific, the dramatic and the sexual.

Arcadia is just as impressive with its intelligence as it is figuring out what makes people "tick" with the same mechanical precision as a clock. Characters at present who possess such love for the work they do are protégées of people who, Once Upon a time, simply lived their lives while sparking interest in a new world they had yet to clearly see. And through it all, we learn what part humans play in this big world.

Switching between centuries in what is a very structured, carefully laid out plot of logic and intrigue, Arcadia brings both the characters on stage and the audience beyond to the same conclusion: although this is a world we cannot truly understand, this show is understandably brilliant.

Arcadia begins at the start of the nineteenth century in Sidley Park, Derbyshire, where Septimus Hodge tutors the young Thomasina Coverly in the subjects of philosophy, geometry, Latin and all which makes a person cultured in the year of 1809. What seems like an innocent scene turns into a scandalous trial of who saw what, referencing the scandals of "carnal embrace" seen in the gazebo hours prior. Ezra Chater, the poet of our story, confronts Hodge with said matter and instead winds up proudly signing a copy of his most recent book for him. Meanwhile, Richard Nokes, the Coverly landscape artist, is hired to spruce things up in the garden by adding such things as hermitages and fountains. Not to mention THE Lord Byron is soon discovered to be a revered acquaintance of Hodge, which brings us into the twentieth century.

Bernard Nightingale enters the home of author Hannah Jarvis with a desire to prove what really happened compelled Lord Byron to leave England. Two people who would have never otherwise met (in part due to Bernard's criticism of Jarvis' writings) form a bond created over the excitement of their scholarly findings. As they discover more and more about Byron and his history with the family we are first introduced to, not only is information discovered but so are feelings, humanity, joy and vitality in both what we don't know, what we do and what we can, if it within the formula that is our lives. It really is fascinating.

This show is incredibly impressive, clever and just puts the mind in this state of awe that never fades for the length of the performance. Watching these characters on stage was like invading the otherwise unknown privacy of those so passionate about the world - a world that knows so little of them but so, so admires them. Seeing how each actor is obviously a professional at his or her trade, this show is like watching words and theorems lifted right off of the page and molded into a beautiful story that is as logical as it is sensual - a play on ideologies and what knowledge we can and cannot have. To this phenomenal cast: Caitlin Duffy, Andrew WilLiam Smith, Jonathan Tindle, Megan Byrne, Steven Dykes, Sebastian LaPointe, Manny Duran, Alex Draper, Eliza Renner, Jackson Prince and Stephanie Janssen...you are all quite wonderful.

Credit must also be given to Production Stage Manager Elizabeth Ann Goodman, ASM's Alex Williamson and Victoria Jane Isquith, Mark Evancho as Scenic Designer, Hallie Zieselman as Lighting Designer, Danielle Mira Veikley as Costume Designer and Cormac Bluestone as Sound Designer. All of your efforts combined really created quite a well put-together, dramatically coherent and professional production that is bound to get noticed during its short run.

Arcadia, now being performed at the Atlantic 2 Stage (located at 330 West 16th Street), became performances on July 11th and will continue thru August 6th. Performances are Tuesdays-Sundays at 7:00 pm, and Wednesdays, Saturdays and Sundays at 2:00 pm. The schedule varies, as this show is running in repertory with Pity in History, so please visit http://ptpnyc.org for exact performance times and dates. Tickets are $37.50, $22.50 for students and seniors and $20 for previews, and may be purchased online at http://PTPNYC.org or by calling 1-866-811-4111. You can also view a preview of the show here: https://www.youtube.com/watch?v=TKDTtiqHsI8&feature=youtu.be

Enjoy the show!

Photo Credit: Stan Barouh