The University Theatre presents 
by Tom Stoppard 
November 5 - 14, 1999
Directed by 
Donald H. Wolfe 

 Scenic Design by  
 Darwin Reid Payne 

Costume Design by 
Mary R. Wayne-Thomas 

 Lighting Design by  
 Jonathan Christman 

Stage Manager 
Brad Stephenson* 

Acting Coaches 
Cynthia Gendrich &  
Brook Davis

Produced by special arrangement with Samuel French, Inc.


Thomasina Coverly  
Amber Wiley* 

Septimus Hodge  
Cary Donaldson 

Adam Dickey 

Ezra Chater  
Matt Mundy* 

Richard Noakes  
Matt Udvari 

Lady Croom  
Sona Tatoyan* 

Captain Brice, RN   
John Bradley 

Hannah Jarvis   
Natalie Cordone* 

Chloë Coverly  
Cammie Wilson 

Bernard Nightingale  
Jonathan Horvath 

Valentine Coverly  
Bill Diggle* 

Gus (Augustus) Coverly  
Jeff Margevich 

* Member of The Anthony Aston Players 

A room on the garden front of a very large country house in Derbyshire, England. The action of the play shuttles back and forth between the early nineteenth century and the present.


Technical Director Douglas W. Brown 

Costume Shop Supervisor Lisa Weller 

Audience Services Coordinator Shanda Smith 

Dramaturgical Assistance Kelly Gidcumb 

Assistant Stage Managers  
Katie Krauss, Mark Sherriff 

Assistant Lighting Designer Matt Nelkin 

Master Carpenter Matt Fuller* 

Scene Shop Assistants Aaron Bokros*, Bill Diggle* 
Matt Fuller*, Sarah Storminger* 

Props Master K.T. Early 

Scenery & Props Crew Megan Anderson,  
Jarrod Atchison, Neil Bloomfield, Ryan Braun,  
Scott Cooper, Ian Doody, Jonathan Hall,  
Mike Maltarich, Matt Price, Rick Price, Lawrence Russell, Bryan Watts, Bryan Windham, Andy Yates 

Cutter/Draper Lisa Weller 

Costume Shop Assistants Charles Compton,  
K.T. Early, Katherine Lewis, Sara Wakild,  
Pamela Yeager 

Costume Construction Crew Chrissi Anderson 
Megan Carr, Julia Kyle, Eddie Lindler 
Liz Metz, Tyler Overstreet, LaTisha Pearson 
Adrienne Powell, Julia Schmidt 

Wardrobe, Hair & Makeup Meg McKee 

Lightboard Operator Lauren Thompson* 

Electrics Crew Matt Fuller*, Alan English 
Brook Flynn, Eamonn Haley, Colleen McNickle 
Dan Meisenheimer, Jamal Seale, Patrick Swanson 
Rafael Vidaurreta, Bo Walker 

Sound Design & Engineering Mike Albanese 

Sound Board Operator Chrissy Davis 

Poster Design Jimmy Hilburn 

Photography Bill Ray III 

Homepage Photography Jonathan Christman 

Publicity Assistants  
Meghan Higgins*, Kelly Murdoch-Kitt* 

Assistant House Manager Elizabeth Rief Cheek 

Box Office & Front of House Staff Ali Ayala 
Emily Duggins, Kristen Franke 
Alan Susi, Cammie Wilson* 

Front of House Crew Drew Dayton 
Kristin Johnson, Patrick Mariani, Clay Murdy 
Mary Kate Mastrangelo, Tim Reeder 

Theatre Office Assistants Alan English, Nathan Gunter, Nick Kinder, Jen Phillips, Jamelle Shannon, Tanis Smith, Nick Spruill, Amber Wiley*, Michael Wright 

 * Member of The Anthony Aston Players 
Professor John Baxley 
Robert Simpson 
North Carolina School of the Arts 
North Carolina Shakespeare Festival
UNC-Chapel Hill

 Tom Stoppard’s Arcadia has everything a director can possibly want. Placed both in the present day and in the historical past, its characters range from precocious teenagers to world-weary adults. In addition, many of them are quirky, oversexed, conniving and even erudite. In short, they display amazing variations of the human condition. Stoppard uses not just one plot but an avalanche of mini plot lines tumbling towards an unexpectedly tranquil denouement. 

 Stoppard’s Arcadian revel has many dimensions. The setting is a large garden room overlooking a spectacular yet unseen garden that owes its existence to Capability Brown among others. The garden is a metaphor of cultural and literary history. In the early 1800s, Brown’s open pastures and winding streams were transmuted into a picturesque folly replete with cascading water, outcroppings of rocks and decaying ruins, including a “hermitage.” It is symbolic, as Hannah, a literary historian, says, of the “emotional breakdown” of the Romantic Movement. The hermitage, an offstage cottage is the emotional center of gravity for the play. Its predecessor, a gazebo, was the site of a tryst that provides most of the humor for the first scene. Later, it became Thomasina’s grieving tutor’s hermitage, and finally, in Scene Seven, it is the locale of the fraudulent Bernard’s final ignominy.  

 History and the present adorn the garden room with a patina of intellectual fervor and emotional intrigue. Hannah and Bernard pursue literary history and discover long forgotten gossip. Valentine wields family history and scientific endeavor with tantalizing hints of chaos theory, iterated algorithms and thermodynamics. Septimus and Thomasina explicate intellectual genius and adolescent development. Even Hannah can not imagine how pervasive her concept of “the genius of the place” is. 

 Professor John Baxley sent me a copy of a review of Arcadia that appeared in the Notices of the American Mathematical Society in 1995. It has become my favorite review of the play. The reviewer, Allyn Jackson, says one of the central questions of the play is “How far can science and mathematics take us in explaining what life is all about?” Luckily, science and mathematics don’t have to bear the entire burden of explaining life. Arcadia also explores the contributions of literature, scholarship, passion, music and love to the rich fabric of our lives. 

— Donald H. Wolfe


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