Audition Dates
30 Mar 2002 – 30 Mar 2002
- Sat 30 March 2002
Details
- Playwright
- Tom Stoppard
- Director
- Bethne Crisafulli
AddressHackett Hall, Draper St (Off Underwood Ave) Floreat
Where: Hackett Hall, Draper St, Floreat (or in the Scout Hall adjacent to it).
When: Saturday 30 March 2002. Yes, this is Easter Saturday – but it will be worth it!
Time: To streamline things for those who only want to audition for a particular part, auditions for characters the 19th century group will start at 2.30pm; and for other characters at 3.30pm. You are encouraged to attend both sessions.
Production: Bethne is looking for a team to be involved from the outset – before auditions if possible. The usual roles need to be filled: stage manager, lighting design, set design, sound “inspirationist” and, very importantly, an overall production manager. Anyone interested, or who can point to someone who might be interested, please let Bethne know.
A SYNOPSIS
In Arcadia, Tom Stoppard delivers a play chock full of ideas and presents his audiences with an intellectual challenge unlike almost any other they are ever likely to encounter. While enormously entertaining at one level, much of the attraction of this piece has been the post-performance clash of opinions it habitually engenders on how - and if - this complex package fits together. The play is set in two time periods, the early nineteenth century and the present, in the same room in an English Estate, Sidley Park. As the play opens, we meet Thomasina, a precocious thirteen-year-old girl who struggles with her algebra and geometry under the watchful eye of her tutor, Septimus Hodge. But Thomasina is not your typical mathematics student; as becomes clear as the play unfolds. She is a prodigy who not only questions the very foundations of her mathematical subjects, but also sets about to change the direction of countless centuries of mathematical thought. In the process, she invents "Thomasina's geometry of irregular forms" (fractal geometry, as we now know it), discovers the second law of thermodynamics, and lays the foundation for modern “chaos theory”. The estate is awash with romantic liaisons and couplings; important and unimportant poets are paying visits; and a radical change in the landscaping is discussed.In the modern period, we meet Valentine, a contemporary mathematician who is attempting to understand the rise and fall of grouse populations using iteration. As luck would have it, Valentine is heir to Sidley Park and part of his inheritance is a complete set of game books that go back to Thomasina's time. These books detail the precise number of grouse shot at the estate each year. Gradually, he becomes aware of some of the old mysteries surrounding Sidley Park, including Thomasina's discoveries.
We also meet two competing historians: Hannah Jarvis, who writes about history, and Bernard Nightingale who teaches it. The two are intoxicated by the possibility that the English poet George Byron was involved in a sexual peccadillo at Sidley Park, and their investigation of that provides the dramatic tension of a mystery being unravelled.
The result is a unique series of scenes that hop back and forth between the early nineteenth century and the present. Mathematics is not the only theme of this play, of course, but the ideas of regular versus irregular geometry, or chaos versus order seem to pervade all of the other events occurring at Sidley Park. We are thrust into a debate about emerging British landscape styles featuring the orderly classical style versus the irregular, “picturesque” style. Hannah methodically proceeds to uncover Sidley Park's secrets, in stark contrast to her nemesis, Bernard, who jumps from one theory to another with reckless abandon. Indeed, the entire play pits the rationalism of Newton against the romanticism of Byron.Heavy stuff, you may say! But Stoppard's witty and elegant writing makes this eminently palatable; and his playfulness with language makes it charming. It is thoroughly enjoyable even for those who don’t give a second thought to the thematic undercurrents.Of all of his plays, Stoppard believes that the story of Arcadia works best. He had a lot of time to work on the play, so he was able to manipulate the material to make things intersect properly. He wrote Arcadia because he stubbed his toe against an area of science that really interested him, chaos theory. The theory involves using non-linear equations to get unpredictable results, and it suggested itself to him as an interesting and powerful metaphor for human behaviour. He began his research of the play with James Gleick's book Chaos, although he believes that something must have pointed him in that direction. At the same time that he was reading Chaos, Stoppard was also thinking about romanticism and the Enlightenment as opposites in style, taste, temperament, and art. He wanted to create a play showing the way people look at poetry, painting and gardening while distinguishing between the classical periods and the romantic revolution. Stoppard believed that one could divide people into classical and romantic temperaments. People with classical temperaments have a romantic side always trying to get out, while people with a romantic temperament have a classical side also trying to escape. Though Stoppard admits that in Arcadia he was thinking about chaos theory and the differences between romanticism and the Enlightenment, he does not believe that anything can be found in the play that directly reflects these ideas. In fact, he claims that any references in any of his plays to anything are pure coincidence.
CHARACTERS IN ORDER OF APPEARANCE
Thomasina Coverly, aged thirteen, later sixteen: A precocious youngster, Thomasina begins the play enquiring about the definition of carnal embrace. Her immediate naïveté is deceiving as it becomes evident that her intelligence rates to that of a genius. She is strikingly sophisticated yet this characteristic goes unnoticed by those who surround her.
Septimus Hodge, her tutor, aged twenty-two, later twenty-five: An intriguing personality, he is someone who is proud of his intelligence and flaunts his genius but is humbled by his meager income and low status occupation. He is somewhat of a womanizer who is in love with the dame of the house, Lady Croom, but is caught in “carnal embrace" with Mrs. Chater.
Jellaby, a butler, middle-aged: A small character, Jellaby is your stereotypical butler who is always somehow involved with the latest gossip of the house.
Ezra Chater, a poet, aged thirty-one: Mr. Chater, on first appearances, will strike one as incompetent and submissive to his wife. His drab personality and hyperactive ways of defending his wife's honour will most likely not contradict that first impression.
Richard Noakes, a landscape architect, middle-aged: Noakes is always in on the gossip as well but he keeps busy trying to develop a distinctly unique landscape inspired by Salvator Rosa. Described by Hodge as a "jumped-up jobbing gardener", he seems to be a person to whom little respect is shown by the other characters.
Lady Croom, middle thirties: The dame of the house is a very controlling and determined person. She uses her position as a force to bend her guests to her will, especially Chater. Her husband is often out hunting and her passion for Hodge is secretive for only the beginning of the show.
Captain Brice, RN, middle thirties: Thomasina's uncle, Brice, is often found being a disciplinary figure to the girl. However, he can also be found defending young Thomasina's innocence in regard to Septimus. He is a secondary character but his actions have a very important bearing on the plot.
Hannah Jarvis, an author, late thirties: An obviously independent woman, she is proud of her discoveries and accomplishments and works hard to progress her career. Hannah can often be found bragging about her own works.
Chloe Coverly, aged eighteen: An infatuation with Bernard leads to her interest in the circumstances surrounding the early times of the Sidley Park. She is Valentine's sister and is constantly bringing up sexual innuendoes or inferences.
Bernard Nightingale, a don, late thirties: A very pushy, direct and demanding person, he has specific, self-serving goals which he needs Hannah to help complete. He prides himself on his discoveries but tends to make inferences and conclusions on unproved and loosely believed principles.
Valentine Coverly, aged twenty-five to thirty: Brother of Chloe, he is in the process of getting his doctorate degree from Oxford in biology. He works alongside Hannah and becomes wrapped up in the entire Sidley Park mystery when Bernard arrives.
Gus Coverly, aged fifteen: Brother of Chloe and Valentine, he is always silent; however, his family refers to him as a genius. His entrances are short and quick, yet he always manages to give Hannah, whom he secretly loves, a loving look or simple smile.
Augustus Coverly, aged fifteen (usually played by the same actor as Gus): He is the young man of the house during the 1800's. He is sharp witted and schemes to get Thomasina in trouble by revealing her secrets to their parents. He is intelligent with a touch of snobbery due to his attendance at the prestigious Eton school.
REHEARSALS will be at Hackett Hall each Monday and Wednesday evening from 7.30pm; and Sundays starting at 10am.Performances start 14 June and run over three weeks.
LINKS
Arcadia tends to intrigue those who read it or see it. Notwithstanding Stoppard’s disclaimer, an understanding of the underlying themes and the physical and mathematical principles involved adds richness to the experience. For those who want to explore these things a bit ahead of the auditions, there are many sites on the Web which provide very useful material. Just enter “arcadia” and “tom stoppard” in Google (or similar search engine). However, here’s a couple to get you started:
http://198.174.26.66/ephs/ArcadiaWeb/Arcadiahomepage.html
http://www.cs.grinnell.edu/~stone/events/Arcadia/
http://www.sciam.com/0797issue/0797review1.html
http://is.dal.ca/~thtrwww/dtdp/arcadia.html
It’s an intriguing topic – happy searching.
When: Saturday 30 March 2002. Yes, this is Easter Saturday – but it will be worth it!
Time: To streamline things for those who only want to audition for a particular part, auditions for characters the 19th century group will start at 2.30pm; and for other characters at 3.30pm. You are encouraged to attend both sessions.
Production: Bethne is looking for a team to be involved from the outset – before auditions if possible. The usual roles need to be filled: stage manager, lighting design, set design, sound “inspirationist” and, very importantly, an overall production manager. Anyone interested, or who can point to someone who might be interested, please let Bethne know.
A SYNOPSIS
In Arcadia, Tom Stoppard delivers a play chock full of ideas and presents his audiences with an intellectual challenge unlike almost any other they are ever likely to encounter. While enormously entertaining at one level, much of the attraction of this piece has been the post-performance clash of opinions it habitually engenders on how - and if - this complex package fits together. The play is set in two time periods, the early nineteenth century and the present, in the same room in an English Estate, Sidley Park. As the play opens, we meet Thomasina, a precocious thirteen-year-old girl who struggles with her algebra and geometry under the watchful eye of her tutor, Septimus Hodge. But Thomasina is not your typical mathematics student; as becomes clear as the play unfolds. She is a prodigy who not only questions the very foundations of her mathematical subjects, but also sets about to change the direction of countless centuries of mathematical thought. In the process, she invents "Thomasina's geometry of irregular forms" (fractal geometry, as we now know it), discovers the second law of thermodynamics, and lays the foundation for modern “chaos theory”. The estate is awash with romantic liaisons and couplings; important and unimportant poets are paying visits; and a radical change in the landscaping is discussed.In the modern period, we meet Valentine, a contemporary mathematician who is attempting to understand the rise and fall of grouse populations using iteration. As luck would have it, Valentine is heir to Sidley Park and part of his inheritance is a complete set of game books that go back to Thomasina's time. These books detail the precise number of grouse shot at the estate each year. Gradually, he becomes aware of some of the old mysteries surrounding Sidley Park, including Thomasina's discoveries.
We also meet two competing historians: Hannah Jarvis, who writes about history, and Bernard Nightingale who teaches it. The two are intoxicated by the possibility that the English poet George Byron was involved in a sexual peccadillo at Sidley Park, and their investigation of that provides the dramatic tension of a mystery being unravelled.
The result is a unique series of scenes that hop back and forth between the early nineteenth century and the present. Mathematics is not the only theme of this play, of course, but the ideas of regular versus irregular geometry, or chaos versus order seem to pervade all of the other events occurring at Sidley Park. We are thrust into a debate about emerging British landscape styles featuring the orderly classical style versus the irregular, “picturesque” style. Hannah methodically proceeds to uncover Sidley Park's secrets, in stark contrast to her nemesis, Bernard, who jumps from one theory to another with reckless abandon. Indeed, the entire play pits the rationalism of Newton against the romanticism of Byron.Heavy stuff, you may say! But Stoppard's witty and elegant writing makes this eminently palatable; and his playfulness with language makes it charming. It is thoroughly enjoyable even for those who don’t give a second thought to the thematic undercurrents.Of all of his plays, Stoppard believes that the story of Arcadia works best. He had a lot of time to work on the play, so he was able to manipulate the material to make things intersect properly. He wrote Arcadia because he stubbed his toe against an area of science that really interested him, chaos theory. The theory involves using non-linear equations to get unpredictable results, and it suggested itself to him as an interesting and powerful metaphor for human behaviour. He began his research of the play with James Gleick's book Chaos, although he believes that something must have pointed him in that direction. At the same time that he was reading Chaos, Stoppard was also thinking about romanticism and the Enlightenment as opposites in style, taste, temperament, and art. He wanted to create a play showing the way people look at poetry, painting and gardening while distinguishing between the classical periods and the romantic revolution. Stoppard believed that one could divide people into classical and romantic temperaments. People with classical temperaments have a romantic side always trying to get out, while people with a romantic temperament have a classical side also trying to escape. Though Stoppard admits that in Arcadia he was thinking about chaos theory and the differences between romanticism and the Enlightenment, he does not believe that anything can be found in the play that directly reflects these ideas. In fact, he claims that any references in any of his plays to anything are pure coincidence.
CHARACTERS IN ORDER OF APPEARANCE
Thomasina Coverly, aged thirteen, later sixteen: A precocious youngster, Thomasina begins the play enquiring about the definition of carnal embrace. Her immediate naïveté is deceiving as it becomes evident that her intelligence rates to that of a genius. She is strikingly sophisticated yet this characteristic goes unnoticed by those who surround her.
Septimus Hodge, her tutor, aged twenty-two, later twenty-five: An intriguing personality, he is someone who is proud of his intelligence and flaunts his genius but is humbled by his meager income and low status occupation. He is somewhat of a womanizer who is in love with the dame of the house, Lady Croom, but is caught in “carnal embrace" with Mrs. Chater.
Jellaby, a butler, middle-aged: A small character, Jellaby is your stereotypical butler who is always somehow involved with the latest gossip of the house.
Ezra Chater, a poet, aged thirty-one: Mr. Chater, on first appearances, will strike one as incompetent and submissive to his wife. His drab personality and hyperactive ways of defending his wife's honour will most likely not contradict that first impression.
Richard Noakes, a landscape architect, middle-aged: Noakes is always in on the gossip as well but he keeps busy trying to develop a distinctly unique landscape inspired by Salvator Rosa. Described by Hodge as a "jumped-up jobbing gardener", he seems to be a person to whom little respect is shown by the other characters.
Lady Croom, middle thirties: The dame of the house is a very controlling and determined person. She uses her position as a force to bend her guests to her will, especially Chater. Her husband is often out hunting and her passion for Hodge is secretive for only the beginning of the show.
Captain Brice, RN, middle thirties: Thomasina's uncle, Brice, is often found being a disciplinary figure to the girl. However, he can also be found defending young Thomasina's innocence in regard to Septimus. He is a secondary character but his actions have a very important bearing on the plot.
Hannah Jarvis, an author, late thirties: An obviously independent woman, she is proud of her discoveries and accomplishments and works hard to progress her career. Hannah can often be found bragging about her own works.
Chloe Coverly, aged eighteen: An infatuation with Bernard leads to her interest in the circumstances surrounding the early times of the Sidley Park. She is Valentine's sister and is constantly bringing up sexual innuendoes or inferences.
Bernard Nightingale, a don, late thirties: A very pushy, direct and demanding person, he has specific, self-serving goals which he needs Hannah to help complete. He prides himself on his discoveries but tends to make inferences and conclusions on unproved and loosely believed principles.
Valentine Coverly, aged twenty-five to thirty: Brother of Chloe, he is in the process of getting his doctorate degree from Oxford in biology. He works alongside Hannah and becomes wrapped up in the entire Sidley Park mystery when Bernard arrives.
Gus Coverly, aged fifteen: Brother of Chloe and Valentine, he is always silent; however, his family refers to him as a genius. His entrances are short and quick, yet he always manages to give Hannah, whom he secretly loves, a loving look or simple smile.
Augustus Coverly, aged fifteen (usually played by the same actor as Gus): He is the young man of the house during the 1800's. He is sharp witted and schemes to get Thomasina in trouble by revealing her secrets to their parents. He is intelligent with a touch of snobbery due to his attendance at the prestigious Eton school.
REHEARSALS will be at Hackett Hall each Monday and Wednesday evening from 7.30pm; and Sundays starting at 10am.Performances start 14 June and run over three weeks.
LINKS
Arcadia tends to intrigue those who read it or see it. Notwithstanding Stoppard’s disclaimer, an understanding of the underlying themes and the physical and mathematical principles involved adds richness to the experience. For those who want to explore these things a bit ahead of the auditions, there are many sites on the Web which provide very useful material. Just enter “arcadia” and “tom stoppard” in Google (or similar search engine). However, here’s a couple to get you started:
http://198.174.26.66/ephs/ArcadiaWeb/Arcadiahomepage.html
http://www.cs.grinnell.edu/~stone/events/Arcadia/
http://www.sciam.com/0797issue/0797review1.html
http://is.dal.ca/~thtrwww/dtdp/arcadia.html
It’s an intriguing topic – happy searching.
Contact
This audition has concluded. Contact details are not available for past events.