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The Barn Theatre, Southwick Community Centre.

October 6, 7, 8 & 9, 1999.


by Tom Stoppard

“Praiseworthy stab at the pretentious”
– Shoreham Herald –


Directed by
Bob Ryder


1809 – 12

Lucy Tickner – Thomasina Coverly

Jim Calderwood – Septimus Hodge

David Goodger – Jellaby

Rols Ham-Riche – Ezra Chater

Kevin Isaac – Richard Noakes

Derek Fraser – Captain Brice

Judith Berrill – Lady Croom

Tom Griffiths – Augusta Coverly

The present day

Katie Brownings – Hannah Jarvis

David Creedon – Bernard Nightingale

John Garland – Valentine Coverly

Hannah Collis – Chloe Coverly

Tom Griffiths – Gus Coverly


Production Crew

Assistant Director – John Garland

Stage Manager – Marc Lewis

Assistant Stage Manager – Jean Porter

Lighting – Mike Medway

Sound control – Rob Stuckey

Set Building – David Comber

Set Building – Dave Collis

Set Building – Brian Box

Set Building – Mike Davy

Set Building – Marc Lewis

Set Building – Mark Flower

Set Painter – Sheila Neesham

Set Painter – Frances Thorne

Properties – Sue Whittaker

Properties – Margaret Davy

Costume – Margaret Faggetter

Costume – Judith Berrill

Costume – Adrian Kenward

Press & Publicity – Rosemary Bouchy

Press & Publicity – Frances Thorne

Press & Publicity – Rosemary Brown

Design & Graphics – Judith Berrill

Box Office – Margaret Murrell

Front of House Manager – David Pierce

Front of House Manager – Betty Dawes

Front of House Manager – Mark Flower


Programme Note #1: Arcadia

BR wrote “When Arcadia opened in 1993, an extremely rare thing happened – audiences and critics were at once convinced they were witnessing a new play which was going to rank among the classics of world theatre. So far that judgment has held up, ‘officially’, with Arcadia shooting effortlessly into the pop charts of English and Drama syllabuses around the globe.

What makes it so special? Probably a combination of things. There is an extraordinary range of ideas and ‘movements’ – the science of creation and the chaos of the natural world, the order of classicism and the inspired disorder of romanticism – just to be going on with. But all this clever stuff is presented in perfect theatrical form, through great characters caught up in a fascinating story line – or two related story lines, as the events of the past and the present continually intertwine. And then there is the sheer dexterity of the language and the comedy which Tom Stoppard uses to create both high entertainment and serious emotion.

And it’s the element of emotion, perhaps, that puts Arcadia onto a new level of achievement among Tom Stoppard’s works. To enjoy Rosencrantz and Guilderstern Are Dead, or Jumpers, or Travesties, it’s not necessary to feel particularly involved in the feelings of the central characters. But with Arcadia, we are drawn closely into caring about the future of Thomasina and Septimus, for example, and about Hannah’s gradual piecing-together of the truth about their lost lives. Stoppard’s plays were once accused of being full of wit and short on ‘heart’. Arcadia has both, in plenty. Along with his subsequent 1997 play The Invention of Love (about the poet and scholar A E Houseman) it sets a new high water mark.”