In the late 20th century, when academia had its full theoretic fuselage aimed at notions of the genius, questioning the cult of the individual visionary or seer, British playwright Tom Stoppard was busy restoring a path for exceptional cleverness as he achieved what few playwrights have been able to do: turn science into art on the stage.

Arcadia, first staged in 1993, is a masterpiece, intertwining two alternating stories in the living room of a Derbyshire country estate, roughly 200 years apart, until their early 19th century and late 20th century players occupy the space simultaneously. The play might be read as a love letter to rational science while still championing arts and soul.

Perhaps his background as a journalist explains Stoppard’s wide-ranging curiosity. Perhaps we should thank his muse of that period, Felicity Kendal, for whom Stoppard wrote lead roles in three plays, including this one, allowing female protagonists to shine in his plays for a time.

British-born, Australian-resident veteran theatre director Richard Cottrell knows precisely what he is doing here: the ensemble casting is flawless, their delivery of the Wilde-esque lines crisp and well aimed.

In the present day, we have Andrea Demetriades in the role written for Kendal, writer Hannah...