Matthew Doswell makes their professional and West End debut in Tom Stoppard’s Arcadia, transferring to the Duke of York’s Theatre following its acclaimed run at The Old Vic. The production, directed by Carrie Cracknell, has received widespread praise for its intelligent and moving storytelling.
In this interview, Doswell discusses stepping into a dual role, working with an Olivier Award-nominated production, and exploring the play’s rich themes of curiosity, time and discovery.
Arcadia runs at the Duke of York’s Theatre from 20 June to 12 September 2026, with tickets available here
You’re appearing in Arcadia at the Duke of York’s Theatre, what can you tell us about the show?
Without giving too much away, Arcadia – Tom Stoppard’s genius – is a desperate search for knowledge and meaning, putting science and literature head to head, all in the midst of sexual tension.
This quote from Valentine for me sums it up perfectly: “It’s the best possible time to be alive, when almost everything you thought you knew is wrong.”
You’re making your professional and West End debut in this production, how does it feel to take on this moment with such a celebrated play?
Despite being unbelievably excited and grateful, there’s definitely a bit of imposter syndrome that comes with being involved in such a brilliant piece of writing, as well as such a stacked cast.
However, this was quickly relinquished by being in a room full of generous, kind and open people across the board. Being given the opportunity to learn from such tremendous talent and bring my own spin on characters in such a celebrated play is truly an honour, and one I don’t take lightly.
You’re playing Gus Coverly and Augustus Coverly, what draws you to these roles, and how do you approach portraying them?
Carrie was clear early on that both characters should be approached separately, yet with the same level of detail. So I’ve done my best to treat each character with equal weight.
With Gus, it is fascinating to play someone who doesn’t communicate verbally. Prior to acting, I was working in care and would sometimes support individuals who similarly communicate non-verbally, so I have been able to find alternative ways for Gus to express his intentions. It’s been a tremendous task, and it’s amazing that Tom Stoppard included this character in a very tasteful way, bridging the gap between the two time periods. It’s very exciting.
Playing Augustus is just as fun, but for entirely different reasons. There is always something quite thrilling in playing a character the audience might dislike or find jarring, so to get to play with that is a joy.
Arcadia explores themes of science, romance and the passage of time, what resonates most with you in the piece?
What Arcadia does so brilliantly is interweave the themes together. It’s difficult to pick what resonates the most, as they complement each other completely and fluidly through the passage of time, showing the need for humanity to connect and how this hasn’t changed over the course of 200 years.
From determinism, to poetry, to grouse counting, all of these elements help create what is truly an incredible piece of writing, one that has been beautifully captured through Carrie’s vision.
You’re working with director Carrie Cracknell and a highly acclaimed cast, what has that collaborative experience been like so far?
It’s been an utter joy. Carrie is truly a master of her craft, and having the opportunity to be in the room with such a compassionate and generous director is nothing short of a dream.
Carrie creates a space for actors to have the freedom to make offers, whilst perfectly balancing her own vision, creating a truly collaborative, light and engaging space. Being involved in this, and learning from the likes of Nikki Amuka-Bird, Oliver Chris, Isis Hainsworth, Seamus Dillane, Angus Cooper and Holly Godliman – to name a few – has been the most incredible experience. Seeing masters of their craft work in the room has been a game changer.
What would you say to anyone thinking of booking to see Arcadia?
Please, please book as quickly as possible to avoid being disappointed. It’s a strictly limited 12-week run, so make sure you book and get involved in what is going to be an incredibly enjoyable, funny and moving experience.
Any opportunity to watch Stoppard’s work is not one to be missed, and now seen through Carrie’s vision, it is one that should be snapped up without delay.
