Is Matthew Barber's Enchanted April truly an enchanted production? Thankfully, yes. A stellar cast brings this period piece to life, under the astute direction of Michael Halberstam.
The time and setting is post-WWI London. Still reeling from the war's effects, the residents must now contend with persistently cold and rainy weather. A newspaper announcement offering the rental of a beachside castle in Italy proves too much of a temptation for two local ladies, Lotty and Rose. The advertisement's beckoning phrase, "sunshine and wisteria," sounds so heavenly that these women send a deposit to the castle's owner. However, they also must enlist some other women to share the costs, and so they place a newspaper ad. Only two women respond, and they are most unlikely traveling companions. One is a beautiful, madcap socialite; the other is a grouchy old widow, by far the oldest of the foursome. Still, the attraction of "sunshine and wisteria" pulls them all together for a vacation by the sea. We discover that it isn't only sunshine and flowers that attract Lotty and Rose. They are trapped in stifling marriages and need an excuse to escape. The fact that this is a "ladies-only" outing is their only concession to their disapproving husbands.
Before long, however, the genders begin to mingle. The castle's irrepressible owner, the charming Antony Wilding, makes an unscheduled appearance. An artist, he appears smitten by one of the women who he assumes is a war widow. She doesn't correct him, as she doesn't want to admit that she is going off without her husband. She also notices that Antony is young, single and wealthy. In an endearingly sweet way, we learn much about all the ladies as the play progresses. Lotty, forever hopeful and practically psychic, is the mastermind behind the events that unfold. Her new friend, Rose, has a far less generous view of the world. The reason for this will not be disclosed here. Caroline, the socialite, has an endless wardrobe of drop-dead gorgeous flapper-style outfits. She seems distant and unhappy, and prefers to be left alone. The fourth woman, Mrs. Graves, has become so self-absorbed and obnoxious that it's a wonder nobody ties her up and drops her into the sea. At the castle, they are tended to by an overworked housekeeper, Costanza. The brilliantly funny Marilynn Bogetich shines in all her scenes as the hardworking Costanza. Whether she's muttering under her breath in Italian or throwing up her hands in despair, she makes Costanza an absolute delight. In her shape, age and her demeanor, Bogetich is perfect for the role.
The other women all have their moments, too. As Lotty, Linsey Page Morton makes a favorable impression. She is giddy, foolish and a die-hard romantic. Laura Gordon, as Rose, brings things back to earth with her abrupt pronouncements. At one point, she tells Lotty that "you'd make Pollyanna ill." In Italy, Rose trades her somber, uptight British attire for a flowing white dress and, later, an absolutely magnificent green gown. Gordon carries off her character's transformation beautifully. Rose Pickering delights as Mrs. Graves.
As the dour matron, Pickering uses her signature sour expression to good effect. Deborah Staples is convincing as Caroline, the lovely socialite who hides her inner sadness. The men are all consigned to minor roles, with the possible exception of Gerard Neugent as Antony Wilding. Antony is called to think on his feet a number of times, and Neugent handles each instance with aplomb. He makes his character so sympathetic that we long for him to have a happy ending. He does, of course, as do all the other characters in this frothy, likeable comedy.
Brian Vaughn makes a memorable entrance in the second act, causing the program notes to mention his brief nudity (nothing sexual, though; it's all played for laughs).
On a final note, the onstage transformation of dreary, rainy London to the castle's sun-drenched gardens is spectacular.
