[NEohioPAL]Berko review: ENCHANTED APRIL (Cleveland Play House)

[Roy Berko]

ENCHANTING ‘ENCHANTED APRIL’ AT THE CLEVELAND PLAY
HOUSE

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	


In ‘ENCHANTED April,’ the  romantic comedy by Matthew
Barber, four mismatched but equally unhappy English
women decide to vacation together in Italy. During
their sojourn in the Mediterranean spring, they
rediscover laughter and romance, and learn new truths
about themselves. 

Barber adapted the play from the best-selling novel of
the same title by Elizabeth von Arnim (1866 –1941). 
This play version was preceded by a 1925 Broadway
production which lasted but 32 performances.  Movie
audiences are probably familiar with the story from
the popular 1992 film version which starred Joan
Plowright, Miranda Richardson, Alfred Molina, Josie
Lawrence and Polly Walker.

Like the novel and the film, the play with its
predictable happy ending, is easy to write off as a
trite woman's story.  However, von Arnim, besides
focusing on the confusion of the women in the
kirche-küsche-kinder society (church, kitchen,
children) also manages to examine some broader
unsettled feelings, feelings which are reflected by
World War I, the expected role of women, and the
societal attitudes of the time.  The combination of
humor  blended with sadness and confusion explains the
story's appeal. 

The CPH production's chief pleasures derive from the
wonderful performances of the women in the cast.  

Blake Lindsley and Roxanna Hope, portraying two London
housewives desperately in need of a little enchantment
to offset their joyless daily lives with husbands who
have proved disappointing, perfectly capture their
characters.   Lindsley as Lotty, a woman who has been
described by her husband as “a hummingbird who never
alights,” is a bundle of determination and joy.  We
see her blossom before our eyes as she finds beauty
and delight in life.  She truly shows us what happens
“to those who appreciate wisteria and sunshine” and
find it.   Arnott, as Rose, the wife of a philandering
husband and has lost a child, finds herself turning
inward to escape reality.  Her performance  allows the
audience to experience the character’s recapturing joy
as she finds herself in the glow of the Italian
sunshine.  These are two fine, fine performances.

Monette Magrath as the socialite Caroline, is
compelling as she transforms from a cold oft-hurt
woman who has attracted men by her wealth and beauty,
but has not found emotionally satisfying love, into a
real and feeling person.  Jill Tanner, as the
up-tight, rule-oriented Mrs. Clayton Graves, a London
matron, who refuses to let life intrude on the past
she prefers, is perfectly cast.  Her ramrod straight
posture, pronunciation, and use of a walking stick
make her a potential villain.  But, as expected in
stories such as this, Tanner, true to the character,
convincingly changes her physical mannerisms and
presence as the written character changes.  Jayne
Taini is absolutely perfect as the scene- stealing
expressive and exasperated Italian housekeeper.   

Curtis Billings as Antony, the artist and owner of the
villa, is the only male who completely captures his
character.  He develops a person who is both charming
and endearing.  On the other hand, John Hines as
Lotty’s solicitor husband Mellersh, tries too hard to
create his up-tight role.  His posturing and
over-articulation create a caricature rather than a
believable character.  The same has to be said for
Sean Haberle who fails to develop a believable being
as Rose’s husband.   

Director Michael Wilson has nicely combined the
elements to give CPH a visually and theatrical quality
production.

Scenic designer Tony Straiges deserves cudos for his
wonderful visual concepts.  The first act is staged in
a series of stilted fragmented settings.  These
perfectly fit the mood of the characters.  As with the
story, the second act setting blossoms forth with a
warm, enchanting exterior of a Tuscan castle, with
brightly painted walls and masses of flowers. 
Straiges has created a place where psychological
change can easily take place.  Alejo Vietti's costumes
work perfectly in aiding the transition from darkness
to light, from restrained to unrestrained feelings. 
Rui Rita’s lighting help us to visualize the right
moods.

CAPSULE JUDGEMENT:   I defy anyone who sees ‘ENCHANTED
APRIL’ at the Cleveland Play House not to want to make
immediate plans to go to Italy and rent a Tuscan
villa.   The Cleveland Play House is on a roll.  This
is their third outstanding production of the season. 

PS...Be sure to read “Collaboration Is Key To Citywide
Culture” in the Sunday, November 7th edition of THE
PLAIN DEALER (page J8).  Michael Bloom, the dynamic
and creative new Artistic Director of CPH, articulates
the need for the arts in Cleveland not only to educate
and enlighten and boost civic pride, but to enhance
the area’s economy.

For tickets to ‘ENCHANTED APRIL ’call 216-795-7000 or
go on-line to www.clevelandplayhouse.com.  The
production runs through November 28.


=====
Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source, which can be subscribed to at no charge by contacting neohiopal at lists.fredsternfeld.com.


		
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