Enchanted April

The novel “The Enchanted April” was written by Elizabeth Von Arnim, published in 1923 and immediately became a best seller. This adaptation by Matthew Barber, “Enchanted April” was first performed on Broadway in 2003 and received great acclaim. This beautiful story of friendship, love and laughter between four English women from various backgrounds and having differing views on life was sensitively written. Set after World War One the play opened to torrential rain (just like the weather outside the hall) where Lotty Wilton begins a conversation with Rose Arnott, at their Ladies’ Club.

The play starts quite slowly as the characters are introduced but this was essential to the atmosphere of the first half. The depressing, dark rooms and clothes mirrored the mood just after the end of the war.

The technical team, comprising set designer, Graham Forrest and constructors were called upon to design and produce many completely different scenarios. The trucks on stage were used very effectively to indicate the different households and scene changes were very slick. One of the trucks converted into a very believable train carriage and together with excellent sound and lighting effects produced one of the highlights for me.

Whilst we were having an interval cup of tea, the stage crew were very busy converting the playing area from a wet and cold London to a beautiful castle in Italy overlooking the sea. What a contrast! Such was the complete change, the audience were immediately transported to a sunny April day in Italy and the feelings and attitudes of characters on stage and in the audience, were instantly transformed. This was acknowledged by a well - deserved round of applause. The scene was enhanced by excellent lighting, helped no doubt by the use of a PC controlled system.

There were some very good characterizations with Alison Griffith Barnes as Lotty commanding the stage at all times and giving a very controlled and emotive performance. We believed completely in her contrasting feelings of constraint and release. I believe that many of the attitudes Elizabeth Von Arnim brought to her characters were based on her own experiences and in particular her interest in Feminism. Sarah White gave a strong performance, showing her obvious experience as the sophisticated Lady Caroline Bramble bringing out the poignancy of her character. She made good use of the playing area and her interpretation of the role was first class. Pauline Todd as Rose Arnott was an ideal foil for Lotty and grew in confidence as the play progressed.   A little more volume was required in the first act but all was well when she “arrived” in Italy.

Sheila Kenny as Constanza the Italian maid was outstanding with her hilarious facial expressions and showed her comic timing in this delightful cameo role.
Joan Watkinson as Mrs. Graves was obviously enjoying playing her role as the feisty and awkward character who blossomed in the Italian sunshine.

The three men in the production played their contrasting roles with panache and enthusiasm.
Paul Regan has certainly progressed as an actor over recent years and I thoroughly enjoyed his interpretation as Mellersh Wilton. He gave a strong performance as the self-centred and snobbish husband who revealed (well nearly all), a lighter side, when the boiler burst. Steven Barnes showed some well-played light and shade in his role as Frederick Arnott who is living a dual existence as husband and author. Ian Spencer as Antony Wilding, the owner of “San Salvatore” gave a mature and sensitive performance.

Costumes for this production were excellent, especially the ladies outfits and the Wardrobe Department must be congratulated. I thoroughly enjoyed my evening and David White and his production team must be delighted with the finished product.

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