By Vicki Weisfeld
The Shakespeare Theatre of New Jersey leads off its 60th remarkable season with Matthew Barber’s charming romantic comedy, Enchanted April, directed by theater artistic director Bonnie J. Monte. You may be familiar with one of the story’s earlier adaptations, including the 2003 Broadway production, with its Tony Award nomination for Best Play, or with 1991’s star-studded British film. Perhaps you even read the 1922 book, The Enchanted April, by Elizabeth von Arnim, which made an Italian sojourn a rejuvenating aspiration for Britons. In creating the stage version, Barber adjusted some of the plot but lost none of the appeal.
It’s set in the early 1920s, when the devastating effects of the Great War and the ensuing Spanish Influenza epidemic have left their mark. The ebullient Lotty Wilton (played by Monette Magrath) and uptight Rose Arnott (Carey Van Driest) are very different in personality but alike in being trapped by unhappy marriages. Lotty’s husband Mellersh (Greg Jackson) is controlling and penny-pinching; Rose, a highly religious woman, is offended by the scandalous books her husband Frederick (Anthony Marble) writes. The sympathetic Magrath and Van Driest are the core of the story and carry it forward brilliantly.
Spying a newspaper advertisement for a month-long stay at a castle on the Italian Riviera—wisteria! sunshine!—sounds like paradise to Lotty, compared to the oppressive gloom and rain of London. She and Rose can’t quite afford the rent and recruit two additional women to join them, the waspish Mrs. Graves (Elizabeth Shepherd), firmly rooted in Victorian era mores, and her opposite, Lady Caroline Bramble (Samantha Bruce), a jazz age society star.
The first act powerfully demonstrates what Lotty and Rose are desperate to get away from. Mrs. Graves wants to join them and run the show according to her tastes, and Lady Caroline has her own ghosts. In Act Two, the bright and beautiful atmosphere of the castle retreat shows its transformative powers. In this optimistic play, every heart can be opened and healed, and the actors movingly portray their emergence from cocoons of resentment, fear, and grief.
Castle owner Anthony Wilding (Aaron McDaniel) also has a lacuna in his life, you discover. Meanwhile, the cook/maid, Costanza (Celeste Ciulla), whose dialog is almost wholly in Italian—as is her attitude—brings laughter to every scene she’s in. Impatient with the demanding Mrs. Graves, affectionate with the castle owner, she sees and understands all.
Director Bonnie Monte designed the sets in which the actors produce their considerable magic. The many London scenes, with their simple background and cleverly redeployed furnishings, move along briskly. A single outdoor patio serves Act Two, lush and beautifully lit by Michael Giannitti.
Other production credits to Paul Canada (delightful costumes), Steven Beckel (sound), and Kelly Merritt (production stage management).
Shakespeare Theatre of New Jersey productions are hosted at Drew University in Madison, N.J. (easily reachable from NYC by train). For tickets, call the box office at 973-408-5600 or visit the Box Office online.