The charming Matthew Barber play, Enchanted April, set in London and on the Italian Riviera in the early 1920s, can be seen as a romantic comedy, or as something more–a call to people old and young not to stand in the way of their own happiness.
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We get to eavesdrop on a foursome from 100 years ago. We see what was in style in Palm Beach and how the privileged conducted themselves. Secrets unfold, and the audience gets an intimate glimpse into relationships along with a history lesson.
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Hope Salas is a machine in that her body’s strength, flexibility and stamina are a wonder. But every bit of this machine is, in fact, a tender and vulnerable human body. As I watched her move, my own body empathized, aching and sweating, tightening and releasing, while she killed me softly with her mortal instrument. Her deep understanding of the human condition takes me beyond where Camus once abandoned me; she reminds us that there is joy and that there is, indeed, Hope.
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There was more laughter in the theater than most comedies could ever elicit. The evening was spirited, entertaining, and worthwhile. If there is a sequel – the next 106 women – get your ticket early.
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Who doesn’t love songs from the American Songbook, especially when performed by fabulous artists at the peak of their powers? The soloists were varied in their styles and drama, richly contributing to the overall spirit of the songs and the stories they tell.
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