Charity Parenzini as Lotty, Anne Kennedy as Lady Caroline
Enchanted April has already become beloved in many forms: the original novel, the film, and now the play, which is currently running at Taproot Theatre until October 24.
This adaptation has the same spirit of movement from despair to delight, following the spiritual and sexual awakening of women so entrapped by their loss that their home country, current relationships and way of life seem almost a prison. Against the backdrop of a post-WWI England, Lotty Wilson, Rose Arnott, Lady Caroline Bramble and Mrs. Graves are all trying to grieve and heal from past pain. When they discover an ad for a holiday in Tuscany at an Italian castle, they seemed to have found the perfect therapy.
Charity Parenzini, as Lotty, somehow manages to capture and maintain all the breathless delight, exuberant wonder and authentic joy of this character without once ever feeling forced or in the least bit annoying. We are completely sold on her undaunted hope, and the authenticity of her performance endears her to the audience just as it does the reticent character of Rose Arnott, played with sensitivity and grace by Nikki Visel. The cantankerous and fastidious Mrs. Graves is played by Kim Morris, who fills the role of a Victorian grandmother far above her own age amazingly well. Lady Caroline is played by Anne Kennedy, who gives an enjoyable performance, but does not seem to delve very far into the pain of the character. Antony Wilding, the charming owner of the castle, is portrayed with subtle ingenuousness that makes him instantly likable, by Aaron Finley. The other male roles seem somehow mis-cast. Jeff Berryman as Frederick Arnott seems the wrong age and look to be playing the feckless playboy, and Ryan Childers as Mellersh Wilton does not turn in his usual stunning performance, choosing instead to amplify the comedic elements of his character in lieu of a more realistic performance that would have kept his acting more consistent with the other members of the cast. Llysa Holland as Constanza threatens to steal the show entirely, managing, even through the barrier of foreign language, to achieve flawless comic timing and a well-defined, highly interesting character.
The acting and writing are truly the stars of this production. The show is well-presented in general, although the costumes are generally disappointing and ill-fitting, with the exception of those worn by Anne Kennedy, who always looks the quintessential 20's diva, and the gentlemen, who look dashing. The set puts one more in mind of a small Italian cottage rather than castle, and one wishes the so oft-mentioned wisteria were more present on stage. The Act I design, however, shows true ingenuity in use of the space and is a highly appropriate mono-chrome backdrop to emphasize the drab and disappointing lives of the characters. It contrasts well with the lush-feeling and brightly lit Tuscan countryside.
Aaron Finley, Jeff Berryman, Nikki Visel
The entire production is extremely enjoyable, professional, and at moments, inspiring. Parenzini's performance alone is so full and infused with hope that the audience cannot help being drawn in, and the other actresses complement the themes of loss and rebirth well. Some of the Enchantment mentioned in the title has definitely found its way into performance, leaving the audience feeling renewed and, yes, enchanted. "Perhaps that's why we need something beautiful now. To remind us of the possibility." Lotty Wilton, Enchanted April.
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