Enchanted April @ MainStage Irving-Las Colinas
Photo credit: Kris Ikejiri
—Jan Farrington
For those of us already tired of the wind and heat of this Texas May, spending time in an Enchanted April sounds pretty durn appealing. And in fact, this is a story of folks fed up with their weather (and other things)—of London ladies exchanging cold drizzle for “sunshine and wisteria” on the coast of Italy.
Set in the sad English years following the First World War, this a sweet story—easy to love and a bit different in that there isn’t a starry-eyed boy & girl (or a perky ingénue) in sight. The married have been married for a while; the singles have lost their loves; the elders have their memories too carefully preserved.
Something needs to change.
MainStage Irving-Las Colinas uses the adaptation of Elizabeth von Arnim’s 1922 novel by playwright Matthew Barber—nominated for a Tony in 2003, it’s become quite popular with regional theaters. The story is much the same as in the 1992 film, though Barber tweaks the dialogue, puts in some broader comedy, and brings out character details that feel fresh and new.
Directed by Rose Anne Holman, the cast members give nicely natural performances, and hang on to creditable English accents that don’t get in the way of their acting. Samantha Johnson is fey and lovely as Lotty Wilson, who hatches the notion of replying to a newspaper advert offering an Italian seaside villa for the month of April. Her marriage to overbearing business striver Melersh (Walt Threlkeld) is draining her of life. In a London café she recruits equally gloomy Rose Arnott (Kim Winnubst), married to novelist Frederick (Stephen Miller), who leaves her for book tours (and quick affairs) too often.
The two of them pass muster with the owner of the villa, rich but lonely WWI veteran Anthony (David Helms)—and then look for another pair of ladies to share the cost. Lotty, who “sees things” in a quiet way, is sure that man-magnet socialite Lady Caroline (Caitlin Martelle) and upright Mrs. Graves (Mary-Margaret Pyeatt), who knew all the Victorian poets, are meant to come with them. Add jolly, snarky Italian housekeeper Costanza (Sheila D. Rose), and stir.
There’s only one hitch to the show: it’s performed much, much too far away from its audience.
The Irving Arts Center’s main stage is both wide and deep (much like the stages of a century ago). The audience is seated in just a few long rows close to the stage.
But Act One, a series of intimate scenes for one or two actors, is played about one-third of the way back on the stage. Why not put them up front? And Act Two, with a beautiful Italian set design by TJ Firneno (and realized by Wendy Searcy-Woode), is played along the far back wall, putting yards and yards of empty space between audience and actors. It was, frankly, difficult to see the actors’ expressions from that distance—and I was in the fourth row.
I may be missing some prohibitive reason for staging the play as far from the audience as possible. But because I was, in fact, enjoying the show, I’d have burst into applause if the whole cast had rebelled, pulling the pretty garden furniture forward to the lip of the stage—and leaving the wisteria back yonder.
Still, I will say it again: This a well-directed cast and an enjoyable story. But bring your binoculars.
WHEN: Through May 21
WHERE: Irving Arts Center, 3333 N. MacArthur Blvd., Irving
WEB: irvingartscenter.com
