By Tom Scanlon
July 22 - Aug. 14
ACT Theatre 700 Union St.
$25-$54
292-7676
www.acttheatre.org
And, really, what do you expect from an American (Matthew Barber, a San Franciso journalist) writer's adaptation of an English (Elizabeth von Arnim) writer's novel?
Though it leaves a bit to be desired on the intellectual grit side, the surprising thing about this Enchanted April production is, really, how enchanting it it.
Venerated local director Warner Shook, who took Intiman to prowess in his 1993-2000 run there as artistic director, at times cruises through this lightweight comedy, and then again his tone fits the play well -- hammering away at it would have ruined its gentle moods, its charm.
And charm it does have, thanks in large part to the wonderful comic touches of Julie Briskman, a Seattle actress who seems to get better with just about every production. Briskman plays Lotty Wilton, the de facto master of ceremonies of the play. In a lesser talent's hands, Lotty might have been whiny, grating, unbelievable, etc.; Briskman makes her whimsical and winning, as she leads three other emotionally restless Englishwomen -- strangers, as the play begins -- to a shared vacation in an Italian castle.
Suzanne Bouchard, who in ACT's recent disappointment Alki brought much-need energy and comic life as "the woman in green," tones her comedy gifts down quite a bit here, and gives a quietly powerful performance as Rose Arnott, led by Lotty to tackle the great disappointment from which she has been fleeing.
Bouchard and Briskman make a fine comic pair, and perhaps the play would have been better to focus on these two characters' marital problems with their respective spouses. Instead, a grumpy old woman (played by Suzy Hunt) and an upper-class playgirl (Deborah Fialkow), both with their own issues, are thrown into the mix.
As one of the husbands, David Pichette at times channels Peter Sellers in giving another of his superior, jittery-clown performances; his towel work here is a thing of beauty, without-a-net (or, for that matter, underewar) comedy. R. Hamilton Wright, as the landlord of the castle, is under-used, although it is intriguing to see this wonderfully funny actor in a reserved, romantic role.
Shook has directed far more powerful, timely plays (Angels in America, The Kentucky Cycle), and surely will again. It's tempting to think of this feathery, minimalist, chick-play, happy-endings-all-around comedy as a summer vacation for him, although that would be down-playing the uniformly strong performances he draws from his cast.
And perhaps mooning the audience is a cheap way to get a big laugh -- a big laugh always feels good, and perhaps the audience deserves to be mooned, now and then.