Something ‘Enchanted’ meets a pandemic
Waterdown’s Village Theatre was finally back in its home, when ...
So what ever happened to Enchanted April?
I’m talking about the play, not the month. In March, 60 people, from box office staff to actors and production personnel were working their hardest on this romantic comedy. A play about rebirth and the stirrings of inspiration in an Italian town.
It couldn’t miss, right?
It was to be Village Theatre Waterdown’s next big production. Never mind, it was stopped in its tracks by the COVID-19 virus. For the faithful it was devastating.
Elaine Hale, chair of Village Theatre says, “The cancellation of ‘Enchanted April’ was just one wallop in a long line of challenges that have dogged the company for the past five years. Every time we seem to stretch our heads above water something else comes along to smack us under,” she laughs.
It’s a rueful laugh, you understand, not one tingling with warmth or with anger either.
For a few years, Village Theatre had difficulty attracting an audience. Esoteric plays like “Miss Julie” were not putting bums in seats. Still, Village Theatre
didn’t like seducing audiences with Agatha Christie potboilers and noisy British farces. In the end, of course, they capitulated. They had to, to survive.
They filled the theatre with Christie’s cheesy old “The Mousetrap,” as well as that sexist farce “Run for Your Wife.” Audiences liked the fact they didn’t have to think too much and filled the seats.
For Village Theatre, things were on track. Or were they? Just about that time the company got the news. Village Theatre’s performance space, Memorial Hall, needed revamping, a better performance space was on its way. But, in the meantime, where would the company perform? It was effectively shut out of its home for a couple of years.
Refusing to die, the company took to the road, playing St. James’ Church and working hard to pull in audiences. They survived the relocation of their theatre productions.
Hallelujah, back at Memorial Hall, what could go wrong? COVID-19, of course. And that’s what killed “Enchanted April.”
“We were a month from opening. The set was mostly built. Costumes were sourced. Actors were on their lines. Then came the gunshot. You are closed. No where to go this time,” Hale says.
“Of course, we plan to do the play when we can. Could be fall or winter. Who knows? But will the same 60 people be available? Will the same costumes fit? Will life be the same? Questions.
The play was such a great choice in a time of stress and pain. It still will be, of course,” Hale says. “But there’s just such a feeling that we need to feel this rebirth now.”
Hale played Lottie in the play and loved the messages the work offered.
You might wonder why we’re talking about this now when the play, like so many others, is shut down. Well, for a very good reason. These aborted works need to be remembered and supported when the reality of theatre, not some virtual stuff on screens, comes back. We need to know and believe this is all going to happen.
Al French had been working as director on “Enchanted April” for several months before the plug was pulled.
“It’s such a good play. It has something to say about women in 1922. It’s funny, but it has such serious moments. These ladies go to Italy and the world just opens up to them. In a way the play creates a sense of restoration, of rebirth. And that’s a perfect thing for after COVID-19 is over. We want people to come and feel the strength of the play and the way things are going to get better. We hope to continue work on the play and open in November,” he says.
“Even if we have to limit the audience to 50 people and have social distancing in the theatre we want to make this happen. We need to get back to theatre that connects people. We need to feel the power of words coming from the stage. We need to get better from all that we’ve been through.”
“Enchanted April” in November would, of course, be the wrong month. But so what?