Director holds a soft spot for ‘Enchanted April’
Director says ‘Enchanted April’ puts spotlight on talented actresses.
YOUNGSTOWN — Best known for his award-winning lead performance in last season’s acclaimed Youngstown Playhouse revival of “Sweeney Todd,” David El’Hatton is stepping away from his usual macho comfort zone by directing the Playhouse’s upcoming femme-centric “Enchanted April.”
In a recent interview with The Vindicator, El’Hatton discussed what drew him to “Enchanted April,” and why this particular production holds such a tender place in his heart.
Q. What’s the show about?
A. “Enchanted April” is set in post-WW I England and focuses on the plight of two very different, yet similar women: Lotty (Brandy Johanntges) and Rose (Molly Galano). They both feel trapped by the conventions of the era. One day they happen upon an advertisement in the London Times aimed at “those who appreciate wisteria and sunshine.” Impulsively, they decide to rent an Italian castle for the month of April, leaving their lives and their husbands behind.
Q. As a director, what attracted you to the play?
A. The Playhouse was looking for something to balance out their schedule.
The other plays this season were “Biloxi Blues” and “A Few Good Men,” both of which are heavily male and testosterone-driven. “April” provided something lighter, and quite frankly it was an opportunity for some outstanding area actresses to have a turn on the boards. The play itself is really delightful. The comedy is abundant and accessible — i.e. not the typically dry “British” style of comedy. There are moments of gut-wrenching honestly and moments of pure farce. All of the roles are smartly written and provide my actors with a deep reservoir of emotion on which to draw.
Q. Tell me a little about your cast and the rehearsal process.
A. This show has been a lot of fun to rehearse. I have a veteran cast and we enjoy new explorations of the characters and scenes almost every night. The chemistry between Brandy and Molly is worth the price of admission alone. Terry Shears and I play their respective, if clueless husbands; Terri Wilkes (Mrs. Graves) and Stephanie Holt (Costanza) are brilliant as a pair of older, wiser women; and Candace DiLullo (Lady Caroline) and newcomer Steve Shirtluff (Wilding) play young people seeking happiness on their own terms. The cast gets along very well, and we all enjoy watching each other work. I don’t think anyone realized how comical and uplifting the show actually was. Every night we’re left shaking our heads at how laugh-out-loud funny some of the scenes are.
Q. What particular challenges did you find in directing “Enchanted April?” And did the show help get you in touch with your softer, “feminine” side?
A. The comedic aspects of the play live right on the surface and serve to draw the viewer into the story. But each character carries a more vulnerable inner truth. Finding those human moments is the true challenge of directing a show like this. I wouldn’t say there was any particularly “feminine” theme that overrides the play. As for my “softer side,” anyone who knows me knows that I’m just a big softie at heart. Don’t be fooled by the Marine haircut or the slicing of any throats. That’s all done with love (laughs).
Q. Was it a challenge to find period-appropriate costumes that wouldn’t upstage the performances?
A. Pat Petaccio, the Playhouse’s costume mistress, is simply amazing. Of course, there are some challenges to keep the attire era-specific. But the costuming provides a perfect accent to each actor’s performance.
Q. The 2003 Broadway production was criticized in some circles for pacing problems, especially in the play’s first act. Did you do anything special to “punch up” the action?
A. Ah, yes, the first act. I’m not exactly sure how Act I was staged on Broadway, but I can see how pacing problems could arise. What I’ve done is reate a static set in which all of the scenery is on stage at all times. The scene changes are handled through lighting cues which bring up various aspects of the set for the appropriate scene. That way, the actors merely have to walk from one side of the stage to the other for scene changes, and there are no major sets which need to be brought on or taken off.
Q. “Enchanted April” is a British period piece with a very specific sense of decorum and style. How do you make its themes and characters relevant to a contemporary audience?
A. The backdrop of 1922 London merely provides a setting for which the audience gets to meet the characters. But the era is not what defines them. It’s their sense of wanderlust, disillusionment and loss that radiate throughout. The audience should find all of the characters easily relatable.
Q. On Broadway, “Enchanted April” made some noise for a fleeting glimpse of full-frontal male nudity. Is there anything like that in the Playhouse production?
A. Yes, the script calls for one of the male characters to find himself in a “compromising position.” Within the context of the play, however, full-frontal nudity seems very gratuitous. I could try to explain it away with, “Well, at that point of the show, him being naked represents the fact that all of their pretenses have finally been stripped away,” blah, blah, blah. I personally feel that the Broadway producers put it in just to create a little buzz. The scene in which it occurs gains nothing with nudity, and loses nothing without it.