Oyster Mill's 2005 season is in full bloom, and the brightest flower of the bunch so far, is "Enchanted April," directed by Larry G. Wineland.

Oyster Mill's Wayne Loper writes for the program, "Some might say 'Enchanted April' is a lightweight vehicle born on sentiment, cheap laughs and ultimate predictability.  That assessment would, however, miss the engaging, life-affirming transformation that happens in tonight's romantic comedy."

He's right.  The show is sopping with sentimentality.  The laughs are cheap.  The end is as predictable as a Shakespeare comedy (They dance.  Exeunt All.).  But while "Enchanted April" isn't the best show you'll ever see, it is filled with interesting characters with interesting things to say who discover interesting things about themselves and others, while redefining presumably uninteresting lives.

The plot: Lottie Wilton, bored English housewife, ropes Rose Arnott, timid English housewife, into renting a vacation villa for a month.  To ease the pinch on the purse, the pair find two other women to share the burden of a beautiful Italian castle.

Lady Caroline Bramble, socialite, and Mrs. Graves, unsociable old cur, couldn't be more different from Wilton and Arnott.  In the end, they find familiarity, family and affirmation on the Amalfi coast.

Wineland has assembled a cast of earnest performers, lead by OMP newcomer Beth McIntosh (Wilton), who brings to the stage a charming insensibility.

Megan Seely's (Arnott) performance is capable, believably transitioning from meek to modern, a portrait of rediscovery.  Jason Rosnick (Antony Wilding) is clearly more comfortable with his character in "Enchanted April" than the role he played earlier in OMP's season as Dennis Clement in "Murder at the Vicarage."

The opening-night audience was particularly fond of Carla Paone Baum (Costanza) and Cindy Cain Spahr (Mrs. Graves), especially during their onstage pairings.

The evening's performances were strong, and equally so were Joyce O'Donnell's costumes.  Additionally, Larry Wineland's vision for the set was solid, effectively furthering and supporting the play's narrative.  Opening scenes, in dreary England, take place down stage, on the proscenium, using minimal furniture and set pieces -- they reflect the monotony of the characters' lives.

Only at the beginning of the second act is the villa revealed, bright, warm and inviting.