Sweet Charity.

There were many facets of this show to love. Success of Sweet Charity rests on the triple-threat talents of the character in the title. Cait McGregor pulled it off in spades.

Her dance buddies at the Fan-Dango Ballroom (played by Kathleen Simmonds and Danika Saal) brought pizzazz to the big musical numbers, while male leads Tony Campbell (Oscar), Livio Regano (Vittorio) and James Whiting (Daddy Brubeck) made the most of their scenes. All supported Cait McGregor valiantly in the best scenes of the show.

Sweet Charityhas more big production numbers than any musical I know. This version hit its straps around the middle of Act 1, and from there to the end captured the zing I’d expect from numbers like ‘If They Could See Me Now’, ‘There’s Gotta Be Something Better Than This’, ‘Rhythm of Life’, ‘Big Spender (Reprise)’, ‘I’m a Brass Band’, and the finale.

Sadly, it all started too tentatively. Sweet Charity must jump-start ─ uptempo, with a confident big show-band sound. 

But my main gripe was with the lighting. This is not a disco! Dancing lights and special effects meant the leads frequently played early scenes in the dark.        

I’m confident the conductor and orchestra will get their act together as the show settles in, and the artists will overcome the lighting and set limitations.

Jay McKee

Images: (top) Danika Saal as Helene, Kathleen Simmonds as Nickie and Richelle Lapot as Carmen; (middle) Tony Campbell as Oscar Lindquist and Cait Gregor as Charity Hope Valentine & (lower) James Whiting as Daddy Brubeck (Centre) with the cast of Sweet Charity. All photographs taken by Cathy Havlik-Blake of Hav Design