Sweet Charity

Sweet Charity
Book by Neil Simon. Music by Cy Coleman. Lyrics by Dorothy Fields. Directed by Dean Bryant. Playhouse Arts Centre. February 25 – March 8, 2015.

Yes, all the hype and the accolades for Verity Hunt-Ballard are justified. She IS Charity Hope Valentine and one almost wishes the show would never be revived again rather than see anyone else try to fill her shoes. She makes Charity a totally credible incurable romantic with an unshakeable belief in love, who can never be truly beaten. It’s this strength to survive, which Charity herself doesn’t realise she has, that keeps her going, keeps her believing, and which we all identify with and makes the character so endearing. I defy anyone not to tear up and get goosebumps when she sings “Where am I Going?”

Though Hunt-Ballard is a force of nature, one can’t overlook the quality of the cast overall. Martin Crewes is terrific as the three men in Charity’s life, especially as Vittorio, though his performance as Oscar stops just short of being even broader than vaudeville. The laughs are already there, and making Oscar such a nerd/dweeb/ twit makes Charity seem totally desperate rather than an incurably naive.

Debora Krizak was sensational as Nickie and Ursula – Wow, what a performer…we really need lots more of her; and Kate Cole (a stunning straight actress) surprised with her triple threat rendition of Helene. The ensemble are excellent, the band is good, though costuming is a worry, but one absolute necessity is that Big Daddy should be charismatic, and that was a failing.

The production itself is fine – really good theatre, but it didn’t create magic for myself or some of those I was sitting near…and magic should be what it’s about. The ensemble seemed flat in the first half and I have no idea what the second half opening costumes were about….presumably to convey that the middle class and genteel folk were sucked in by Big Daddy and his church, but it didn’t work for me.

All Kudos, though, to Dean Bryant for stripping back the show to a manageable size and refocussing it with an accent on social conditions. More Kudos to Andrew Hallsworth for paring down the choreography. It’s not Fosse but it does work and the little homage to Fosse was a wonderful moment.

The one really sour moment for me was the inclusion of the Drag Queen Fairy God-sister in the last scene. I am told that a version of this character existed in Neil Simon’s original book and if that’s true it’s small wonder it is always omitted from major productions…until now. The original cites a walking advertisement…a fairy with a placard on her back advertising a TV programme coming that night…as the catalyst for Charity to get herself together and keep believing. Changing that to Bryant’s vision damages the character in my opinion…and it is only my opinion. Charity becomes a victim, not a survivor…whereas the more traditional ending sees our girl…battered and bruised but unbeatable…pick herself up and go back into the fray of her own volition. Some may see Bryant’s choice as a brave one, and I applaud that, but I hated it. Some audience members thought Charity had walked into traffic and committed suicide. Really. It’s important to give Charity her happy ending by placing it in her hands. However, this is still an important and special production and Verity Hunt Ballard’s performance is not to be missed.

Coral Drouyn

Potographer: Jeff Busby.

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