Sweet Charity

OCPAC’s Sweet Charity is a slick piece of theatre. This group of young theatre makers have created a show with lots of polish and energy.

Sweet Charity is a show not often performed, probably because of the enormous workload on the lead performer. Charity rarely leaves the stage so there is much relying on her, and in this production Josephine Marchant brings boundless energy and a fine singing voice to the role. Josephine’s performance was fully supported by every member of the cast – every person on stage was fully committed to the performance.  

The supporting principals each brought their own impressive talents to the roles. Special mention must be made of Kristen Mihalos (Nikki) and Ruby Cesan (Helene) who impressed with both their acting and powerful singing, and together with the Fandango Ballroom Dancers gave us a memorable “Big Spender”.   

Oliver Cowan was suitably neurotic and lovable as Oscar Lindquist. His establishing scene, trapped in the elevator with Charity, set up their ongoing quirky relationship.

Cameron Taylor as Vittorio Vidal, the Latin lover, and his partner Ursula (Claire Warrilow) took on and mastered the difficult task of speaking with Italian accents while remaining comprehensible. Cameron’s rendition of “Too Many Tomorrows” would have melted any heart with his outstanding vocals. Alex Cooper, as Herman the gruff club owner, impressed with his comic timing and falsetto in “I Love to Cry at Weddings”.    

Choreography was interesting and called on the talents of the cast. Everything, from crossovers to full ensemble dance pieces, were well rehearsed and performed with energy. “Rhythm of Life” was a particular stand out.

Costuming was generally very good - at times outstanding (Rich Man’s Frug) and sometimes a little not (Police uniforms).  

Lighting and staging was very “Fosse” – minimal sets and props but cleverly used to establish place. A series of frames on wheels allowed the cast to create walls and doors where needed, and scene changes were slick and quiet. 

One criticism would be the decision to have the elevator scene so far upstage which lost some of the intimacy of the scene.

Lighting was very controlled and the use of LED strip lights on portals and doorways and strong use of backlight gave the classic Fosse look. Lighting cues on the whole were tight. Reducing the intensity of the LEDs on the doorframes to allow the light on actors faces to be the brightest spot onstage is one thing that could be improved.

OCPAC have assembled a very talented cast and crew for this production and it shows onstage. If you like Sweet Charity or you have never seen it, or you just want to see some music theatre well done, I recommend this.     

Shirley Jensen