Sweet Charity

‘Sweet Charity’ is one of those shows that is often dismissed as rather fluffy and lacking in depth. But what the show lacks in intricate plotline, it makes up for in both entertainment value and a leading character that many can’t help but be moved by. Babirra Music Theatre’s production of ‘Sweet Charity’ is clearly aware of both these elements; revelling in its light heartedness whilst paying tribute to some of the more meaty thematic considerations of the show.

The show is a snapshot of an episode in the life of Charity Hope Valentine, a dance hall hostess who dreams of a better, more fulfilling life in a world where fantasy and reality are constantly and heartbreakingly disparate. While Charity experiences many setbacks, particularly in love, the show is about both her rocky love life and her sheer determination to see the positives in life, no matter what comes her way.

In the title role, Lauren Edwards was a delight. With what can only be described as a sort of impish gumption, she really endeared herself to the audience, never letting her character slip for a moment and finding a balance between sensitivity and great comic timing. Supported by Nadia Gianiotti’s hilariously droll Nickie and Tess Smith’s dry ‘soul mama’ portrayal of Helene, the three girls – who were all experienced singers and dancers – created a dynamic that illustrated a real connection and friendship between the three characters.

As Oscar, Neil Vinson had a great sense of timing and physical comedy, but was perhaps misdirected. As a character who is affected by Charity’s goodness and enthusiasm for life, I expected to see more of a development in character. Jaison Hoernel’s Vittorio was a charming mix of fiery European and suave film star, with a fantastic voice to boot. In what is probably one of the most random musical diversions of all time, Scott Hili’s characterisation of Daddy Brubeck was superb, leading the cast in a colourful and energetic rendition of ‘Rhythm of Life’.

The overall design of the show was fantastic. With Jeremy Bailey-Smith at the helm, designing both the set and the costumes, the audience were presented with a highly stylised, brightly coloured geometric look. This use of colour and shape, while synonymous with the era, also meant that locations were merely suggested and set changes minimal. There were a few opening night ‘bumps in the dark’, but generally the scenes flowed together smoothly. The costumes were a feast of colour and style; particularly those of the working girls at the dance hall and the parade of black and white at the Pompeii Club.

The effective simplicity in set design was not mirrored well in the lighting choices. The design by Jason Bovaird was as subtle as I’ve ever seen him construct. However, the weakness lay not in the subtlety, but rather in the execution; the entire lighting performance was sluggish, with many missed cues and spots.

The direction by Dianne Shepherd (with Penny Valk as her assistant director) had some moments of innovation – for example, the effective use of the orchestra pit as a lake – and moments where, against such stark set pieces, the action fell a little flat. Clearly, the ensemble has worked hard to develop the numerous characters that populate the show, but there were a few moments when ensemble ‘clumping’ became a little bland. The most exciting scenes were the ‘busy’ ensemble scenes, where clear and obvious thought about character and timing was evident.

Many of choreographer Andrew Plant’s dances really captured the essence of Fosse’s work; ‘Rich Man’s Frug’ was appropriately snobbish and angular and executed beautifully. However, the show itself poses the challenge of including several musical interludes during the songs (particularly Charity’s solos) in which the choreography can easily become repetitive. It would have been nice to see a little variation in these mini ‘dance breaks’.

Susanna Dernelley ably musically directed the production, and the ensemble sound that she was able to nurture was fabulous. Her orchestra was generally quite tight, with only a few percussive tempo issues. In many ways, it is a shame that in the Whitehorse Centre, the orchestra were performing on a sound stage out the back. The tinny sound that this produces did not do the musicians justice and was the only quibble I had with the sound all evening.Sound Designer Greg Ginger produced a balanced sound that allowed everyone to be easily heard with almost no glitches.

Babirra have made no bones about that fact that ‘Sweet Charity’ is not the deepest musical in the history of time, but have clearly relished the opportunity to have a bit of fun with the show. It’s really great to see such a conglomeration of colour and style in a performance, wrapped up in huge amounts of enthusiasm and talent by the cast and production team.

Kathryn has been involved in a variety of productions over the past ten years, performing in both musicals and plays. She has worked in all facets of theatre; on production teams, backstage, as a costumer and designer and as a performer. She has most recently appeared in productions of Oklahoma!, Julius Caesar (Metellus), The Witches of Eastwick (Gina Marino) and Oliver! (Nancy). This year, Kathryn directed and choreographed MDMS’ production of Jesus Christ Superstar.