Sweet Charity

The show was described as ‘Hapless but unflappable, Charity Hope Valentine desperately seeks love in 1966 New York City. In this exuberant, goofy, hilarious musical comedy, Charity tries again and again to find her dream and make something of herself’.

With music written Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon, Sweet Charity opened on Broadway in 1966 and on the West End a year later. Director Stephen Duckham spoke about remembering watching the show, as ‘an excited teenager’ at the Prince of Wales Theatre in London in 1969. Some fifty-four years later he achieved his wish to one day direct the show.

Unsurprising the main character in the show is Charity (referred to as Sweet Charity during act two). The role is massive, with the actor hardly ever off stage and well-known musical numbers to learn including the show stopping ‘If My Friends Could See Me Now’. The role was superbly handled by Sue Randall. Sue showed naivety and innocence when needed such as when she encountered a string of ‘charity’ collectors in her endeavour to find true love as well as vulnerability and optimism. The scene whereby Charity was trapped in a closet trying to hide cigarette smoke into a costume bag was very funny.  Scenes when Sue spoke aside to the audience were well done.

Solid performances were supplied by Louise Woodward as Helene and Chiara Castanian as Nikkie not least during their rendition of ‘Baby, Dream Your Dream’. A further good performance from Clive Cartwright as Herman, the dance hall manager who delivered ‘I Love to Cry at Weddings’ well.

During the interval I was informed this was a stage debut for Angelo Cardone as Vittorio Vidal. Angelo was a natural as the Italian film star who meets Charity when his girlfriend Ursula, glamorously played by Jo Ward, refuses to return to the Pompeii Club.  

Although the humour in the show was there from the opening this went up a further gear towards the end of act one. Charity is trapped in a lift with claustrophobic Oscar Lindquist played by Kevin Wing. Kevin was nothing less than amazing and hilarious in this role. Throughout the rest of the show the chemistry between Charity and Oscar was brilliant.

We had to wait until act two for the iconic ‘Rhythm of Life’. It was worth the wait and was superbly led by Mark Randell as Daddy Brubeck and company with some great choreography making the impact expected from such a number.

Supporting roles were played by Jemma Butler (Frenchy), Jane Hodgkiss (Carmen), Ann O’Connor (Suzanne), Amanda Wright (Betsy), Alex Newman (Rosie), Sharon Sully (Elaine) and Paul Sully and Paul Sanders as (Cops).

The sets were generally simplistic. The side flats represented the New York skyline with a pay phone downstage right. Projection was used upstage. The opening scene for instance consisting of nothing more than a bench while restaurants such as at the Pompeii Club and Barney’s Chile Hacienda a table/s and chairs. Other scenes had some good effective items of set made by members of the company. For example Vittorio’s bedroom (table, four poster bed and closet) and a ride at Corney Island Amusement Park. My favourite was however the realistic looking (however quite simple) elevator complete with lights depicting the floor level. Congratulations therefore to set designer Brian Tuck and all those (uncredited) who were involved.

Costumes were effective and in line with the period throughout but especially for Rhythm of Life. Lighting and sound were equally effective.

The societies web site showed all six performances as ‘Sold Out’. This means even before opening the audience must have know this was going to be a great show. They were right to think this as it was.

Congratulations to Stephen Duckham and all at the Talisman Theatre and hope to see you again soon. 

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