Sweet Charity

Though the show dates back to the 1960s, it remains a favourite with amateur companies, thanks to enduring songs such as Hey Big Spender, If My Friends Could See Me Now, and Rhythm of Life. For anyone needing a refresher, the story follows Charity Valentine, a paid dance partner and hostess at the Fandango Club. She is searching for love, or at least someone to take care of her, until she meets the shy Oscar, who, for once, needs her support instead. Romance begins to blossom, but as ever, life rarely goes to plan.

Staging a full-scale musical on the open stage at The Ship Theatre cannot have been easy, but PWOS handled it impressively. Traditional scenery was unnecessary; instead, ten square mirrored boxes were used creatively as everything from seating, to a bed and even the inside of a lift. Monochrome back panels with just a drawn New York skyline, all symbolically and deliberately used by Director James Foster. The lighting design by James Mitchell enhanced the production considerably. With the cast performing so close to the audience and using personal microphones, dialogue was clear throughout, and the songs also carried well, with the band positioned at the back of the stage. I initially expected the five-piece band, led by Musical Director Richard Campbell, to be too loud, but the sound was well balanced and blended effectively with the excellent singing from both ensemble and principals. The costumes suited the period. Choreographers Gail Arnott and Jackie Langdrige clearly understood the style of the show and brought out the best in the cast. The dance numbers and ensemble work were imaginative, period-appropriate, and made effective use of the stage while remaining well within the performers’ abilities.

Much depends on the role of Charity, who is rarely off stage. Caitlin Hargreaves appeared to relish the part, delivering strong singing, dancing, and stage presence throughout. Her fellow hostesses performed well as a group while also bringing distinct character to their roles. Shannon Moxham and Emily Covington gave lively performances as Charity’s close friends, Nickie and Helene. Graeme Tyler was convincing as the suave film star Vittorio Vidal, maintaining his accent well, while Victoria Murphy gave a solid performance as his girlfriend, Ursula March. Michael Flanagan was well cast as the shy Oscar and performed impressively. In the supporting roles, Elizabeth O’Donnell as Herman and Christine Mabbott as Daddy both contributed to the show’s success. Everyone on stage gave their all and seemed fully engaged. Director James Foster can be justly proud of his cast and crew.

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