SWEET CHARITY

“Sweet Charity” is a musical which deserves wider attention. Cy Coleman’s music, Dorothy Field’s lyrics and Neil Simon’s dialogue are a great combination but demand a very good leading lady. This Lisnagarvey found in Lauren Molloy who captured the essence of the quirky Charity Hope Valentine, with nuances, facial expressions, and excellent vocals. Claire Cranston and Ashleigh Gault were well cast as Helene and Nickie, Charity’s two cynical dance-hall friends. The three girls worked well together – “There’s Gotta be Something Better than This” was a highlight for me. Dance hostesses Carmen (Jane McKibbin), Rosie (Demi Weir) and all the others maintained character with appropriate dancing and singing. “Hey Big Spender” is always eagerly anticipated and it did not disappoint. Dance-hall manager Hermon was played by larger-than-life Drew Reid. His normally rich tenor voice was sometimes a little short of breath. !

Rea Campbell’s portrayal of the highly-strung Oscar was spot on. His scene in the lift with Charity was really hilarious and his nervous character totally convincing throughout. The cameo roles of Vittorio and Ursula were taken with professional ease by Sean Harkin and Orla McCormack. I sensed the audience gasp in awe as Sean broke into song with “Too Many Tomorrows” – very impressive vocals but still managing tongue-in-cheek comedy! Vittorio’s butler Manfred (Dessy Martin) fulfilled the role of ever-available manservant with aplomb! The universally known “Rhythm of Life” was a vibrant and energetic number. As Daddy Brubeck, Andy Scott was the epitome of an aging ‘druggie’, with his ‘congregation’ all looking half out of their minds! In fact the Ensemble were all fully engaged in every scene in which they appeared, with dancers adding extra sparkle.

Costumes by Utopia were very good and plenty of beehive hairstyles were on show. The set was a marbled-white solid backdrop with cut out New York skyline, onto which appropriate projections were shone. Sound was not always perfectly balanced between stage and pit and I felt that the lighting could have been more adventurous – however there was a lovely effect when Charity realised she was in love, just before “I’m a Brass Band” After some major mistakes in scene 1, the show moved apace. Clare’s choreography was innovative but Fosse-esque. Vocals were well rehearsed and Ian’s 10 piece orchestra well controlled.

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